By Pil Hansen, Darcey Callison
Ten foreign dramaturg-scholars boost proposals that reset notions of supplier in modern dance construction. Dramaturgy turns into pushed by means of inventive inquiry, allotted between taking part artists, embedded in improvisation initiatives, or weaved via viewers engagement, and the dramaturg turns into a facilitator of dramaturgical information.
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Additional resources for Dance Dramaturgy: Modes of Agency, Awareness and Engagement
Introduction 25 Theatre Topics (2014) also published an issue on dramaturgy from a North American perspective. 3. Forsythe’s dramaturgs have articulated and documented the complex principles involved in modes of working since Heidi Gilpin’s work on William Forsythe’s seminal Improvisation Technologies (CD-Rom) from 1995. 4. An example of this notion of presence can be found in Cynthia J. Novack’s discussion of spontaneity, suppression of conscious planning and intention, and emphasis on proprioception in contact improvisation practices throughout her book Sharing the Dance from 1990.
The members direct their awareness towards compositional possibilities that arise within their own work and the dramaturg’s responsibility is to document and map these emergences. However, the dramaturg’s primary focus is on the tasks that produce these possibilities and how the boundary objects are engaged and evolve throughout the process. The documentation of generated material gives all members of the distributed dramaturgy a tool for identifying and revisiting their dramaturgical choices. The dramaturg’s mode of awareness seems to live in-between these members, materials, and choices.
Katherine Profeta and Thomas K. DeFrantz (dramaturg and African American dance scholar) have worked for almost two decades with the iconic African American choreographers Ralph Lemon and Donald Byrd. Both dramaturgs report on researching source materials and their historical/theoretical anchors, and on reflecting upon the relationship between these sources, the process of creation, and the world that the company shares with their audience. The same tasks feature in the Japanese dramaturg and scholar/performer of traditional Japanese Theatre Nanako Nakajima’s contribution to the contemporary American performance’s artist koosil-ja’s choreographic work.