Dance, Dramaturgy and Dramaturgical Thinking

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Notes

1. Heidi Gilpin, ‘Shaping Critical Spaces: Issues in the Dramaturgy of Movement Performance’, in Dramaturgy in American Theater, ed. by Susan Jonas, Geoff Proehl and Michael Lupu (Orlando: Harcourt Brace College Publishers, 1997), pp. 83–87 (p. 86).

2. Ibid., p. 86.

3. Ibid., p. 85.

4. Ibid., p. 87. It should be said that Gilpin does not create a dichotomy between text and movement; rather, she sees strong parallels between contemporary dance and forms of theatre that seek to undo the notion of the ‘dramatic’ text.

5. Ibid., p. 87.

6. Ibid., p. 85.

7. http://www.theaterhaus.com/tanzplattform2006 [accessed 22 December 2009].

8. ‘Conversations on Choreography’ in Amsterdam (March 1999) and Barcelona (November 1999); dramaturgy seminars and coaching sessions at ImpulsTanzWien (2007); Danseværket in Århus (2003); ‘The Witness as Dramaturg’ (2008), organized by Hancock&KellyLive and Dance4 (UK), to name a few.

9. Myriam Van Imschoot, ‘Anxious Dramaturgy’, Women and Performance: A Journal of Feminist Theory, 26.13 (2003), 57–68 (p. 58).

10. Van Imschoot writes that throughout the 1980 and 1990s much attention was paid to dramaturgy in Holland and Belgium, with dramaturgs playing an important role in the ‘new cultural “field”’ and aesthetic paradigm in Belgian performing arts (‘Anxious Dramaturgy’, p. 57).

11. Email correspondence with Bojana Bauer, 17 November 2008.

12. Mogens Rukow proposes that dramaturgy should not be understood in terms of prescribed models, but rather that new dramaturgical models and structures can best be developed by being alert to the rules, energies or dynamics that emerge from the creation process; interview in Danish by Claus Christensen, ‘Den skandal⊘se Fortælling’, Ekko, 9 (September 2001), http://www.ekkofilm.dk/interviews&id=17 [accessed 22 October 2009].

13. Email correspondence with Bojana Bauer, 17 November 2008.

14. Reinhardt Stumm, ‘Dramaturgy in Stuttgart: An Interview with Hermann Beil’, in What is Dramaturgy? by Bert Cardullo (New York: Peter Lang, 1995), pp. 49–55 (p. 51).

15. Niels Lehmann (Institute for Dramaturgy, Århus University) used the expression ‘[to] deploy dramaturgy as an overarching concept or term’ (my translation) in an interview with Synne K. Behrndt, Århus, August 2005.

16. Marianne Van Kerkhoven, ‘Looking without Pencil in Hand’, Theaterschrift, 5–6 (Special Issue: ‘On Dramaturgy’, 1994), 142–44 (p. 142), my emphasis.

17. Bettina Milz, ‘“Conglomerates”: Dance Dramaturgy and Dramaturgy of the Body’ (paper presented at the conference ‘International Research Workshop – Dramaturgy as Applied Knowledge’, 27–29 May 2008, Tel Aviv University, p. 2).

18. Marianne Van Kerkhoven, ‘… As Long as We Keep Track of the Law of Our Own Growth: Thoughts on Ten Years of PARTS’, in P.A.R.T.S. – Documenting Ten Years of Contemporary Dance Education, ed. by Steven De Belder and Theo Van Rompany (Brussels: PARTS, 2006), pp. 7–13 (p. 11).

19. Email correspondence with Bojana Bauer, 17 November 2008.

20. André Lepecki, ‘Concept and Presence: The Contemporary European Dance Scene’, in Rethinking Dance History: A Reader, ed. by Alexandra Carter (London: Routledge, 2004), pp. 170–81 (p. 173).

21. Hildegard de Vuyst, cited in An Van Dienderen, Joris Janssens and Katrien Smits, eds., Tracks: Artistic Practice in a Diverse Society (Brussels: Vlaams Theater Instituut, 2007), p. 67, http://www.en.vti.be/booklet.tracks.pdf [accessed 21 September 2009].

29. Úbeda Fernández, ‘Resisting Coercive Policies’, p. 212.

22. Van Kerkhoven, ‘… As Long as We Keep Track’, p. 11.

23. José A. Sánchez and Isabel de Naverán, ‘Body and Photography’, Carion: Journal of Dance Studies, 11 (2008), 237–39 (p. 237).

24. Milz, ‘“Conglomerates”’, p. 2.

25. M. Elena Úbeda Fernández, ‘Resisting Coercive Policies of the Body: Trans-objects, Prosthesis and other Body-buildings’, Cairon: Journal of Dance Studies, 12 (Special Issue: ‘Body and Architecture’, 2009), 209–18 (p. 209).

26. Rui Horta describes his search for a form that embodies his content as follows: ‘How can I speak of AIDS and do an arabesque or a développé? How can I speak of lack of communication, loneliness and intolerance – and present endless stereotypes, traditionally technical movements, and a visually entertaining aesthetic? It seems to me that we are saying something with our mind, and the body is saying the opposite’; ‘The Critical Distance’, Dance Theatre Journal, 3.3 (1997), 14–15 (p. 15).

27. André Lepecki, Exhausting Dance: Performance and the Politics of Movement (London: Routledge, 2006), pp. 46–7.

28. Allsopp and Lepecki offer a similarly critical reading of choreography in the editorial for ‘On Choreography’, Performance Research, 13.1 (2008), 1–6 (p. 3).

30. Cited in Sally Richardson, ‘Dramaturgical Dance’, Dance Australia, 149 (April/May 2007), 45–49 (p. 47).

31. Cited in Peter Eckersall, ‘Towards an Expanded Dramaturgical Practice: A Report on the Dramaturgy Cultural Interventional Project’, Theatre Research International, 31.3 (2006), 283–97 (p. 291).

32. Cathy Turner and Synne Behrndt, Dramaturgy and Performance (Basingstoke: Palgrave Macmillan, 2007), p. 165.

33. Dialogue between Val Bourne, David Gordon and Ain Gordon in “Ruthless and Rigorous”: Editing Dance’, in The Art & Science of Nurturing Dancemakers, ed. by Jo Butterworth and Sita Popat (Bretton Hall: Centre for Dance and Theatre Studies, 1999), pp. 254–59 (p. 257).

34. Jean-Marc Adolphe, ‘Dramaturgy of Movement: A Plea for a Dramaturgy of Perception’, Ballett International, 6 (1998), 27–9 (p. 27).

35. Ibid., p. 27.

36. ‘Conversation with Guy Cools’, in Les Ballets C de la B ed. by Hildergard De Vuyst, Berty Gaudriaan, Ema Van Akoleyen, Hilde Debuck, Iris Raspoet, Koen Augustijnen, Lieven Thyrion (Tilt: Lannoo, 2006), p. 216.

37. Richardson, ‘Dramaturgical Dance’, pp. 45–46.

38. Guy Cools cited in Nicola Roper, ‘Dramaturgy in Dance: Part Two’, Juice Magazine, July/August (2005), 4–9 (p. 4).

39. Van Imschoot, ‘Anxious Dramaturgy’, p. 62.

40. Milz, ‘“Conglomerates”’, p. 3.

41. Cardullo, What is Dramaturgy?, p. 23.

42. Email correspondence with Bojana Bauer, 17 November 2008.

43. Milz, ‘“Conglomerates”’, p. 3.

44. Jedrt Jez, ‘Distance “Corrupts” and Establishes Intimacy: An Interview with Meg Stuart’, 3xt. Tidsskrift for theory og teater, 9–10 (2002), 8–13 (p. 12).

45. Gotthold Ephraim Lessing, Hamburg Dramaturgy, trans. by Helen Zimmern (New York: Dover Publications, 1962).

46. Toby Wilsher, ‘Outside Eye’, in Dramaturgy: A User's Guide, Total Theatre, ed. John Daniel (London: Central School of Speech and Drama, 1999), pp. 30–1 (p. 30).

47. Maaike Bleeker, ‘Dramaturgy as a Mode of Looking’, Women and Performance, 26.13 (Special Issue: ‘On Dramaturgy’, 2003), 163–72 (p. 164).

48. Ibid., p. 164.

49. Ibid.

50. Reinhardt Stumm, ‘Dramaturgy in Stuttgart: An Interview with Hermann Beil’, in Cardullo, What is Dramaturgy, pp. 49–55 (p. 51).

51. Jacques Rancière, ‘The Emancipated Spectator’, ArtForum, 45.7 (March 2007), 271–80 (p. 275).

52. Van Imschoot, ‘Anxious Dramaturgy’, p. 58.

53. Ibid.

54. André Lepecki, ‘The Body in Difference’, FAMA, 1.1 (2000), 6–13 (p. 12).

55. Ibid., p. 12.

56. Van Imschoot, ‘Anxious Dramaturgy’, p. 58.

57. Ibid.

58. Mårten Spånberg, ‘What is the Meaning of Contemporary?’ In In-Presentable ed. Juan Dominguez and Isabel de Naverán (Madrid: La Casa Encendida, 2007), pp. 121–55 (pp. 143–45).

59. Seminar, organized by Richard Hancock, Traci Kelly and Martin Del Amo in association with Dance4, Live Art Development Agency, Saturday, 25 October 2008.

60. Turner and Behrndt, Dramaturgy and Performance, p. 157.

62. Ibid., p. 7.

61. Milz, ‘“Conglomerates”’, p. 3.

63. Bojana Cvejic, ‘The Ignorant Mentor’, in De Belder & Theo Van Rompany, eds., P.A.R.T.S., pp. 68–69 (p. 69).

64. Adolphe, ‘Dramaturgy of Movement’, p. 27.

65. Arnold Aronson, Looking into the Abyss: Essays on Scenography (Michigan: University of Michigan Press, 2005), p. 72.