New Media Dramaturgy

This book illuminates the shift in approaches to the uses of theatre and performance technology in the past twenty-five years and develops an account of new media dramaturgy (NMD), an approach to theatre informed by what the technology ...

New Media Dramaturgy

This book illuminates the shift in approaches to the uses of theatre and performance technology in the past twenty-five years and develops an account of new media dramaturgy (NMD), an approach to theatre informed by what the technology itself seems to want to say. Born of the synthesis of new media and new dramaturgy, NMD is practiced and performed in the work of a range of important artists from dumb type and their 1989 analog-industrial machine performance pH, to more recent examples from the work of Kris Verdonck and his A Two Dogs Company. Engaging with works from a range of artists and companies including: Blast Theory, Olafur Eliasson, Nakaya Fujiko and Janet Cardiff, we see a range of extruded performative technologies operating overtly on, with and against human bodies alongside more subtle dispersed, interactive and experiential media.

New Dramaturgy

Katalin Trencsényi and Bernadette Cochrane The term new dramaturgy is
deceptive in its auto-descriptive simplicity. ... of new terms such as dance
dramaturgy, visual dramaturgy, new media dramaturgy and neologisms such as
mediaturgy.

New Dramaturgy

Recent shifts in the theatrical landscape have had corresponding implications for dramaturgy. The way we think about theatre and performance today has changed our approaches to theatre making and composition. Emerging new aesthetics and new areas of dramaturgical work such as live art, devised and physical theatre, experimental performance, and dance demand new approaches and sensibilities. New Dramaturgy: International Perspectives on Theory and Practice is the first book to explore new dramaturgy in depth, and considers how our thinking about dramaturgy and the role of the dramaturg has been transformed. Edited by Katalin Trencsényi and Bernadette Cochrane, New Dramaturgy: International Perspectives on Theory and Practice provides an unrivalled resource for practitioners, scholars, and students.

The Routledge Companion to Dramaturgy

We coined the term new media dramaturgy (NMD) to investigate the
transformations underway in live performance in relation to and in response to
new media and vice versa. New media constitutes a turn to visuality,
intermediality, and ...

The Routledge Companion to Dramaturgy

Dramaturgy, 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. This collection focuses on contemporary dramaturgical practice, bringing together contributions not only from academics but also from prominent working dramaturgs. The inclusion of both means a strong level of engagement with current issues in dramaturgy, from the impact of social media to the ongoing centrality of interdisciplinary and intermedial processes. The contributions survey the field through eight main lenses: world dramaturgy and global perspective dramaturgy as function, verb and skill dramaturgical leadership and season planning production dramaturgy in translation adaptation and new play development interdisciplinary dramaturgy play analysis in postdramatic and new media dramaturgy social media and audience outreach. Magda Romanska is Visiting Associate Professor of Slavic Languages and Literatures at Harvard University, Associate Professor of Theatre and Dramaturgy at Emerson College, and Dramaturg for Boston Lyric Opera. Her books include The Post-Traumatic Theatre of Grotowski and Kantor (2012), Boguslaw Schaeffer: An Anthology (2012), and Comedy: An Anthology of Theory and Criticism (2014).

Interactive Dramaturgies

The context of dramaturgy, in which these texts are set, fruitfully elicits propositions and reflections over a wide range of significant issues: from innovative narrative structures, interactive games, and new approaches to film, TV and ...

Interactive Dramaturgies

Using numerous illustrations and case studies, the author maps out the creative process involved in producing interactive media, such as CD-ROM productions and network applications. Looking at concrete outstanding examples, various contributions by international multimedia authors, designers, and artists shed light on the role and function of interactive media in the context of exhibitions, museums, cultural learning, entertainment, film, and television. The publication explores methods and strategies of interactive dramaturgy that go beyond interactive storytelling. The emphasis is on new modes of dramaturgy, where the user is actively involved, cooperation among users is supported, and repeated visits are motivated.

A Theory of Dramaturgy

15 There is of course social action that is free of interaction: reading, writing,
lonely actions, etc. ... 24 Eckersall, Grehan and Scheer, Edward (2017) New
Media Dramaturgy: Performance, Media and New-Materialism (New
Dramaturgies).

A Theory of Dramaturgy

A Theory of Dramaturgy is the first text of its kind to define concepts and combine arguments into a coherent dramaturgical theory supported by an operative systems theory. This is a wide-ranging theory with historical and contemporary perspectives on dramaturgy, rather than simply a how-to book. Dramaturgy began in ancient Greece, born from experimentation with democracy and commentary in the theatre on the human condition. The term itself has seen constant evolution, but thanks to its introduction into common English usage within the last three decades, it has gained new importance. Dramaturgy draws focus to the communication of communication, and in theatre it examines how moving bodies, voice, sound, and light can tell a story and affect values. Beyond the theatre, in daily life, dramaturgy becomes a question of "performativity", as we constantly have to act in relation to the roles that we occupy. It is because of this that the way in which society describes itself to itself is not just a matter for scientists and theorists, but for all of those who are met on a daily basis with devised, staged, and directed versions of important values and events in our contemporary lives. Ideal for both scholars and students, A Theory of Dramaturgy explains how to approach the values, strategies, and theories that are essential to understanding arts and media, and investigates what art should do in the current world.

Dramaturgy in the Making

I was part of a youth theatre group in Budapest, a close-knit bunch of teenagers,
and we were celebrating New Year's ... dance theatre) and new terms (new
dramaturgy, postdramatic theatre, new media dramaturgy) have left their mark on
it.

Dramaturgy in the Making

Dramaturgy in the Making maps contemporary dramaturgical practices in various settings of theatre-making and dance to reveal the different ways that dramaturgs work today. It provides a thorough survey of three major areas of practice - institutional dramaturgy, production dramaturgy and dance dramaturgy - with each illustrated through a range of case studies that illuminate methodology and which will assist practitioners in developing their own 'dramaturgical toolbox'. In tracing the development of the role of the dramaturg, the author explores the contribution of Lessing, Brecht and Tynan, foundational figures who shaped the practice. She excavates the historical and theoretical contexts for each strand of the work, uniquely offering a history of dance dramaturgy and its associated theories. Based on extensive research, the volume features material from the author's interviews with fifty eminent professionals from Europe and North America, including: Robert Blacker, Jack Bradley, DD Kugler, Ruth Little and Hildegard De Vuyst. Through these, a detailed and precise insight is provided into dramaturgical processes at organisations such as the Akram Khan Company, les ballets C de la B (Gent), the National Theatre and the Royal Court (London), the Schaubühne (Berlin) and The Sundance Institute Theatre Lab (Utah), among others. Dramaturgy in the Making will prove indispensable to anyone working in theatre or wanting to better understand the dramaturgical processes in performance-making today. The book features a foreword by Geoff Proehl, author of Toward a Dramaturgical Sensibility: Landscape and Journey.

The Routledge Companion to Theatre and Politics

The Routledge Companion to Theatre and Politics is a volume of critical essays, provocations, and interventions on the most important questions faced by today’s writers, critics, audiences, and theatre and performance makers.

The Routledge Companion to Theatre and Politics

The Routledge Companion to Theatre and Politics is a volume of critical essays, provocations, and interventions on the most important questions faced by today’s writers, critics, audiences, and theatre and performance makers. Featuring texts written by scholars and artists who are diversely situated (geographically, culturally, politically, and institutionally), its multiple perspectives broadly address the question "How can we be political now?" To respond to this question, Peter Eckersall and Helena Grehan have created eight galvanising themes as frameworks or rubrics to rethink the critical, creative, and activist perspectives on questions of politics and theatre. Each theme is linked to a set of guiding keywords: Post (post consensus, post-Brexit, post-Fukushima, post-neoliberalism, post-humanism, post-global financial crisis, post-acting, the real) Assembly (assemblage, disappearance, permission, community, citizen, protest, refugee) Gap (who is in and out, what can be seen/heard/funded/allowed) Institution (visibility/darkness, inclusion, rules) Machine (biodata, surveillance economy, mediatisation) Message (performance and conviction, didacticism, propaganda) End (suffering, stasis, collapse, entropy) Re. (reset, rescale, reanimate, reimagine, replay: how to bring complexity back into the public arena, how art can help to do this). These themes were developed in conversation with key thinkers and artists in the field, and the resulting texts engage with artistic works across a range of modes including traditional theatre, contemporary performance, public protest events, activism, and community and participatory theatre. Suitable for academics, performance makers, and students, The Routledge Companion to Theatre and Politics explores questions of how to be political in the early 21st century, by exploring how theatre and performance might provoke, unsettle, reinforce, or productively destabilise the status quo.

Writing for Television Radio and New Media

The technological aspects of media have changed considerably in the past half
century, and we have recognized these changes ... They adapt to the
requirements of the new form of distribution—for example, new principles of
dramaturgy for ...

Writing for Television  Radio  and New Media

WRITING FOR TELEVISION, RADIO, AND NEW MEDIA has been the leading work in its field for more than fifty years. Its frequently updated revisions, including the eleventh edition, combine the best principles and examples of the past with those of contemporary practice. Its thorough coverage of concepts, approaches, and techniques concentrates on the key media formats of commercials; news and sports; documentaries; reality programs; talk shows; interviews; music programs; corporate, educational, and children's formats; and drama and sitcoms. The text also presents basic information that writers need to know about production techniques, demographics, copyrights, and career opportunities. /New material on social media allows today's students to understand the continued importance of clear writing and shows them how their digital skills can transfer to career opportunities. Important Notice: Media content referenced within the product description or the product text may not be available in the ebook version.

The Dumb Type Reader

This is the most extensive exploration of dumb type to date, featuring leading Japanese and international authorities and will be essential reading for scholars of contemporary performance and new media art.

The Dumb Type Reader

From the 1980s into the early 2000s, the Japanese group Dumb Type mounted multimedia performances that broke substantial new ground in new media dramaturgy and influenced countless performers to follow. This book gathers essays on the group's work, achievement, and influence, analyzing such key works as S/N, which marked the first time a major Japanese artwork staged a debate around the politics of sexuality and difference. Other major works, including pH, OR, and memorandum, are discussed in detail, and contributors also attend to more recent works by individual dumb type artists. This is the most extensive exploration of dumb type to date, featuring leading Japanese and international authorities and will be essential reading for scholars of contemporary performance and new media art.

Dramaturgy of Sound in the Avant garde and Postdramatic Theatre

Innovators of electronic media, whose new sonic realities literally include
previously undetected murmurs of the human body and unattended sounds of the
environment, have freely adopted it as well. Foreseeing these developments in
1937, ...

Dramaturgy of Sound in the Avant garde and Postdramatic Theatre

Sound is born and dies with action. In this surprising, resourceful study, Mladen Ovadija makes a case for the centrality of sound as an integral element of contemporary theatre. He argues that sound in theatre inevitably "betrays" the dramatic text, and that sound is performance. Until recently, theatrical sound has largely been regarded as supplemental to the dramatic plot. Now, however, sound is the subject of renewed interest in theatrical discourse. Dramaturgy of sound, Ovadija argues, reads and writes a theatrical idiom based on two inseparable, intertwined strands - the gestural, corporeal power of the performer’s voice and the structural value of stage sound. His extensive research in experimental performance and his examination of the pioneering work by Futurists, Dadaists, and Expressionists enable Ovadija to create a powerful study of autonomous sound as an essential element in the creation of synesthetic theatre. Dramaturgy of Sound in the Avant-garde and Postdramatic Theatre presents a cogent argument about a continuous tradition in experimental theatre running from early modernist to contemporary works.

Dramaturgy in American Theater

She started as a part - time intern in 1979 , then became a script reader ,
dramaturg , and literary manager . She left in ... She has recently returned to free -
lance work and is currently exploring the possibilities of dramaturgy in new media
.

Dramaturgy in American Theater

This comprehensive work is truly the first textbook in the field of dramaturgy. Most of the material-much of it by leaders in all areas of the theater-was commissioned for this collection, rather than being reprinted. Its currency and importance cannot be overestimated. A review of the history of dramaturgy as a profession, together with its European antecedents, gives students a sense of historical context. Selections from respected and recognized names in theater provoke student interest and communicate the benefits of those experts' experiences.

The NewMediaReader

... California Santa Cruz Noah Wardrip-Fruin, Noah Wardrip-Fruin, Nick Montfort,
Associate Professor of Digital Media Nick Montfort ... First Degree: Simultaneous
Dramaturgy This is the first invitation made to the spectator to intervene without ...

The NewMediaReader

A sourcebook of historical written texts, video documentation, and working programs that form the foundation of new media. This reader collects the texts, videos, and computer programs--many of them now almost impossible to find--that chronicle the history and form the foundation of the still-emerging field of new media. General introductions by Janet Murray and Lev Manovich, along with short introductions to each of the texts, place the works in their historical context and explain their significance. The texts were originally published between World War II--when digital computing, cybernetic feedback, and early notions of hypertext and the Internet first appeared--and the emergence of the World Wide Web--when they entered the mainstream of public life. The texts are by computer scientists, artists, architects, literary writers, interface designers, cultural critics, and individuals working across disciplines. The contributors include (chronologically) Jorge Luis Borges, Vannevar Bush, Alan Turing, Ivan Sutherland, William S. Burroughs, Ted Nelson, Italo Calvino, Marshall McLuhan, Jean Baudrillard, Nicholas Negroponte, Alan Kay, Bill Viola, Sherry Turkle, Richard Stallman, Brenda Laurel, Langdon Winner, Robert Coover, and Tim Berners-Lee. The CD accompanying the book contains examples of early games, digital art, independent literary efforts, software created at universities, and home-computer commercial software. Also on the CD is digitized video, documenting new media programs and artwork for which no operational version exists. One example is a video record of Douglas Engelbart's first presentation of the mouse, word processor, hyperlink, computer-supported cooperative work, video conferencing, and the dividing up of the screen we now call non-overlapping windows; another is documentation of Lynn Hershman's Lorna, the first interactive video art installation.

Dramatics

University of Nebraska , Lincoln Lincoln , Nebraska Degrees offered : B . A . in
performance , directing , dramaturgy and stage management ; B . F . A . in tech /
design and film / new media , M . F . A . in acting , directing for stage ...

Dramatics


Digital Dramaturgies

Contributors: Sarah Bay-Cheng, Annie Dorsen, Miriam Felton-Dansky, Jacob Gallagher-Ross, Christopher Grobe, Martin Harries, John H. Muse, Nick Salvato, Matthew Wilson Smith, and Alexis Soloski

Digital Dramaturgies

In recent years, technologies of production and communication have multiplied exponentially, creating new modes of expression and storytelling. The Internet and cell phones allow instantaneous communication across global networks; media communities like YouTube have created venues for amateur performances to reach global audiences; and the enforced brevity of Facebook status updates, Twitter posts, and text messages have created compressed, allusive idioms out of everyday speech. These and other rapid technological and cultural changes have transformed theater, the oldest of "old media." This special issue of Theater assembles contributions by scholars and artists that explore this transformation, considering both theater's place in a world conditioned by new media and the place of these new media in the theater. Contributors to this issue explore a variety of ways--from Twitter plays in 140 characters, to performances from the Avatar Repertory Theater in Second Life, to two computer chatbots "restaging" debates between Michel Foucault and Noam Chomsky--that new technology can perform. Tackling questions of what is considered live theater in a digital age and how new media will share the stage with more traditional forms of performance, this issue establishes theater as a unique medium and meeting place for other media as it moves irreversibly into the digital domain. Miriam Felton-Dansky and Jacob Gallagher-Ross are DFA candidates in the Department of Dramaturgy and Dramatic Criticism at the Yale School of Drama. Contributors: Sarah Bay-Cheng, Annie Dorsen, Miriam Felton-Dansky, Jacob Gallagher-Ross, Christopher Grobe, Martin Harries, John H. Muse, Nick Salvato, Matthew Wilson Smith, and Alexis Soloski

Mapping Intermediality in Performance

This insightful book explores the relationship between theater and digital culture.

Mapping Intermediality in Performance

This insightful book explores the relationship between theater and digital culture. The authors show that the marriage of traditional performance with new technologies leads to an upheaval of the implicit “live” quality of theatre by introducing media interfaces and Internet protocols, all the while blurring the barriers between theater-makers and their audience.

Cyberarts 2000

CURRENTLY LECTURER ON NEW MEDIA AT THE ACADEMY FOR FILM AND
TELEVISION ( HFF ) , POTSDAM ... WORKSHOPS ON INTERACTIVE
MULTIMEDIA APPLICATIONS AND INTERNET DESIGN AND DRAMATURGY .

Cyberarts 2000

Compendium of Computer Arts from the Competition Prix Ars Electronica.

iBroadway

This book argues that the digital revolution has fundamentally altered the way musicals are produced, followed, admired, marketed, reviewed, researched, taught, and even cast.

iBroadway

This book argues that the digital revolution has fundamentally altered the way musicals are produced, followed, admired, marketed, reviewed, researched, taught, and even cast. In the first hundred years of its existence, commercial musical theatre functioned on one basic model. However, with the advent of digital and network technologies, every musical theatre artist and professional has had to adjust to swift and unanticipated change. Due to the historically commercial nature of the musical theatre form, it offers a more potent test case to reveal the implications of this digital shift than other theatrical art forms. Rather than merely reflecting technological change, musical theatre scholarship and practice is at the forefront of the conversation about art in the digital age. This book is essential reading for musical theatre fans and scholars alike.

Monatshefte Max Kade Institute Directory of German Studies Departments Programs and Faculties in the United States and Canada 2000

Monatshefte   Max Kade Institute Directory of German Studies Departments  Programs  and Faculties in the United States and Canada 2000

The 2000 edition of the Directory of Geman Studies is an indispensable research tool and source of information for those involved in German studies throughout the world. The new Directory lists 589 German studies departments and programs in the United States and Canada and includes biographical and bibliographical information for nearly 3500 individual faculty members in the field. This edition was preceded by earlier editions in 1980, 1985, 1990, and 1995, which were published under the title DAAD / Monatshefte Directory of German Studies. (DAAD is the Deutscher Akademischer Austauschdienst, or German Academic Exchange Service.) Distributed by the University of Wisconsin Press for Monatshefte and the Max Kade Institute, University of Wisconsin-Madison

Democratic EGovernance

Exploitation of media dramaturgy and logic , for example the media's routine
preference for spectacular confrontations ... Seen from the perspective of
mediatisation of politics , the appearance of new media changes the landscape
and with ...

Democratic EGovernance


New Media in Southeast Europe

The electronic media have brought a kind of dramaturgy which confirms the
passive status of the participants – viewers and listeners . The culture industry ,
on its part , makes them consumers unable to manage their own needs on the
fairway ...

New Media in Southeast Europe