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Journal articles on the topic 'Dramaturgiya'
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Pramayoza, Dede, and Pandu Birowo. "The Transition of Dramaturgy During Pandemic: From Staging to Streaming." Journal of Urban Society's Arts 9, no. 1 (2022): 71–86. http://dx.doi.org/10.24821/jousa.v9i1.6697.
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This study discusses the transition of performances dramaturgy during the Covid-19 pandemic from analog to digital formats, from live performances commonly called staging to mediated performances which can be called performance streaming. The aim of study is to understand the application of ‘dramaturgical tactics’; and the reasons. Applying the dramaturgical analysis method investigation is directed at the transformation process from the basic concept of the performance to the practice of its presentation. The research departs from the premise that a dramaturgical process, namely the pre-production, production, and presentation of performance is permanently connected by a dramaturgical awareness. The analysis was carried out: (1) the idea of streaming; (2) performance technique; and (3) the form of performance streaming. Research shows that the critical changes in dramaturgy during the pandemic were triggered by the necessity to shift the mode of performance from staging to streaming, resulting in three dramaturgical awareness about transition, namely: (1) medium: from analog to digital performance; (2) creativity: from performer to content creator; and (3) the spectatorship: from spectator to voyeur. Perubahan Dramaturgi di Masa Pandemi: Dari Pementasan ke Siaran. Artikel ini membahas perihal transisi dramaturgi pertunjukan di masa pandemi Covid-19 dari format analog ke format digital, dari moda pertunjukan langsung yang lazim dinamakan pementasan ke pertunjukan termediasi yang dapat dinamakan siaran pertunjukan. Tujuannya untuk memahami bentuk penerapan ‘siasat dramaturgi’ serta alasan di baliknya. Mengunakan metode analisis dramaturgis, berupa investigasi atas proses transformasi dari konsep dasar pertunjukan menuju praktik presentasinya, penelitian berangkat dengan premis bahwa suatu proses dramaturgi, yakni tahap pra-produksi, produksi, dan presentasi pertunjukan selalu terhubung oleh satu kesadaran dramaturgis. Analisis dilakukan terhadap: (1) gagasan siaran pertunjukan; (2) teknik siaran pertunjukan; dan (3) bentuk siaran pertunjukan. Penelitian menunjukkan bahwa, perubahan penting dramaturgi di masa pandemi dipicu oleh suatu keharusan untuk memindahkan moda pertunjukan dari pementasan ke siaran, menghasilkan tiga kesadaran dramaturgis tentang peralihan, yakni: (1) medium: dari pementasan analog ke siaran digital; (2) kreativitas: dari penampil menjadi pembuat konten; dan (3) kepenontonan: dari spektator menjadi voyeur.
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Arziqulova, Xurshida, та Shohista Mustanova. "SHARQ VA GʻARB DRAMATURGIYASI: MADANIY ALOQALAR VA ILHOM MANBALARI". Ижтимоий-гуманитар фанларнинг долзарб муаммолари / Актуальные проблемы социально-гуманитарных наук / Actual Problems of Humanities and Social Sciences. 5, № 5 (2025): 343–48. https://doi.org/10.47390/spr1342v5i5y2025n55.
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Mazkur maqolada Sharq va Gʼarb dramaturgiyasi oʼrtasidagi madaniy aloqalar, ularning oʼzaro taʼsiri hamda ilhom manbalari tahlil qilinadi. Dramaturgiya sanʼati har bir sivilizatsiyaning madaniy va ijtimoiy hayotining ajralmas qismi boʼlib, uning shakllanishi turli tarixiy, falsafiy va estetik omillar bilan chambarchas bogʼliq. Sharq va Gʼarb sahna sanʼati rivojlanishining muhim bosqichlari va ularning bir-biriga taʼsir etish jarayonlari maqolaning asosiy tadqiqot yoʼnalishlaridan biri sifatida olib boriladi.
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ECKERSALL, PETER. "Towards an Expanded Dramaturgical Practice: A Report on ‘The Dramaturgy and Cultural Intervention Project’." Theatre Research International 31, no. 3 (2006): 283–97. http://dx.doi.org/10.1017/s0307883306002240.
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This essay is a report on the Dramaturgy and Cultural Intervention Project (Dramaturgies), a forum for the investigation of issues in professional dramaturgical practice in Australia. It reviews the textual orientation of historical theatre practice in Australia before describing a series of events aiming to promote a wider and more culturally interactive understanding of dramaturgy. New forms of dramaturgy arising in response to the post-dramatic turn in theatre are discussed as a basis for exploring an expanded dramaturgical practice. Proposals for a politics of dramaturgy that revive theatre as a forum for social critique conclude the essay. While specific to one set of theatre interventions, it is intended that the proposals discussed herein have wider applications.
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Gulboyev, Husan Shokir og'li. "JADIDCHILIK FAOLIYATIDA TEATRNING OʻRNI VA AHAMIYATI (MAHMUDXO'JA BEHBUDIY FAOLIYATI)". EURASIAN JOURNAL OF SOCIAL SCIENCES, PHILOSOPHY AND CULTURE 3, № 4 (2023): 33–35. https://doi.org/10.5281/zenodo.7805566.
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Ushbu maqola Turkiston milliy ozodlik harakatlari Jadidchilik faoliyati faoli Mahmudxoʻja Behbudiyning dramaturgiya sohasi hamda dramaturg sifatida yaratgan asarlarining yangi usul maktablari daraliklari bilan aloqadorligi haqidadir. Maqolada “Padarkush” dramasining badiiy estetik mohiyati, jadidchilik harakatlaridagi ahamiyati qalamga olingan.
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UMAROVA, Feruza. "MAKTABGACHA YOSHDAGI BOLALARGA INGLIZ TILINI O'QITISHDA ART PEDAGOGIKA USULLARIDAN FOYDALANISH." UzMU xabarlari 1, no. 1.6.1 (2024): 225–27. https://doi.org/10.69617/nuuz.v1i1.6.1.3791.
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Ushbu maqolada o'quv materialini o'zlashtirish samaradorligini oshirish va maktabgacha yoshdagi bolalarda e'tibor, xotira, fikrlash va nutqni rivojlantirish maqsadida ingliz tili darslarida Art-terapiya va art pedagogika usullaridan foydalanish imkoniyati ko'rib chiqilmoqda. Art-terapiya usullaridan foydalangan holda ingliz tili darslarida aqliy kognitiv jarayonlarning shakllanish darajasini oshirish dasturi ishlab chiqilgan: ertak terapiyasi, Izoterapiya, dramaturgiya. Tadqiqotda ekspert baholash usuli, xotira, fikrlash, e'tibor, nutqni o'rganish usullari qo'llanilgan.
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Redaktion, Peripeti. "Redaktionelt forord." Peripeti 6, S2 (2009): 3. http://dx.doi.org/10.7146/peri.v6is2.110565.
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Dette særnummer af Peripeti omhandler Odin Teatrets dramaturgi med udgangspunkt i forestillingerne Ur-Hamlet (2006) og Medeas bryllup (2008). Franco Perrelli skriver om grundlæggelsen af »Det danske hus« og Odin Teatrets rødder og forgreninger. Erik Exe Christoffersen skriver om dramaturgier i relation til Ur-Hamlet (2006) og Medeas bryllup (2008) og instruktøren Eugenio Barba reflekterer over den kreative proces som en form for dramaturgisk proces. Artiklerne kan med fordel læses i sammenhæng med Peripeti nr. 2 om teaterlaboratorietraditionen og nr. 10 om dramaturgi samt med særnummeret fra 2007 om serendipitet som organiserende greb i den kunstneriske proces.
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Varianda, Mentari, Sahrul Nazar, and Roza Muliati. "TARI BALEGA DI TANAH MANANG KARYA SUSAS RITA LORAVIANTI DALAM KAJIAN DRAMATURGI TARI." Gorga : Jurnal Seni Rupa 10, no. 2 (2021): 377. http://dx.doi.org/10.24114/gr.v10i2.27465.
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Balega di Tanah Manang is an attempt to express the situation and condition of Minangkabau society in a matrilineal setting. This study discusses the practice of dance dramaturgy in the creation of Balega di Tanah Manang by Susas Rita Loravianti. The work of creation through the birth of dramaturgical forms and concepts seen in dramaturgical practice. The pattern of work in the creation process through the views of the choreographer and dramaturg in their work. The practice of dialogue between the choreographer and dramaturg is carried out. The research method uses a dramaturgical approach, which is an approach that focuses on the circle of work patterns carried out in the creative process of dance creation and production by dramaturg and a choreographic approach in seeing the form of the work by the choreographer.Keywords: balega di tanah manang, dramaturgy.AbstrakTari Balega di Tanah Manang merupakan upaya mengekspresikan situasi dan kondisi masyarakat Minangkabau dalam tatanan matrilinial Penelitian ini membahas praktik dramaturgi tari dalam penciptaan Balega di Tanah Manang karya Susas Rita Loravianti. Kerja penciptaan melalui pelahiran bentuk dan konsep dramaturgi yang dilihat dalam praktik dramaturgi. Pola kerja dalam proses penciptaan melalui pandangan koreografer dan dramaturg dalam tugasnya. Adanya praktik dialog antara koreografer dan dramaturg yang dilakukan. Metode penelitian menggunakan pendekatan dramaturgi, yaitu pendekatan yang terpusat pada lingkaran pola kerja yang dilakukan dalam proses kreatif penciptaan dan produksi tari oleh dramaturg dan pendekatan koreografi dalam melihat bentuk karya oleh koreografi. Kata Kunci: balega di tanah manang, dramaturgi. Authors: Mentari Varianda : Institut Seni Indonesia PadangpanjangSahrul Nazar : Institut Seni Indonesia PadangpanjangRoza Muliati : Institut Seni Indonesia Padangpanjang References:Denzi, Norman K Dan Yvonna S. Lincoln (Eds). (2009). Handbook Of Qualitative Research. Terj. Dariyatno Dkk. Yogyakarta: Pustaka Pelajar.Hansen, Pil Dan Darcey Callison. (2015). Dance Dramaturgy: Modes Of Agency, Awareness And Engagement. United Kingdom: Palgrave Macmillan.Loravianti, Susas Rita. (2003). Karya Tari Perempuan Dalam Kaba. Laporan Karya. Padangpanjang : Isi Padangpanjang.Loravianti, Susas Rita. (2014). Tari Garak Nagari Perempuan. Laporan Karya. Surakarta: Isi Surakarta.Loravianti. (2020). “Dramaturgi”. Hasil Wawancara Pribadi: 23 Oktober 2020, Guguak Malintang.Luckhurts, Mary. (2005). Dramaturgy: A Revolution In Theatre. New York: Cambrige University Press.Mulyadi Seto, Dkk. (2019). Metode Penelitian Kualitatif Dan Mixed Method. Depok: PT. Rajagrafindo Persada.Murgiyanto, Sal. (2016). Kritik Pertunjukan dan Pengalaman Keindahan. Jakarta: Penerbit Pascasarjana–Ikj (Institut Kesenian Jakarta).Raihan. (2018). “Gerak Dinamika”. Hasil Dokumentasi Pribadi: 09 Juli 2018, Studio Tari ISI Padangpanjang.Simatupang, Lono. (2013). Pergelaran : Sebuah Mozaik Penelitian Seni – Budaya. Yogyakarta : Jalasutra.Sugiyono. (2007). Metode Penelitian Kuantitatif, Kualitatif Dan R&D. Bandung: Alfabet.Wulan, Sari Renee. (2019). Dramaturgi : Sesuatu Yang Dekat. https://gelaran.id/dramaturgi-tari-sesuatu-yang-dekat (diakses 30 Desember 2019).Yudiaryani, dkk. .(2017). Karya Cipta Seni Pertunjukan. Yogyakarta: JB Puplisher Bekerjasama Dengan Fakultas Seni Pertunjukan, Institut Seni Indonesia Yogyakarta.
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Raxmonova, Dildora. "JADID DRAMALARIDA ISLOM MADANIYATI VA MILLAT TANAZZULI MASALALARI TALQINI (ABDULLA QODIRIYNING “BAXTSIZ KUYOV” DRAMASI MISOLIDA)." Ижтимоий-гуманитар фанларнинг долзарб муаммолари / Актуальные проблемы социально-гуманитарных наук / Actual Problems of Humanities and Social Sciences. 5, no. 2 (2025): 347–51. https://doi.org/10.47390/spr1342v5i2y2025n56.
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Jadid adiblari oʻz gʻoyalarini ommaga yetkazish uchun barcha janrlardan unumli foydalanishdi. Janr imkoniyatlaridan kelib chiqib, dramaturgiya orqali milliy hayotdagi koʻplab muammolar ommaga oyna kabi koʻrsatib berildi. Bu mavzular orasida ilmsizlik, ichkilikbozlik, mohiyatan foydasiz urf-odatlarga tobelik va yana oʻnlab boshqa mavzular bor edi. Bu adabiy urinishlardan yagona maqsad millatni uygʻotish, taraqqiyotga yoʻllashdan iborat edi. Mazkur maqolada Abdulla Qodiriyning “Baxtsiz kuyov” dramasi mazmun va gʻoyalar ifodalanishi nuqtai nazaridan tahlil etiladi. Undagi ramziy maʼno va umumlashma obrazlar tahlilga tortiladi.
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Kelly, Philippa. "Dramaturging The Tempest: A Pedagogical Forum." Cambridge Journal of Postcolonial Literary Inquiry 1, no. 1 (2014): 143–55. http://dx.doi.org/10.1017/pli.2013.4.
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“Dramaturging The Tempest: A Pedagogical Forum,” uses dramaturgy—the interface between research and its practical application in the theatre—as a way of preparing The Tempest for a college course curriculum. The article aims to show instructors how to teach dramaturgy as an explication of The Tempest and how to use The Tempest as a means of teaching dramaturgy. The objective is for students to emerge from the course conversant in how to be dramaturgs in the preparation of a professional production. Dramaturgy also illuminates the highly metadramatic underscoring of The Tempest, a play that constantly invites its own characters to be audience to, and critics of, Prospero’s carefully constructed “worldview.”My brief for this journal issue is to write an essay on The Tempest that can be used as an explication de texte for teaching postcolonial studies. As a practicing dramaturg, I’ve decided to focus on postcolonial dramaturgy. What does a dramaturg do? What can be gained from dramaturgical teaching, and how is it prepared for? What skills will students develop?
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Jossa, Emanuela. "Cuadernos de Dramaturgias Centroamericanas." Investigación Teatral. Revista de artes escénicas y performatividad 11, no. 18 (2020): 240–45. http://dx.doi.org/10.25009/it.v11i18.2643.
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Cuadernos de Dramaturgias Centroamericanas. San Salvador: Índole, 2019, pp. 175.1Centroamérica no es un istmo de pasoEn una entrevista publicada en la revista Istmo, la dramaturga costarricense Ana Istarú afirmó que en los países centroamericanos hay una “insularidad” en lo que concierne a la dramaturgia: “Nos conocemos poco. Hay mucha dificultad para publicar teatro” (Collins 1). Corría el año 2005 y en los 15 años que separan aquella entrevista de la actualidad, la situación ha mejorado un poco. Se puede señalar, por ejemplo, la publicación en México de la Antología de dramaturgia centroamericana contemporánea, a cargo de Tatiana de la Ossa, que reúne las obras de diez dramaturgos de la región. En la misma entrevista, Ana Istarú agregó, sin edulcorar la situación: “La tragedia es que cuesta publicar los textos y luego cuesta que se distribuyan” (3).Recibido: 05 de mayo de 2020Aceptado: 16 de julio de 2020
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Alexandre, Marcos Antônio. "A ditadura chilena revisitada estética e dramaturgicamente na obra de Juan Radrigán / The Chilean dictatorship aesthetically and dramaturgically revisited in the work of Juan Radrigán." Caligrama: Revista de Estudos Românicos 28, no. 3 (2024): 149. http://dx.doi.org/10.17851/2238-3824.28.3.149-173.
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Resumo: Este artigo propõe tecer considerações sobre a obra dramatúrgica de Juan Radrigán, observando a relação de seus textos com o contexto ditatorial chileno. Reconhecido pelo fato de suas personagens serem representantes das classes populares, homens e mulheres que ocupam as margens dos centros urbanos com seus corpos e suas identidades fragmentadas, esteticamente, a produção dramatúrgica de Radrigán é nomeada como “teatro da sinceridade”. Trata-se de uma obra que expõe uma linguagem específica, filosófica e poética; uma dramaturgia que dá voz a sujeitos que, apesar de se apresentarem física e psicologicamente degradados, descortinam os “absurdos” do sistema vigente.Palavras chaves: ditadura chilena; dramaturgia chilena; Juan Radrigán.Abstract: This article proposes to carry out some considerations about the dramaturgical work of Juan Radrigán, observing the relationship of his texts with the Chilean dictatorial context. Recognized for the fact that his characters are representatives of the popular classes, men and women who occupy the margins of urban centers with their bodies and their fragmented identities, aesthetically, Radrigán’s dramaturgical production is named as “theater of sincerity”. It is a kind of play that exposes a specific, philosophical and poetic language; a drama that gives voice to subjects who, despite of being physically and psychologically degraded, reveal the “absurdities” of the current system.Keywords: Chilean dictatorship; Chilean dramaturgy; Juan Radrigán.
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Ermatova, Zulfiya. "JADIDCHILIK HARAKATINING ULUG' NAMOYANDASI MAHMUDXO'JA BEHBUDIYNING HAYOT YO'LI VA UNING MILLAT TARAQQIYOTI YO'LIDAGI XIZMATLARI." MULTIDISCIPLINARY JOURNAL: FUNDAMENTAL RESEARCH SCIENTIFIC JOURNAL 1, no. 2 (2025): 50–53. https://doi.org/10.5281/zenodo.14907197.
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Ushbu maqolada Mahmudxo‘ja Behbudiyning o‘zbek jadidchilik harakatidagi o‘rni, uning ma’rifatparvarlik faoliyati va milliy uyg‘onishdagi xizmatlari yoritiladi. Behbudiyning yangi usul maktablarini tashkil etishdagi sa’y-harakatlari, matbuot va dramaturgiya orqali xalq ongini uyg‘otishdagi hissasini tahlil qilinadi, shuningdek, Behbudiyning ko‘p tilli ta’limga bergan e’tibori va uning jamiyat taraqqiyotidagi ahamiyati ko‘rsatiladi. Maqola Behbudiyning milliy o‘zlik, ma’rifat va taraqqiyot yo‘lidagi fidokorona xizmatlari bugungi avlod uchun ham o‘rnak bo‘lib qolayotganini ta’kidlaydi.
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Mariancic-Cobzac, Vera. "Classical dramaturgy as the basis of theatrical discourse." Studiul artelor şi culturologie: istorie, teorie, practică, no. 2(47) (March 2025): 83–86. https://doi.org/10.55383/amtap.2024.2.14.
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This article addresses the issue of classical dramaturgy and its significance in the development of dramaturgical art, performing arts, and the evolution of the theoretical concepts related to constructing the dramatic work. The research methodology is based on the cultural-historical research method, highlighting the meaning of the concept of „classic”, the role of classicism in the development of the theory of creating dramatic works, contemporary studies that examine the interplay between classical traditions and modernity. We come to the conclusion that the theory and art of constructing a classical dramaturgic text, the conception at the level of plot structures and image of such a work of art contribute to the revealing of the theoretical poetics of the drama and, respectively to the analysis of the contemporary theatrical discourse, based on classical dramaturgy.
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Postlethwaite, Rosa. "“Solos” with Sourdough and Drying, Cracking: Dramaturgy with Other-Than-Human Species." Nordic Theatre Studies 35, no. 2 (2024): 44–60. http://dx.doi.org/10.7146/nts.v35i2.149658.
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The interest guiding this text is: how to articulate an ethics of dramaturgy with other-than-human species on the basis of current theoretical developments within post-humanist thinking and experiences of dramaturging with sourdough? This research is in dialogue with post-humanist theorist Karen Barad (2003, 2007), dehumanist theorist Julietta Singh (2018), and recent post-humanist perspectives on dramaturgy from Bleeker (2020), Woynarski (2020), and Žeželj (2022).By understanding practical experiments, through reading post-humanist literature, ethical questions become condensed and articulated, not as a set of rules or points of evaluation/reflection, but as a “diffraction grating” to share with the research community. My practice research PhD, ”Dramaturgy with other-than-human species”, consists of live art projects that explore dramaturgy practice with sourdough, a microbiome of yeasts and bacteria which is commonly used in bread making. For the projects, I was guided by Robbrecht’s definition of dramaturgy as “the web of talks, thoughts, images and sensualities that brings us towards the conceptualization of what we are actually doing (‘the work’), and often resembles an ‘unidentifiable object’ during an artistic process”. Over two projects “Solos” with sourdough (“Solos”) and Drying, Cracking (Cracking) I attempted to do dramaturgical conversation with sourdough.
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Wasińczuk, Katarzyna. "Chrześcijańskie inspiracje we wczesnych dramatach Iwana Wyrypajewa." Roczniki Humanistyczne 71, no. 7 (2023): 189–205. http://dx.doi.org/10.18290/rh23717.12.
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Dramaturgia Iwana Wyrypajewa nasycona jest motywami biblijnymi, pełno w niej chrześcijańskich asocjacji. Ewangeliczne przesłanie i frazeologia poddawane są jednak nieustannym transformacjom, co czyni chrześcijański kod nieczytelnym. Celem niniejszego artykułu jest zbadanie realizacji chrześcijańskiego paradygmatu w koncepcji duchowości wyłaniającej się z wybranych dramatów Wyrypajewa. Przedmiotem badań jest zespół motywów chrześcijańskich o dużej elastyczności i nośności znaczeniowej. Niezbędne jest również ujawnienie bogactwa religijno-‑filozoficznych inspiracji w twórczości rosyjskiego dramaturga oraz eksploracja – obecnych na różnych poziomach organizacji wybranych utworów – wątków duchowych w kontekście sacrum chrześcijańskiego. Artykuł stanowi próbę prześledzenia bliskich i dalekich odniesień sakralnych oraz strategii modelowania rzeczywistości duchowej w dramaturgii Wyrypajewa. Modelunek duchowości zdaje się wykazywać znikomy związek z chrześcijańskim światopoglądem. Spór nie oznacza jednak jednoznacznego odrzucenia.
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Muniz, Caio Felipe Veiga de Lima, and Vanja Poty. "PROCESSOS CRIATIVOS DE DRAMATURGIAS CONTEMPORÂNEAS A PARTIR DOS SABERES DA EXPERIÊNCIAS DOS ESTUDANTES ARTISTAS COM O PROFESSOR-DRAMATURGISTA NO CONTEXTO ESCOLAR." Arte, Educação, Comunicação & Design 5, no. 3 (2024): 59–68. https://doi.org/10.29327/216572.5.3-6.
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Este artigo é parte do processo de pesquisa académica e artística do componente, experiência estética e a prática do ensino das Artes, do Mestrado profissional em Artes, programa ProfArtes, nele desenvolvo a pesquisa de processos criativos de dramaturgia contemporânea para o contexto da escola pública em Manaus – AM, na qual leciono a matéria de Artes para estudantes dos anos finais do ensino fundamental, e nessa etapa da pesquisa proponho uma metodologia de ensino da linguagem teatral, aplicada e baseada, no processo de coautoria compartilhada, na quadra articuladora e na pesquisa de desenvolvimento ou DBR, compreendo a experiência dos estudantes, como disparador criativos para os processos colaborativos de criação de dramaturgias contemporâneas com a orientação do professor de Artes como um dramaturgista.
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Molinari, Renata M., Eduardo De Paula, and Maurício Paroni De Castro. "PENTESILÉIA E O PROJETO AMAZONAS." Revista Rascunhos - Caminhos da Pesquisa em Artes Cênicas 6, no. 1 (2019): 119–29. http://dx.doi.org/10.14393/rr-v6n1-2019-07.
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Título: Pentesiléia e o Projeto Amazonas: duplo olhar para uma dramaturgia – [com] Um fragmento de diálogo à distância com Thierry Salmon
 Resumo: Escrito a partir dos registros observados em seu caderno de anotações, este texto funciona como um memorial lacunar das ações criativas empreendidas durante os processos de criações dramatúrgico e espetacular de “O assalto ao céu”. O texto é acompanhado por um fragmento de diálogo com Thierry Salmon, que deixa alguns rastros sobre as questões norteadoras de seus interesses artísticos.
 Palavras-chave: Thierry Salmon, Renata Molinari, Dramaturgia, Encenação, Teatro.
 
 Titolo: Pentesilea e il Progetto Amazzone: doppio sguardo per una drammaturgia – con un frammento di dialogo a distanza con Thierry Salmon 
 Riassunto: Scritto a partire dalle annotazioni sul proprio taccuino di lavoro, questo testo si presenta come una traccia frammentata delle azioni creative messe in moto durante il percorso di creazione drammaturgica e spettacolare de L’assalto al cielo. Il testo è seguito di un frammento di conversazione con Thierry Salmon, che coglie alcuni spunti sulle questioni di fondo legate alle sue scelte artistiche.
 Parole chiave: Thierry Salmon, Renata Molinari, Dramaturgia, Regia, Teatro.
 
 Title: Penthesilea and the Amazon Project: dual perspective on a dramaturgy[with] a fragment of a distance dialogue with Thierry Salmon 
 Abstract: Written from the records observed in his notebook, this text works as ‘lacunar memorial’ of the creative actions undertaken during the dramaturgical and staging processes of “The assault on the sky”. The text is accompanied by a fragment of dialogue with Thierry Salmon, which leaves some clues on questions concerning his artistic interests.
 Keywords: Thierry Salmon, Renata Molinari, Dramaturgy, Staging, Theatre.
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Muxtoraliyev, Bahrom. "ANVAR OBIDJON IJODI ADABIYOTSHUNOSLIK KO‘ZGUSIDA." Scientific journal of the Fergana State University, no. 3 (July 11, 2023): 72. http://dx.doi.org/10.56292/sjfsu/vol28_iss3/a72.
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Maqolada O‘zbekiston Respublikasi Yoshlar murabbiyi,professor Yo‘ldosh Solijonovning 2022-yilda “Yangi asr avlodi” nashriyoti tomonidan Toshkentda chop etilgan “Anvar Obidjon poetik olami” monografiyasi haqida fikr yuritilgan. Monografiyada she’riyat, nars, dramaturgiya, hajviyot,publisistikaning qator janrlarida samarali ijod qilgan, bolalar va kattalar adabiyotining o‘ziga xos yangilanishiga munosib hissa qo‘shgan Anvar Obidjon ijodining uslubiy o‘ziga xosliklari tahlil etilgan. Muallif serqirra iste’dod sohibi ijodini yaxlit tarzda o‘rgangani holda o‘zbek adabiyotiga qo‘shgan ulkan hissasini uslubi va badiiy mahorati qirralarini, poetik olamini turli rakuslarda yoritishga erishgan.
 Monografiyada “Tanlangan she’rlar” 1, 2 hamda “Saylanma” kitoblari (ular „Sharq“ nashriyotida 2006-yilda, keyingisi “AKADEMNASHR”da 2017-yilda chop etilgan)da jamlangan asarlari tahlili orqali Anvar Obidjon ijodining XX – XXI asrlar O‘zbek adabiyoti taraqqiyotiga qo‘shgan hissasi yoritilgan.
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Whitfield, Sarah K. "Disrupting Heteronormative Temporality through Queer Dramaturgies: Fun Home, Hadestown and A Strange Loop." Arts 9, no. 2 (2020): 69. http://dx.doi.org/10.3390/arts9020069.
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This article considers how André De Shields performance in Hadestown (2019), and the musicals Fun Home (2015) and A Strange Loop (2019) can be seen to respond to the present moment and argues that they disrupt heteronormative temporality through queer dramaturgy. It explores musicals that present queer performativity and/or queer dramaturgies, and addresses how they enact queer strategies of resistance through historical materialist critiques of personal biographies. It suggests that to do this, they disrupt the heteronormative dramaturgical time of the musical, and considers how they may enact structural change to the form of the musical. The article carries out a close reading of De Shields’ performance practice, and analyses the dramaturgy of Fun Home and A Strange Loop through drawing on the methodologies of José Muñoz and Elizabeth Freeman. It considers how they make queer labour visible by drawing on post-dramatic strategies, ultimately suggesting that to varying extents, these musicals offer resistance to the heteronormative musical form.
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Kaczmarek, Tomasz. "Les dramaturgies de l’existence, ou le tragique quotidien au théâtre : Karolina Czerska, Tadeusz Kantor i Maurice Maeterlinck. Dramaturgie istnienia [Tadeusz Kantor et Maurice Maeterlinck. Dramaturgies de l’existence]." Romanica Cracoviensia 23, no. 2 (2023): 93–99. http://dx.doi.org/10.4467/20843917rc.23.010.17481.
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The dramaturgies of existence, or the tragedy in everyday life in theatre: Karolina Czerska, Tadeusz Kantor i Maurice Maeterlinck. Dramaturgie istnienia [Tadeusz Kantor and Maurice Maeterlinck. Dramaturgies of existence] Karolina Czerska’s book offers a comparative study in which the theater of Maurice Maeterlinck is confronted with the theatrical work of Tadeusz Kantor. The author has set herself two major objectives: on the one hand, she wants to popularize Maeterlinck’s dramaturgy with the Polish public, and on the other, she evokes the works of the Belgian writer in the context of Kantor’s stage productions, which agrees to revisit and reconsider the work of the Polish theater director from a new perspective. By comparing the work of these two theater men, Czerska examines four themes where their artistic concepts seem similar: the conceptions of the “tragique quotidien” (tragedy in everyday life) and the “invisible”, the construction and status of the character as well as the function of the actor.
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Tajigaliyeva, Mariyash Jumagaliyevna. "QOʻGʻIRCHOQ TEATRI". International Journal of Education, Social Science & Humanities. Finland Academic Research Science Publishers 11, № 10 (2023): 153–60. https://doi.org/10.5281/zenodo.8421212.
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<em>ushbu maqolada teatr va qog’irchoq teatri to’g’risida tushuncha, uning kelib chiqish tarixi, uning o</em><em>ʻ</em><em>ziga xos ifoda vositasi, aktyorning omma oldidagi o</em><em>ʻ</em><em>yini jarayonida yuzaga keladigan sahnaviy voqea, sahna asarlarining yaratilishida teatr rassomligi (ssenografiya)ning hissasi, cheklangan joyda bir yoki bir necha aktyorlar ijro etadigan sahna ko’rinishi orqali tomoshabinga fikr uzatuvchi san’at janri</em> <em>jahon va milliy mumtoz dramaturgiya namunalarini zamonaviy talqin va vositalarda sahnalashtirish,</em> <em>milliy merosga tayanib ijod qilish, milliy qadriyatlar, an</em><em>ʼ</em><em>analarni tiklashga intilish va boshqalar to</em><em>’</em><em>g</em><em>’</em><em>risida yozilgan.</em>
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Ziołowicz, Agnieszka. "Norwidowski dramat w nowych dekoracjach." Studia Norwidiana 40 (September 13, 2022): 209–22. http://dx.doi.org/10.18290/sn2240.13.
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Artykuł jest recenzją naukową książki: Dramaty Cypriana Norwida. Teksty – konteksty – interteksty, red. naukowa W. Rzońca, K. Samsel, Warszawa 2019. Autorka dokonuje przeglądu i interpretacji zamieszczonych w książce studiów, sytuując je na tle aktualnego stanu badań nad dramaturgią Norwida. Recenzja ukazuje wartość książki, polegającą przede wszystkim na prezentacji nowych odczytań Norwidowskiego dramatu ‒ przez pryzmat nowych kontekstów i z różnorodnych perspektyw badawczych: filologicznej, teatrologicznej, tekstologiczno-edytorskiej, estetycznej, antropologicznej, kulturologicznej, komparatystycznej. Książka jest też głosem w sprawie miejsca dramaturgii Norwida w procesie literackim, bowiem w większości opublikowanych w niej prac wyeksponowany został ścisły związek pisarza z literaturą i kulturą premodernizmu lub modernizmu. W związku z tym podjęta została w recenzji kwestia znaczenia tradycji dramatu romantycznego dla specyfiki postawy twórczej Norwida-dramaturga.
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De Souza Santos, Felipe Augusto. "Sombras do opus magnum: Samuel Beckett dirige A última gravação de Krapp." Eutomia 1, no. 20 (2018): 12. http://dx.doi.org/10.19134/eutomia-v1i20p12-29.
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O presente artigo tem como objetivo apresentar uma reflexão acerca do trabalho de Samuel Beckett como encenador de sua própria dramaturgia. Para tanto, abordaremos as encenações dirigidas por Beckett de A última gravação de Krapp, observando detalhes do trabalho de transposição realizado pelo dramaturgo-encenador de sua dramaturgia para o palco.Palavras-chave: Samuel Beckett, A última gravação de Krapp, dramaturgia, encenação, teatro moderno. Abstract: This article aims to present a reflection on the work of Samuel Beckett as the director of his own dramaturgy. For that, we will approach the stagings directed by Beckett of Krapp’s Last Tape, observing details of the work of transposition realized by the playwright-director of his dramaturgy for the stage.Key-words: Samuel Beckett, Krapp’s Last Tape, dramaturgy, staging, modern theatre.
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Behrndt, Synne K. "Dance, Dramaturgy and Dramaturgical Thinking." Contemporary Theatre Review 20, no. 2 (2010): 185–96. http://dx.doi.org/10.1080/10486801003682393.
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Abdusalom, O'ktamov, and Murotova Otabek qizi Dilnozaxon. ""PADARKUSH" DRAMASIDA REMARKALAR TAHLILI." Results of National Scientific Research 2, no. 3 (2023): 67–70. https://doi.org/10.5281/zenodo.7772366.
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Jo'rayeva, Dilnozaxon Otabek qizi. "DRAMATIK ASARLARDA REMARKALAR HAQIDA." Multidisciplinary Journal of Science and Technology 5, no. 5 (2025): 939–40. https://doi.org/10.5281/zenodo.15484388.
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Tampubolon, Tulus, Guntur Freddy Prisanto, Niken Febrina Ernungtyas, Irwansyah Irwansyah, and Sekartaji Anisa Putri. "DRAMATURGI DALAM PROSES LEGISLASI." Widya Komunika 9, no. 2 (2019): 42. http://dx.doi.org/10.20884/1.wk.2019.9.2.1912.
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Abstract
 As a political communicator, members of the DPR RI need to realize good political communication for the sake of the continuation of democracy. The Indonesian Parliament as a political actor that has an important role in the sustainability of democracy needs to manage their political communication from the front stage, back stage, and impression management aspects according to Goffman's theory as well as possible. In this study, it was examined how the political communication of the Indonesian Parliament in revising Law No. 32 of 2002 using the Goffman drama theory. The method used in this research is qualitative research using observation data collection techniques to three groups of the Republic of Indonesia DPR. From this dramaturgical analysis the researchers found that DPR groups had three front stages and one backstage each. Also found was a shadowing stage faced by the DPR in carrying out political communication activities. Political communication behavior carried out at the front stage is more formal and prioritizes the interests of the community. As is the case at the back stage, political communication is more relaxed and personal and group interests emerge.
 Key words: Dramaturgy, Legislative Dramaturgy, Indonesian Parliament Dramaturgy
 
 Abstrak
 Sebagai komunikator politik, anggota DPR RI perlu mewujudkan komunikasi politik yang baik demi kelangsungan demokrasi. DPR RI sebagai aktor politik yang memiliki peran penting dalam keberlangsungan demokrasi perlu mengelola komunikasi politik mereka dari aspek front stage, back stage, serta impression management sesuai dengan teori Goffman sebaik mungkin. Dalam penelitian ini diteliti bagaimana komunikasi politik DPR RI dalam melakukan revisi UU No. 32 tahun 2002 dengan menggunakan teori dramatugri Goffman. Metode yang digunakan dalam penelitian ini ialah penelitian kualitatif menggunakan teknik pengumpulan data observasi kepada tiga kelompok DPR RI. Dari analisis dramaturgi ini peneliti menemukan temuan bahwa kelompok-kelompok DPR memiliki masing-masing tiga pangung depan dan satu panggung belakang. Ditemukan juga panggung bayangan yang dihadapi oleh DPR dalam menjalankan kegiatan komunikasi politik. Perilaku komunikasi politik yang dilakukan pada front stage bersifat lebih formal dan mengutamakan kepentingan masyarakat. Lain halnya dengan yang dilakukan pada back stage, komunikasi politik bersifat lebih santai dan muncul kepentingan-kepentingan pribadi maupun kelompok.
 Kata kunci: Dramaturgi; Dramaturgi Legislasi; Dramaturgi DPR
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Tampubolon, Tulus, Guntur Freddy Prisanto, Niken Febrina Ernungtyas, Irwansyah Irwansyah, and Sekartaji Anisa Putri. "DRAMATURGI DALAM PROSES LEGISLASI." Widya Komunika 9, no. 2 (2019): 42. http://dx.doi.org/10.20884/wk.v9i2.1912.
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Abstract
 As a political communicator, members of the DPR RI need to realize good political communication for the sake of the continuation of democracy. The Indonesian Parliament as a political actor that has an important role in the sustainability of democracy needs to manage their political communication from the front stage, back stage, and impression management aspects according to Goffman's theory as well as possible. In this study, it was examined how the political communication of the Indonesian Parliament in revising Law No. 32 of 2002 using the Goffman drama theory. The method used in this research is qualitative research using observation data collection techniques to three groups of the Republic of Indonesia DPR. From this dramaturgical analysis the researchers found that DPR groups had three front stages and one backstage each. Also found was a shadowing stage faced by the DPR in carrying out political communication activities. Political communication behavior carried out at the front stage is more formal and prioritizes the interests of the community. As is the case at the back stage, political communication is more relaxed and personal and group interests emerge.
 Key words: Dramaturgy, Legislative Dramaturgy, Indonesian Parliament Dramaturgy
 
 Abstrak
 Sebagai komunikator politik, anggota DPR RI perlu mewujudkan komunikasi politik yang baik demi kelangsungan demokrasi. DPR RI sebagai aktor politik yang memiliki peran penting dalam keberlangsungan demokrasi perlu mengelola komunikasi politik mereka dari aspek front stage, back stage, serta impression management sesuai dengan teori Goffman sebaik mungkin. Dalam penelitian ini diteliti bagaimana komunikasi politik DPR RI dalam melakukan revisi UU No. 32 tahun 2002 dengan menggunakan teori dramatugri Goffman. Metode yang digunakan dalam penelitian ini ialah penelitian kualitatif menggunakan teknik pengumpulan data observasi kepada tiga kelompok DPR RI. Dari analisis dramaturgi ini peneliti menemukan temuan bahwa kelompok-kelompok DPR memiliki masing-masing tiga pangung depan dan satu panggung belakang. Ditemukan juga panggung bayangan yang dihadapi oleh DPR dalam menjalankan kegiatan komunikasi politik. Perilaku komunikasi politik yang dilakukan pada front stage bersifat lebih formal dan mengutamakan kepentingan masyarakat. Lain halnya dengan yang dilakukan pada back stage, komunikasi politik bersifat lebih santai dan muncul kepentingan-kepentingan pribadi maupun kelompok.
 Kata kunci: Dramaturgi; Dramaturgi Legislasi; Dramaturgi DPR
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Piva, Bruno Leal. "Dramaturgias para encenação do espetáculo-processo Doroteia-Okê." Dramaturgia em foco 5, no. 1 (2025): 51–69. https://doi.org/10.5281/zenodo.14930195.
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Este artigo visa abordar o processo do espetáculo Doroteia-Okê, partindo das tentativas dramatúrgicas dos artistas nele inseridos, em consonância com o texto-base Doroteia, de Nelson Rodrigues. Como observador outsider dos ensaios e encontros, as observações vinculadas ao campo da Genética Teatral trazem à tona percepções de como as dramaturgias propostas pelos integrantes foram se desenvolvendo em intertextualidade com a obra rodrigueana, podendo servir de parâmetros prático-teóricos para artistas e investigadores. Tenta-se, especialmente, analisar o desenvolvimento textual dramatúrgico da atriz Claudia Jordão, enquadrando-se também como dramaturga e/ou dramaturgista, para a criação desse espetáculo-processo.
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Alice, Tania. "Dramaturgias da solidariedade." Revista Educação, Artes e Inclusão 16, no. 4 (2020): 010–38. http://dx.doi.org/10.5965/19843178164202010.
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Das dramaturgias clássicas e suas encenações orbitando em volta do texto às dramaturgias contemporâneas, com suas dimensões performativas que abrem espaço para uma escrita coletiva em conjunto com os espectadores, o conceito de dramaturgia foi sofrendo um percurso de abertura proporcional à passagem do tempo. A palavra “dramaturgia” foi perdendo sua primazia textual concedida pelo eurocentrismo para se abrir a manifestações somáticas da ordem do acontecimento. O novo espectador das dramaturgias contemporâneas assume um papel fundamental na composição, que se torna coletiva, podendo, na performance, ir até a alteração do programa performativo inicialmente proposto pela/o artista. O artigo aborda a noção de dramaturgia no campo da performance, e, mais especificamente, no campo da performance relacional e participativa. A partir da reflexão em torno de um projeto europeu participativo de performance do qual participei como artista convidada, gostaria de pensar a existência possível de uma “Dramaturgia da Solidariedade”, que poderia inscrever-se no campo mais amplo de “Poéticas do Cuidado”, abrindo espaço para novas possibilidades do fazer artístico. Para desenvolver esta reflexão, escolhi a forma da carta/diário, registro desta pesquisa cartográfica que busca seus objetivos na medida dos acontecimentos. Opto pelo convite para a viagem. Vamos dançar a escrita juntos?
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Martínez Teixeiro, Alva. "“Pathos y bathos” en el grotesco espectáculo del mundo: un análisis del teatro de Hilda Hilst." Signa: Revista de la Asociación Española de Semiótica 28 (June 28, 2019): 991. http://dx.doi.org/10.5944/signa.vol28.2019.25104.
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Este artículo pretende situar las obras de Hilda Hilst en el panorama de la dramaturgia brasileña del período de la dictadura, evaluando sus preferencias temáticas y procedimientos dramatúrgicos, dando especial énfasis a la importancia de lo grotesco. Además, este estudio analiza la originalidad de las obras dramáticas de Hilst, destacando la cautelosa distancia existente entre su filosofía estética y los elementos fundamentales de su universo literario —opresión, crueldad, alienación y obscenidad— y cualquier tendencia o etiqueta contemporánea.This article intends to place Hida Hilst’s plays in the panorama of Brazilian dramaturgy during the dictatorship period, evaluating thematic choices and dramaturgical procedures, with a strong focus on the importance of the grotesque. Also, this study analyses the originality of Hilst’s dramatic works, noting the cautious distance of her aesthetic philosophies and the fundamental elements of her literary universe — oppression, cruelty, alienation, obscenity— from any contemporary trends or labeling.
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MEYRICK, JULIAN. "Cut and Paste: The Nature of Dramaturgical Development in the Theatre." Theatre Research International 31, no. 3 (2006): 270–82. http://dx.doi.org/10.1017/s0307883306002239.
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This practice-based paper looks at the nature of dramaturgical development in the theatre, and at the role of the dramaturg. It has two objectives: to examine the meaning of key terms such as ‘play text’, ‘dramaturgy’ and ‘development’, and to look at how, and according to what values, dramaturgical interventions into particular play texts are best structured. The differences between production, generative dramaturgy and adaptive dramaturgy are detailed, and the analysis of play texts using simple categories such as plot, character and language is briefly explored. The conclusions clarify some of the predicates of dramaturgical development as they impact on the theatre-making process today and identify some of the fundamental problems and challenges thereby associated with the role of the dramaturg.
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Larios, Shaday. "Dramaturgias de los objetos documentales." Móin-Móin - Revista de Estudos sobre Teatro de Formas Animadas 1, no. 29 (2024): 88–104. http://dx.doi.org/10.5965/2595034701292024088.
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En este texto se comparten diferentes formas de hacer dramaturgias con objetos documentales como parte de procesos del teatro de objetos documentales: cuadernos etnográficos, dramaturgias de retroalimentación, traducción de los trabajos de campo a dramaturgias visuales, el espacio como dramaturgia, etc. Las prácticas mencionadas como ejemplos proceden de la experiencia de la autora como “detective de objetos” con sus grupos Oligor y Microscopía y Agencia El Solar en México y España.
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Araújo de Medeiros, Hadoock Ezequiel, and Naelza De Araújo Wanderley. "Dona Dadi Calungueira: teatro popular da mulher nordestina// Dona Dadi Calungueira: Theater Popular of Northeast Women." O Eixo e a Roda: Revista de Literatura Brasileira 32, no. 2 (2023): 96. http://dx.doi.org/10.17851/2358-9787.32.2.96-112.
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Resumo: No decorrer da História, poucas mulheres destacaram-se por sua atuação na sociedade e, especialmente, na Literatura. Quando se trata da dramaturgia, a invisibilidade é ainda maior. No Nordeste brasileiro, por exemplo, fundamentado por uma sociedade patriarcal, as mulheres lavadeiras, romanceiras, cordelistas, violeiras, entre outras, ficaram no anonimato, muitas morreram sem deixar o seu legado. Nesse sentido, nosso trabalho, tem como objetivo, apresentar a dramaturga Dona Dadi, mestre bonequeira, do Teatro de João Redondo, no Rio Grande do Norte. O trabalho é um recorte de uma pesquisa em desenvolvimento em nível de Doutorado. Pretendemos com esse estudo, destacar a importância da sua obra para a dramaturgia feminina, no âmbito da literatura popular. Para isso, nos respaldamos em: Borba Filho (1966), Gomes (2002), Del Priore (2004), Falei (2004), Zolin (2005), Perrot (2007), Zilberman (2008) e Pereira (2010)Palavras-chave: Dona Dadi; autoria feminina; teatro popular.Abstract: Throughout history, few women have stood out for their role in society and, especially, in Literature. When it comes to dramaturgy, invisibility is even greater. In the Brazilian Northeast, for example, based on a patriarchal society, washerwomen, romancers, cordelistas, violeiras, among others, remained anonymous, many died without leaving their legacy. In this sense, our work aims to present the playwright Dona Dadi, master puppeteer, from the Teatro de João Redondo, in Rio Grande do Norte. The work is an excerpt of the research in development in the Doctorate, in the PPGLE (Postgraduate Program in Language and Teaching – UFCG). With this study, we intend to highlight the importance of her work for female dramaturgy, within the scope of popular literature. For this, we rely on: Borba Filho (1966), Gomes (2002), Del Priore (2004), Falei (2004), Zolin (2005), Perrot (2007), Zilberman (2008) and Pereira (2010)Keywords: Dona Dadi; Female authorship; Popular theater.
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Moreira, Deborah. "O DRAMA DECROUXIANO E O PRINCÍPIO DA RUPTURA." Arte 21 11, no. 2 (2023): 19–21. http://dx.doi.org/10.62507/a21.v11i2.130.
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O artigo trata da dramaturgia textual onde é explorado a dificuldade dos artistas em desenvolver dramaturgias textuais alinhadas às premissas e princípios de sua prática cênica. Os textos produzidos não se sustentam como obra dramática autônoma e dependem da encenação para ganhar sentido. Nestes casos, a dramaturgia textual, revela- se excessivamente desarticulada ou caracteriza-se por um conjunto de rubricas descritivas das ações corporais.
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Hovik, Lise, and Elena Pérez. "Baby Becomings." Nordic Theatre Studies 32, no. 1 (2020): 99–120. http://dx.doi.org/10.7146/nts.v32i1.120410.
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The article proposes new concepts of dramaturgical thinking for baby theatre productions. With an arts-based research approach, allowing insiderperspectives of the artmaking process to come forth, the authors, who are the director and dramaturge of the performance Baby Becomings by Teater Fot, discuss different concepts of postdramatic dramaturgical aspects in relation to the work. By adapting Donna Haraway’s theories of sympoiesis and science art worldings as a theoretical framework, the article explores how Haraway’s philosophy serves both as artistic inspiration and provides new concepts for dramaturgical reflection. The authors ask how posthumanist and sympoietic perspectives connect to postdramatic dramaturgy and wish to propose a posthumanist dramaturgy of sympoietic worlding in theatre for babies.
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Dawson, Amanda, and Scott C. Knowles. "Dramaturging Script Analysis." Theatre Topics 33, no. 3 (2023): 121–30. http://dx.doi.org/10.1353/tt.2023.a912293.
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Abstract: Theatre students need an expansive view of art and storytelling in order to fully engage the diversity of the field of theatre and performance. We argue this can be accomplished by moving past a focus on the "play from the inside" of most script analysis courses toward a dramaturgical analysis. Dramaturgy offers a broader approach that fosters more complex critical and creative thinking skills, thus providing a stronger foundation for analytical ability. How can dramaturgy broaden the artistic discipline's approach to script analysis? What do we gain from applying a dramaturgical sensibility to script analysis? We suggest the employment of five themes to utilize in dramaturgical analysis: context, audience, creation, shape, and conceptual frameworks.
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Dória, Gisela. "Entrelaçando Fios: Possíveis Eixos Dramatúrgicos na Dança Contemporânea." ARJ – Art Research Journal / Revista de Pesquisa em Artes 3, no. 2 (2016): 194–208. http://dx.doi.org/10.36025/arj.v3i2.9549.
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O presente artigo propõe uma investigação sobre as especificidades que emergem da relação entre a dança contemporânea e diferentes noções de dramaturgia. Objetiva-se, assim, problematizar e ampliar a noção de dramaturgia cênica. O percurso investigativo envolve o exame crítico de diversas dramaturgias vigentes nas artes cênicas, a fim de verificar seus níveis de tensão em relação à dança contemporânea. Desse modo, busca-se perceber em que medida a dança contemporânea vem abrindo espaço para a reinvenção da noção de dramaturgia e de que maneira ela está relacionada aos modos de composição e produção de sentido.
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Brito, Nayara Macedo Barbosa de. "AS FORÇAS DO FIGURAL OU ALGUMAS CATEGORIAS DE ANÁLISE PARA DRAMATURGIAS MODERNAS E CONTEMPORÂNEAS." Cena, no. 30 (March 31, 2020): 73–85. http://dx.doi.org/10.22456/2236-3254.95990.
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A personagem dramática, conforme forjada pela tra- dição aristotélico-hegeliana, enfrentou um processo de decomposição e posterior recomposição, sob no- vas bases e nomenclaturas, ao longo do século XX. Nesse sentido, propomo-nos a investigar a pertinên- cia da concepção de figura desenvolvida por Gilles Deleuze (1981) a partir da análise da obra do pintor anglo-irlandês Francis Bacon e enquanto desenvol- vimento teórico da noção homônima elaborada por Jean-François Lyotard (1979) para a análise de um recorte das dramaturgias moderna e contemporâ- nea. Para tanto, realizamos o cotejamento de alguns exemplos dessas dramaturgias e suas concretiza- ções cênicas com as pinturas baconeanas, organi- zando nossa discussão a partir de algumas catego- rias analíticas levantadas por Deleuze em seu estudo. Palavras-chave Figura. Figural. Dramaturgia Moderna. Dramaturgia Contemporânea. Francis Bacon.
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Rizki, Dewi Hafifah. "ANALISIS DRAMATURGI GURU DAN PEDAGANG MARTABAK: Kajian Tampilan Dan Sikap." Ibtidaiyyah: Jurnal Pendidikan Guru Madrasah Ibtidaiyah 1, no. 4 (2022): 263–72. http://dx.doi.org/10.18860/ijpgmi.v1i4.2468.
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ABSTRACT
 This study aims to find out and analyze the display and attitude studies carried out by sports teachers at MTs. Negeri 4 Jembrana as martabak traders selling in the Jembrana area. This study examines the front stage and back stage in Dramaturgical Theory according to Erving Goffman. Dramaturgy presents itself as a product determined by social conditions. During the front stage performance, the teacher tries to present an impressive performance to the audience. This study uses a descriptive qualitative approach, the researcher will describe the presentation of data regarding the phenomenon under study through interview techniques, non-participant observation, as well as other data related to the teaching profession as martabak traders in accordance with the appearance and attitude study on Dramaturgy theory. Based on the results of the research and discussion, it is known that the role shown in the appearance and setting study by a teacher and martabak trader has a difference in the back view or Back Stage as a teacher and martabak trader, the informant does not play the role that has been shown. He carries out activities such as helping with household activities, playing with children, attending organizational recitations. This shows that the role played in the study of appearance and attitude on the Front Stage as martabak traders and teachers with the Back stage displayed does not create stigma between the three.
 Keywords: Dramaturgy, Sports Teacher, Martabak Trader
 
 ABSTRAK
 Penelitian ini bertujuan untuk mengetahui dan menganalisis kajian tampilan dan sikap yang dilakukan oleh guru olahraga di MTs. Negeri 4 Jembrana sebagai pedagang martabak yang berjualan di daerah Jembrana. Penelitian ini mengkaji tentang tampilan depan (front stage) dan tampilan belakang (backstage) pada Teori Dramaturgi menurut Erving Goffman. Dramaturgi menampilkan diri sebagai produk yang ditentukan oleh kondisi sosial. Selama pertunjukan panggung depan, pengajar mencoba menyajikan pertunjukan yang mengesankan kepada audiens. Penelitian ini menggunakan pendekatan kualitatif deskriptif, peneliti akan menggambarkan penyajian data-data mengenai fenomena yang diteliti melalui teknik wawancara, observasi non partisipan, serta data-data lain yang berkaitan dengan profesi guru sebagai pedagang martabak sesuai dengan kajian tampilan dan sikap pada teori Dramaturgi. Berdasarkan hasil penelitian dan pembahasan, maka penelitian ini diketahui bahwa peran yang ditunjukkan pada kajian tampilan dan setting oleh seorang guru dan pedagang martabak memiliki perbedaan pada tampilan belakang atau Back Stage sebagai seorang guru dan pedagang martabak, informan tidak memainkan peran sebagai yang telah ditunjukkan. Ia melakukan kegiatan seperti membantu kegiatan rumah, bermain dengan anak-anak, hadir di pengajian organisasi. Hal ini menunjukkan bahwa peran yang dimainkan pada kajian tampilan dan sikap pada Front Stage sebagai pedagang martabak dan guru dengan Back stage yang ditampilkan tidak memunculkan stigma antara ketiganya.
 Kata kunci : Dramaturgy, Guru Olahraga, Pedagang Martabak
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De Souza, Maria. "DRAMATURGIAS DEL PERSONAJE CONTEMPORANEO: FRAGMENTACIÓN, MONTAJE Y COLLAGE." Cena, no. 29 (December 4, 2019): 113–24. http://dx.doi.org/10.22456/2236-3254.92188.
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O artigo propõe uma reflexão sobre os princípios composicionais das dramaturgias contemporâneas, com foco no personagem. Essas reflexões abordarão a noção de dramaturgia do ponto de vista da escrita, como potenciais reconhecíveis na peça do dramaturgo.
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Martins, Benedita Afonso, and Bárbara Toscano Gibson. "O corpo criador de narrativas teatrais: influências do trabalho corporal na escrita de uma dramaturgia amazônida." Urdimento - Revista de Estudos em Artes Cênicas 4, no. 53 (2024): 1–19. https://doi.org/10.5965/1414573104532024e117.
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Este artigo tem a finalidade de tecer entendimentos sobre corpo-dramaturgia num contexto teatral a partir de situações experenciadas na carreira de uma atriz-dramaturga-diretora-pesquisadora que escreve e dirige espetáculos em Belém do Pará desde 2011. A premissa é que o trabalho corporal de artistas pode influenciar diretamente no desenvolvimento dramatúrgico, uma vez que o corpo em si é constante criador de sensações, gestos, percepções, narrativas. Buscando expandir a discussão, referenciais teóricos e exemplos concretos são utilizados para examinar conceitos relevantes como textocentrismo, dramaturgia expandida e corporeidades, que auxiliam numa compreensão mais ampla de dramaturgia corporal.
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Rəfail qızı Ağayeva, Məlahət. "The theme of patriotism and heroism in Namig Kamal’s works." SCIENTIFIC WORK 75, no. 2 (2022): 50–55. http://dx.doi.org/10.36719/2663-4619/75/50-55.
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Məqalədə, “Yeni Osmanlı Cəmiyyəti”nin yaradıcılarından olan Namiq Kamalın “Vətən, yaxud Silistrə” (1873), “Akif bəy” (1874), “Cəlaləddin, Xarəzim şahı” (1885), “Qara bəla” (1885) əsərlərinə müraciət edilir. Türkdilli ölkələrin ədəbiyyatına vətən, azadlıq, mübarizə, inqilab mövzusunun gətirilməsi ilk dəfə N.Kamalın adı ilə bağlı olmuşdu. Bu mövzuda yazdığı əsərlərlə bağlı olaraq dəfələrlə sürgünə məruz qalan müəllif, öz ideyasından dönməmiş, sürgündə olarkəndə belə yeni-yeni əsərlər yazıb. Özünün rejissorluğu ilə hazırlanan 1 aprel 1873-cü ildə Gedikpaşa teatrında tamaşaçılara göstərilən “Vətən, yaxud Silistrə” əsəri güclü əks-səda oyadaraq, Vətənə məhəbbət hissi ilə dolu olan bu əsərin tamaşasından sonra tamaşaçılar “Yaşasın Vətən” sözlərini ucadan deyə-deyə küçələrdən keçirdilər. Eyni zamanda, “Vətən, yaxud Silistrə” əsərinin Azərbaycandakı tamaşası da güclü ək-səda doğurub. Xalqımızın milli azadlıq hərakatının güclənməsinə, oyanışına böyük təkan verib. Açar sözlər: Azərbaycan, Türkiyə, Namiq Kamal, dramaturgiya, səhnə, teatr, pyes, rejissor, bəstəkar, rəssam, aktyor Malahat Rafail Aghayeva The theme of patriotism and heroism in Namig Kamal’s works Summary The article deals with the works such as “Homeland or Silistra” (1873), “Akif Bey” (1874), “Jalaleddin, Kharazim Shah” (1885), “Black Plague” (1885) by Namig Kamal, who was one of the founders of “New Ottoman Society”. The introduction of the theme of homeland, freedom, struggle and revolution in the literature of Turkic-speaking countries was first associated with the name of N.Kamal. The author, who was repeatedly exiled due to his works on this topic, did not change his mind and wrote new works even when he was in exile. The play “Homeland or Silistra”, directed by him and staged on April 1, 1873 at the Gedikpasha Theater, caused a strong reaction, the audience passed through the streets shouting the words “Long live the homeland”after the staging this play,which is full of love for the homeland. At the same time, the performance of “Homeland or Silistra” in Azerbaijan caused a strong reaction. It gave a great impetus to the strengthening and awakening of the national liberation movement of our people. Key words: Azerbaijan, Turkey, Namig Kamal, dramaturgy, stage, theater, play, director, composer, artist, actor
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Bianchi, Paloma, and Ana Krein. "O que diz respeito ao pinheiro, aprenda do pinheiro; o que diz respeito ao bambu, aprenda do bambu." Urdimento: Revista de Estudos em Artes Cênicas 3, no. 48 (2023): 1–35. http://dx.doi.org/10.5965/1414573103482023e0104.
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Pa. está em Florianópolis, A. em São Paulo. As duas decidem escrever um artigo acadêmico sobre dramaturgia da dança. As alunas de Pa. estão confusas. O que é ser dramaturgista? Pa. responde que dramaturgia é prática. Pa. conta para A. que fez alguns exercícios práticos de dramaturgia com as alunas, deu errado. Nas aulas, as alunas ou davam ordens, ou davam dicas, ou diziam se gostavam. Isso fez com que A. tivesse uma ideia para o título do artigo: Ordem, dica ou gosto? Os desvios e equívocos do trabalho de dramaturgistas. Pa. se interessa mais pela primeira resposta que deu para as alunas: dramaturgia é prática. Pa. e A. decidem que esse artigo seria decorrência de uma prática à distância em que A. e Pa. seriam artistas e dramaturgistas uma da outra.
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Assano, Gustavo Takashi Moraes. "Gritos e teatros sufocados: uma análise comparativa entre as dramaturgias <i>Out Cry</i> (1973), de Tennessee Williams, e <i>Um grito parado no ar</i> (1973), de Gianfrancesco Guarnieri." Em Tese 28, no. 2 (2022): 54. https://doi.org/10.17851/1982-0739.28.2.54-77.
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As dramaturgias Out Cry (1973), de Tennessee Williams, e Um grito parado no ar (1973), de Gianfrancesco Guarnieri, são abordadas numa análise comparada que prioriza três aspectos estruturantes da compreensão histórica de cada obra: as soluções estilísticas do texto dramatúrgico; os processos de encenação descritos nos aspectos meta-teatrais de cada texto; e as relações de produção do trabalho teatral indicadas em cada dramaturgia. Ao enfatizarmos o que de contextualmente diferenciador se revela naquilo que cada dramaturgia apresenta como estilisticamente similar uma em relação à outra, acreditamos ser possível indicar critérios críticos e analíticos para se compreender o teor de modernização teatral de cada obra. Assim, a partir de uma análise literária, as duas dramaturgias permitem descrever o aparelho teatral comercial moderno segundo os critérios e condições históricas de realização do trabalho teatral do período em questão, refletidos numa relação entre periferia e centro do sistema capitalista global.
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Grazioli, Fabiano Tadeu, and Fulvio Torres Flores. "ASPECTOS RELEVANTES DA DRAMATURGIA PARA A INFÂNCIA NAS PALAVRAS DE QUEM FAZ O TEATRO INFANTIL." Revista Leia Escola 19, no. 2 (2019): 9–29. http://dx.doi.org/10.35572/rle.v19i2.1504.
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O artigo parte de uma reflexão sobre o primeiro livro de teatro infantil publicado no Brasil, a saber, Teatrinho Infantil, de Figueiredo Pimentel, até apresentar o propósito do trabalho, que é pinçar de um conjunto de publicações diversas (entrevista, depoimento, debate transcrito, artigos publicados inicialmente em jornais, publicações acadêmicas como obras teóricas e periódicos científicos) informações sobre a dramaturgia para a infância ou então aspectos do teatro infantil que servem também para pensarmos a dramaturgia para a infância. Este tema não é recorrente nos estudos da literatura infantil brasileira e não recebeu, no país, a mesma atenção, por parte dos pesquisadores, que o poema e a narrativa. Não houve a intenção de mapear um período histórico específico de publicações, mas sim de revisitar as vozes de alguns diretores, encenadores, atores, pesquisadores, críticos e dramaturgos que contribuíram com as Artes Cênicas, em especial aquelas destinadas às crianças. Ao final, percebe-se uma importante galeria de informações que podem auxiliar no direcionamento de um teatro infantil que serve aos princípios da infância e legitimam a arte que precisa ser oferecida a esse público, e, claro, à dramaturgia que vai servir de ponto de partida para a construção dos referidos espetáculos. Embora os autores pesquisados não tenham o intuito de prever uma dramaturgia para ser lida pela criança, nós, entusiastas dessa possibilidade, podemos afirmar que os aspectos levantados indicam alguns caminhos para uma dramaturgia com essa finalidade. RELEVANT ASPECTS OF DRAMATURGY FOR CHILDREN IN THE WORDS OF WHO DO THEATER FOR CHILDRENAbstract: This article begins by reflecting on the first children´s theater book published in Brazil, namely Teatrinho infantil (literally: Little theater for children), by Figueiredo Pimentel, and after it presents the purpose of the work, which is to draw from a set of different publications (interview, testimony, transcript discussion, articles published initially in newspapers, academic publications such as theoretical works and scientific journals) information on the dramaturgy for children or aspects of the children´s theater that are as well useful for thinking the dramaturgy for children. This theme is not recurrent in the studies of Brazilian children´s literature and it has not yet received, in this country, the same attention by researchers that poetry and narrative have. There was no intention of mapping a specific historical period of publications, but rather to revisit the voices of some directors, actors, researches, critics and playwrights who have contributed to the Performing Arts, specially those aimed at children. In the end, an important gallery of information can be found that can help guide a children´s theater that serves the principles of childhood and legitimize the art that must be offered to this audience and, of course, the dramaturgy that will serve as a starting point for the construction of these theater productions. Although the researched authors do not intend to predict a dramaturgy to be read by children, we – enthusiasts of this possibility – can affirm that the aspects raised indicate some ways for a dramaturgy for this purpose.Keywords: Brazilian children´s literature. Theater artists experiences. Dramaturgy reading.
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RAFDI, RAFDI, and ROEFAIDAH HARIJATI. "KEKUATAN DRAMATURGI DIBANDING KEPEMIMPINAN DALAM MEMPENGARUHI KINERJA KARYAWAN AMIK CITRA BUANA INDONESIA SUKABUMI." Jurnal Soshum Insentif 4, no. 1 (2021): 44–53. http://dx.doi.org/10.36787/jsi.v4i1.450.
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Abstrak - Penelitian ini bertujuan untuk mengetahui sejauh mana pengaruh Dramaturgi terhadap Kinerja melampaui Pengaruh kepemimpinan terhadap Kinerja. Untuk itu perlu terlebih dahulu mengetahui sejauh mana pengaruh Dramaturgi terhadap Kinerja, sejauh mana pengaruh Kepemimpinan terhadap Kinerja, sejauh mana pengaruh Dramaturgi dan Kepemimpinan sekaligus terhadap Kinerja, sejauh mana faktor lain ( epselon ) yang mempengaruhi kinerja. Penelitian ini dilakukan terhadap karyawan AMIK CBI Sukabumi. Jumlah sampel yang dijadikan responden sebanyak lima puluh responden dari sebanyak delapan puluh delapan populasi. Konteks kepemimpinan dalam penelitian ini mengacu ke pada pemahaman cara memimpin oleh pimpinan yakni BPH dan Direktur ke pada Karyawan. Adapun pemahaman Dramaturgi mengacu ke pada pemahaman Impression Management oleh BPH dan Direktur dalam bentuk interaksi sosial dengan Karyawan pada suasana sosial tertentu dengan kecenderungan situasional yang dibagi ke dalam dua situasional, yaitu interaksi sosial di pentas belakang (back stage ) dan di pentas depan (front stage ). Metode penelitian menggunakan desain aksplanasi, menguji pengaruh antar tiga variabel, variabel X1,X2,Y berdasarkan analisis kuantitatif melalui olah data SPSS . Hasil pengolahan data menunjukkan pengaruh Dramaturgi terhadap Kinerja jauh lebih tinggi dibanding pengaruh kepemimpinan terhadap kinerja, pengaruh Dramaturgi terhadap kinerja positif dan signifikan, pengaruh kepemimpinan terhadap kinerja positif namun tidak signifikan, pengaruh Dramaturgi dan Kepemimpinan sekaligus positif dan signifikan. Factor lain (epsilon) yang mempengaruh kinerja sebesar tujuh puluh delapan koma tiga persen. Ditemukan hal menarik pada penelitian ini melalui pengaruh Dramaturgi dengan jabaran unsur unsurnya yang posistif dan signifikan terhadap Kinerja hingga sudah saatnya menganalisis faktor faktor situasional melalui kekuatan manajemen kesan/impression management oleh pimpinan terhadap karyawan pada saat interaksi sosial sebagai salah satu dimensi sangat penting yang mempengaruhi Kinerja Karyawan . Unsur unsur tersebut meliputi kekuatan pimpinan melalui situasi : dengan gestural, perangkat peran, penonjolan, takaran waktu interaksi, teknik komunikasi dengan lembut, dan unsur Dramaturgi lain nya .
 Abstract - This study aims to determine the extent to which the influence of drama on performance exceeds the influence of leadership on performance. for that it is necessary in advance to know the extentof the influence of Dramaturgy on Performance, the extent of the influence of Leadership on Performance, the extent of the influence of Dramaturgy and Leadership at the same time on performance, the extent to which other factors (epchelon) influence performance. This research was conducted on the employees of AMIK CBI Sukabumi.The number of samples used as respondents was fifty respondents from a total of eighty eight populations. The leadership context in this study refers to the understanding of how to lead by the leadership, namely BPH and the Director to the employees. As for the understanding of Dramaturgy refers to the understanding of Impression Management by BPH and the Director in the form of social interaction with employeesin certain social situations with situational tendencies which are divided into two situational, namely social interaction on the back stage) and on the front stage.The research method used was an explanation design, testing the effect between three variables, variables X1, X2, Y based on quantitative analysis through SPSS data processing. The results of data processing show that the influence of Dramaturgy on performance is much higher than the influence of leadership on performance, the influence of Dramaturgy on performance is positive and significant, the influence of leadership on performance is positive but not significant, the influence of Dramaturgy andLeadership is at the same time positive and significant.another factor (epsilon) that affects the performance of seventy-eight point three percent.It was found interesting in this study through the influence of Dramaturgy with a description of its positive and significant elements of performance that it is time to analyze situational factors through the power of impression management by leaders on employees atwhen social interaction is a very important dimension that affects employee performance. .These elements include the power of leadership through situations: with gestures, role devices, prominence, measure of interaction time, gentle communication techniques and other elements of Dramaturgy.
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Kazantseva, Liudmila P. "Musical Intonation: Aesthetic and Historical- Culturological Aspects." IKONI / ICONI, no. 1 (2022): 120–37. http://dx.doi.org/10.33779/2658-4824.2022.1.120-137.
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The two previous lectures from the cycle “Musical Intonation” were devoted to the concept of musical intonation, its sound contours, semantics, genre-related and stylistic traits. The third and final lecture suggests concentrating our attention on the two sides of intonation – its aesthetic particularities and dramaturgical features, as well as its existence in the historical-culturological context. The aesthetical side of intonation is disclosed by means of applying the apparatus of aesthetical categories (the dichotomy of beautiful vs. ugly, etc., the Aristotelian triad). The study of intonational dramaturgy finds the teaching about rhetorical disposition (the logical phases of unfolding the process) and the typology of the intonational-dramaturgic models to be productive. The theory of “intonational vocabulary” and “intonational crises” put forward by Boris Asafiev is conducive towards examination of the evolution of intonation in the mirror reflection of music history. The multiangle analysis of musical intonation as an intrinsically valuable microcosm combined with a large-scale scope of its historical-culturological existence presents a complex, yet perspective path of its knowledge.
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Delmanto, Ivan. "Aelia Laelia: alegoria e sonhos coletivos na formação negativa da dramaturgia brasileira." Cadernos Benjaminianos 14, no. 1 (2019): 121. http://dx.doi.org/10.17851/2179-8478.14.1.121-142.
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Resumo: A partir dos conceitos de alegoria, messianismo e de imagem onírica, retirados da obra de Walter Benjamin, o artigo apresenta, de forma inacabada e incompleta, aspectos do processo histórico de formação da dramaturgia brasileira. Procura-se traçar o percurso de formação de uma dramaturgia nacional identificando os limites e avanços do processo de aclimatação das formas e gêneros de origem europeia, escolhendo como objetos algumas obras e autores em que se pode observar a presença de uma dialética entre negatividade e utopia que, não obstante sua diversidade, poderia caracterizar esse trajeto de formação como capaz de gerar obras tão dilaceradas quanto o tecido social que lhes corresponde.Palavras-chave: teatro; dramaturgia brasileira; alegoria, imagem onírica.Abstract: From the concepts of allegory, messianism and dream picture, taken from the work of Walter Benjamin, the article presents, in an incomplete and incomplete way, aspects of the historical process of Brazilian dramaturgy. It is sought to trace the course of formation of a national dramaturgy by identifying the limits and advances of the process of acclimatization of forms and genres of European origin, choosing as objects some works and authors in which one can observe the presence of a dialectic between negativity and utopia and how it, not withstanding its own diversity, could characterize this formation course capable of generating new works as lacerated as the social fabric to which they correspond.Keywords: theater; Brazilian dramaturgy; allegory; dream image
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Rivas Franco, Ruth. "Enrique Buenaventura." Papel Escena, no. 14 (January 31, 2015): 40–49. https://doi.org/10.56908/pe.n14.93.
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La dramaturgia del actor, la Creación Colectiva y la Consolidación de una Dramaturgia Nacional son los elementos que considera la dramaturga y docente Ruth Rivas como los Fundamentos que adopta, del legado de Enrique Buenaventura, la Facultad de Artes Escénicas de Bellas Artes para la consolidación de sus planes de estudios. Una reflexión dialogada con Buenaventura, ilustra a los lectores sobre los pormenores del encuentro eterno con el ausente y siempre presente maestro, paradigma y figura del teatro nacional colombiano.