By Katherine Profeta

ISBN-10: 0299305945

ISBN-13: 9780299305949

Dramaturgy in Motion innovatively examines the paintings of the dramaturg in modern dance and circulate functionality. Katherine Profeta, a operating dramaturg for greater than fifteen years, shifts the point of interest from asking “Who is the dramaturg?” to “What does the dramaturg imagine about?”
            Profeta explores 5 arenas for the dramaturg’s attention—text and language, study, viewers, flow, and interculturalism. Drawing on her prolonged collaboration with choreographer and visible artist Ralph Lemon, she grounds her pondering in genuine rehearsal-room examples and situates perform inside theoretical discourse approximately modern dramaturgy. relocating among concept and perform, notice and circulation, query and resolution until eventually those differences blur, she develops the foundational thought of dramaturgical hard work as a high quality of motion.
            Dramaturgy in Motion could be useful to practitioners and students drawn to the tactics of making modern dance and circulate performance—particularly artists considering what it'd be prefer to collaborate with a dramaturg and dramaturgs considering what it would be wish to collaborate on circulation functionality. The e-book also will attract these intrigued via the paintings of Lemon and his collaborators, to which Profeta turns time and again to spread the thorny questions and wealthy advantages of dramaturgical labor.

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Extra info for Dramaturgy in Motion: At Work on Dance and Movement Performance

Example text

Agreeing that the Geography process would always exceed the stage product, we searched for more ways to fold the former into the latter. 9 I baited him with long strings of propositions for how this could be done: What if we had one dancer teach another movement onstage? What if he and Djédjé did the same choreography simply but differently, side by side? Most of my suggestions were not fruitful in our emerging context. But I nevertheless had faith that they, like projectiles lobbed willy-nilly at a moving target, might dislodge some new ideas even if they did not hit the target directly.

That was the work’s chaos, and joy. Meanwhile Ralph’s and my conversations in the interstitial spaces between rehearsals circled around the idea that the rehearsal room activity I have just described, with its inevitable and myriad failures of translation, would always be the most interesting thing created. Agreeing that the Geography process would always exceed the stage product, we searched for more ways to fold the former into the latter. 9 I baited him with long strings of propositions for how this could be done: What if we had one dancer teach another movement onstage?

What if he and Djédjé did the same choreography simply but differently, side by side? Most of my suggestions were not fruitful in our emerging context. But I nevertheless had faith that they, like projectiles lobbed willy-nilly at a moving target, might dislodge some new ideas even if they did not hit the target directly. After relinquishing the idea that I, as dramaturg, was in the rehearsal room to support the intelligibility of the Oresteia source material, I looked to better understand my relationship to the other spoken text in the piece.

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Dramaturgy in Motion: At Work on Dance and Movement Performance by Katherine Profeta


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