By Katherine Profeta
Profeta explores 5 arenas for the dramaturg’s attention—text and language, examine, viewers, flow, and interculturalism. Drawing on her prolonged collaboration with choreographer and visible artist Ralph Lemon, she grounds her pondering in real rehearsal-room examples and situates perform inside of theoretical discourse approximately modern dramaturgy. relocating among thought and perform, note and flow, query and solution till those differences blur, she develops the foundational suggestion of dramaturgical hard work as a high quality of motion.
Dramaturgy in Motion can be useful to practitioners and students attracted to the tactics of constructing modern dance and flow performance—particularly artists brooding about what it would be prefer to collaborate with a dramaturg and dramaturgs considering what it'd be prefer to collaborate on flow functionality. The e-book also will attract these intrigued through the paintings of Lemon and his collaborators, to which Profeta turns time and again to spread the thorny questions and wealthy merits of dramaturgical labor.
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Additional info for Dramaturgy in Motion: At Work on Dance and Movement Performance
But the “Tire Talk” section felt like the real spoken-word discovery of the piece.
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?
It is instrumental: the creative ferment of evolution can only achieve complexity via phases of multitasking and redundancy. Bly then analogizes the dramaturg performing multiple roles to a “one-for-two” arrangement, and a single role shared by the dramaturg and others to a “two-for-one,” and quotes Gould to seal his argument: “rules of structure, deeper than natural selection itself, guarantee that complex features must bristle with multiple possibilities and evolution wins its required flexibility thanks to messiness, redundancy, and lack of perfect fit.