Lecturer
Bojana Bauer and Konstantina Georgelou
Period Duration
Blocks 2 and 3
Year 2
Work Load
21 hours
Competencies
2, 3, 4
Summary
In this course we will study dance dramaturgy from a double point of view. Firstly, as the poetic structure of a performance work. Understood in this way, dramaturgy is about the development of meaning or expression of a (dance) performance and the compositional structures, principles, means and techniques. Even though the term dramaturgy entered only recently the creative and analytical vocabulary of dance, we will examine dramaturgical aspects of dance works since the theatrical institutionalisation of dance in the 18th century.
Dramaturgy can also be defined as a practice. In this second sense, dramaturgy refers to the collaborative process of articulating compositional and meaning-making solutions for a performance. But dramaturgical practice is also larger than that; it encompasses open process’ of exchanging ideas, brain-storming, critical analysis and reflection, as well as intentionally destabilising artistic ideas, or acting as a catalyst in a creation environment.
In all these aspects, the practice of dramaturgy doesn’t necessarily need to be carried out by an appointed dramaturg. Thus, we can also ask what does the presence of a dramaturg bring to a choreographic process?
Finally, it should be noted that both the concept and the practice of dramaturgy are deeply embedded in the tradition of European theatre as it developed since the ancient Greece, where the term itself originated: drama- action and ergon - work. Our study material with thus mainly relate to European historical and artistic context. - This year, the seminar offered by Helly Minarti will provide insight into poetic theories and practices of South-East-Asian theatre as well as the effects of the globalisation of western style dramaturgy on the local dance scene.
Structure
This is a theory/ practice course. We will study and discuss a number of theoretical texts, develop dramaturgical analysis of case studies and engage in practical exercises of dramaturgical devising.
Learning Goals
At the end of this course the student should be able to:
- recognise and discuss signifying and expressive constructions of (mostly european) dance works
- recognise and discuss different compositional principles, means and techniques of (mostly european) dance works
- position developments of dance dramaturgy in (mostly european) historical contexts
- develop an understanding and elaborate on how a dancer contributes to and builds a dramaturgy of a piece in a process and in a performance
- discuss their experience in a co-creation from a dramaturgical perspective
- discuss tools they use in shaping a role and different layers of meaning in a performance
- recognise different types of dramaturgical relations, practices and process’
- discuss methods of devising collaborative dramaturgical process’
Working Methods Used
The course will be structured through a combination of lectures, readings, watching films discussions and studio practice
References
The full syllabus with the reference list will be communicated at the start of the course
Study Material
Notebook, pencil /pen, computer, video documentaries, books, articles
Assessment
Students will be assessed based on class participation, group presentation and a written assignement.
Learning Goals in the class contribute to the overall development of the competency indicators
2.3 / 2.5 /2.6 / 3.4 / 3.5 /3.6 / 4.1 / 4.3