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The Place of Dramaturg in 21st Century England
No full textDramaturgy, in its many forms, is a fundamental and indispensable element of contemporary theatre. In its earliest definition, the word itself means a comprehensive theory of "play making." Although it initially grew out of theatre, contemporary dramaturgy has made enormous advances in recent years, and it now permeates all kinds of narrative forms and structures: from opera to performance art; from dance and multimedia to filmmaking and robotics.
In our global, mediated context of multinational group collaborations that dissolve traditional divisions of roles as well as unbend previously intransigent rules of time and space, the dramaturg is also the ultimate globalist: intercultural mediator, information and research manager, media content analyst, interdisciplinary negotiator, social media strategist
Directing Scenes and Sense: The Thinking of Regie
No full textAs European theatre directors become a familiar presence on international stages and a new generation of theatre makers absorbs their impulses, this study develops fresh perspectives on Regie, the Continental European tradition of staging playtexts. Leaving behind unhelpful clichés that pit, above all, the director against the playwright, Peter M. Boenisch stages playful encounters between Continental theatre and Continental philosophy.
The contemporary Regie work of Thomas Ostermeier, Frank Castorf, Ivo van Hove, Guy Cassiers, tg STAN, and others, here meets the works of Friedrich Schiller and Leopold Jessner, Hegelian speculative dialectics, and the critical philosophy of Jacques Rancière and Slavoj Zizek in order to explore the thinking of Regie - how to think Regie, and how Regie thinks
Acting, Skill and Artistry
No full textThis short article explores Peter Gill's attempts, at the National Theatre Studio in the 1980s, to codify and communicate acting skills in the light of interviews with skilled manual workers undertaken at about the same time. It concludes by proposing study *with* - rather than of - Shakespearean performance
Children and Young People with Depression: A Practice-As-Research Exploration of Dramatherapy and the Challenges of Evaluation
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A Professional Body: Remembering, Repeating and Working Out Masculinities in Fin-de-Siècle Physical Culture
No full textPhysical fitness demands repetition. Achieving a bodily ideal compels the subject to return day after day to the same designated place and repeat the same set of movements. For this reason, the practice of fitness, especially in regards to the participation of male-identifying subjects, has often been read as a form of discipline, surveillance, and ideological interpellation. In this article, I offer an alternative understanding of this repetition by reading fitness as a deeply performative practice. My focus is physical culture, a movement that emerged at a crucial transitional moment of Western modernity and which systematized men's fitness as we know it today through a popular media apparatus of magazines, postcards, books, film, and theatre where the male body could be viewed, examined, and. Exposing the entwined histories of fitness and theatre in the ‘body of work’ of the Edwardian strongman, wrestler, and physical culturist George Hackenschmidt, I argue that the performative repetitions of physical culture actually reveal the incomplete inscription of ideology upon the site of the body by demonstrating how a certain masculine norm must be continually re-cited. The performance of the built up and stripped down male body is thus an anxious performance of masculinity during a period of great industrial transformation. Hackenschmidt's body of work, both as a performer of built masculinity on the vaudeville stage and the wrestling ring, and as an author of numerous books, suggests that when men today re-enact the moves and lifts of physical culture in their fitness practices, they are (to adapt Freud's phrase) remembering, repeating, and working out, though perhaps not working through, the contradictions of modernity
On Editing and the Digitial
No full textEditing is tenacious; it barricades itself in the particularity of contexts and disciplines. Nevertheless, it imposes a certain duration to the process of (re)writing; it pauses that which is already articulated, be it in the form of an intervention, a footnote, a general comment. I will not be dealing here with the plural dimensions of editing: the conflict of scope, the teasing out of language, the abrupt interruption, the gentle attack. Instead, I will discuss editing from the vantage point of a nomad whose work has travelled across contexts, returning to the digital but in love with the material
