This collection provides the first full-length investigation of the oeuvre of one of Britain's leading dramatists: Timberlake Wertenbaker. By considering the polyglot playwright's theatre from translations and adaptations to new plays as a dynamic continuum of «translations and transformations», Maya Roth and Sara Freeman create an intriguing, focused frame for understanding Wertenbaker's work as distinctly cross-cultural, theatrically rich, and intertextual, providing a prescient case study of the translational turn emerging in international theatre today. The contributors investigate translation theory and practice through Wertenbaker's diverse linguistic and genre translations - from French, ancient Greek, and Italian to English, and from myth, history, classics, fairytale, and literature to the stage. Interrelated chapters by scholars and artists from varied countries, language traditions, and disciplines use performance studies, comparative literature, feminist theory, and cultural anthropology to position Wertenbaker's theatre as a critical nexus for analyzing - and imagining - cross-historical dialogues with contemporary audiences and our plural legacies. Thanks to its substantive engagement with the ethics, theories, and collaborative practices of theatrical translation and adaptation more broadly, and its equally rigorous examination of Wertenbaker's hybridic politics and poetics, this collection can serve as a useful resource for scholars and artists, both.

An edited collection of case studies, essays and interviews with theatre practitioners and scholars from Europe and across the world, New Dramaturgy: International Perspectives on Theory and Practice offers a uniquely international overview of current practice.

Ten international dramaturg-scholars advance proposals that reset notions of agency in contemporary dance creation. Dramaturgy becomes driven by artistic inquiry, distributed among collaborating artists, embedded in improvisation tasks, or weaved through audience engagement, and the dramaturg becomes a facilitator of dramaturgical awareness.

The image of the dramaturg resembling a stuffy librarian, as opposed to the largely intuitive process of theatre making, belongs to the past. Contemporary theatre performances not only tell a story, but constantly reflect on the world in which that story takes place and is shown. As a result, dramaturgy has become part of the artistic process. Thus everybody involved in a theatre production is concerned with dramaturgical thinking, i.e. how to relate to material, process, audience and society. The dramaturg crosses borders between theory and practice, between theatre makers, performance and audience. 'Dramaturgy. An Introduction' provides a broad overview of the concept of dramaturgy and the profession of the dramaturg. It is intended for students and teachers of theatre and performance studies, but also for directors, scenographers, actors and for all lovers of theatre.

Dramaturgy, in its many forms, is a fundamental and indispensable element of contemporary theatre. In its earliest definition, the word itself means a comprehensive theory of "play making." Although it initially grew out of theatre, contemporary dramaturgy has made enormous advances in recent years, and it now permeates all kinds of narrative forms and structures: from opera to performance art; from dance and multimedia to filmmaking and robotics. In our global, mediated context of multinational group collaborations that dissolve traditional divisions of roles as well as unbend previously intransigent rules of time and space, the dramaturg is also the ultimate globalist: intercultural mediator, information and research manager, media content analyst, interdisciplinary negotiator, social media strategist. This collection focuses on contemporary dramaturgical practice, bringing together contributions not only from academics but also from prominent working dramaturgs. The inclusion of both means a strong level of engagement with current issues in dramaturgy, from the impact of social media to the ongoing centrality of interdisciplinary and intermedial processes. The contributions survey the field through eight main lenses: world dramaturgy and global perspective dramaturgy as function, verb and skill dramaturgical leadership and season planning production dramaturgy in translation adaptation and new play development interdisciplinary dramaturgy play analysis in postdramatic and new media dramaturgy social media and audience outreach. Magda Romanska is Visiting Associate Professor of Slavic Languages and Literatures at Harvard University, Associate Professor of Theatre and Dramaturgy at Emerson College, and Dramaturg for Boston Lyric Opera. Her books include The Post-Traumatic Theatre of Grotowski and Kantor (2012), Boguslaw Schaeffer: An Anthology (2012), and Comedy: An Anthology of Theory and Criticism (2014).

This international collection of essays forms a vibrant picture of the scope and diversity of contemporary queer performance. Ranging across cabaret, performance art, the performativity of film, drag and script-based theatre it unravels the dynamic relationship performance has with queerness as it is presented in local and transnational contexts.

Dramaturgy: The Basics introduces the art of dramaturgy, explaining how dramaturgy works, what a dramaturg is, and how to appreciate their unique contribution to theatre-making. A wide-ranging account of the role of this vital element of theatre helps students and aspiring performance makers to apply dramaturgy to a full spectrum of theatrical disciplines. This guidebook teaches dramatic theories and script analysis as essential skills for aspiring dramaturgs and illustrates the various methods of reading for specific functions of dramaturgy. Dramaturgy: The Basics offers practical step-by-step instructions on how to practice production dramaturgy, dramaturgy of new work, translation, adaptation, devised theatre, site-specific theatre, literary management, criticism, editing, producing, and dramaturgical innovation, with detailed questions to consider at each stage of the process. This book aims to help students develop a dramaturgical mindset, enabling them to build a critical, inquisitive, and socially conscious perspective that is beneficial in all professions and relationships. Resource lists, further reading guides, and chapter summaries make this an outstanding guidebook. An essential read for anyone hoping to make, understand, or discuss theatre, Dramaturgy: The Basics provides a clear, accessible resource for approaching this integral but often misunderstood facet of theatre-making.