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Artículos de revistas sobre el tema "Dramaturgi"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 25 de julio de 2025

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1

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, wh

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2

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-produ

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3

Redaktion. "Bidragsydere." Peripeti 2, no. 3 (2024): 159. http://dx.doi.org/10.7146/peri.v2i3.143743.

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Marlene Ballebye Dramaturg (cand.mag.), uddannet ved Afdeling for Dramaturgi, Institut for Æstetiske Fag, Aarhus Universitet. Majse Garde Bergmann Dramaturg (cand.mag.) ved Danmarks Radio. Erik Exe Christoffersen Lektor (mag.art.) ved Afdeling for Dramaturgi, Institut for Æstetiske Fag, Aarhus Universitet. Annelis Kuhlmann Lektor (ph.d., cand. mag. et art.) ved Afdeling for Dramaturgi, Institut for Æstetiske Fag, Aarhus Universitet. Nanna C. Rohweder Stud.mag. ved Afdeling for Dramaturgi, Institut for Æstetiske Fag, Aarhus Universitet. Janek Szatkowski Lektor (cand.phil.) ved Afdeling for Dram

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Branth, Janicke, Karen-Maria Bille, Bent Holm, et al. "Dramaturger om dramaturgi." Peripeti 5, no. 10 (2008): 9–40. http://dx.doi.org/10.7146/peri.v5i10.110793.

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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 2

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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 us

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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 us

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8

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 delap

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Sulaiman, Anton. "PERFORMANCE KOMUNIKASI POLITIK MAHASISWA DI KOTA CIREBON." Communicative : Jurnal Komunikasi dan Dakwah 2, no. 2 (2021): 125. http://dx.doi.org/10.47453/communicative.v2i2.447.

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Penelitian ini bertujuan untuk mengetahui performance Komunikasi Politik aktivis mahasiswa dalam demonstrasi reformasi korupsi di kota Cirebon 2020 dengan menggunakan presfektif Dramaturgi. Peneliti menelaah performance komunikasi Komunikasi Politik aktivis mahasiswa, dan mengkaji perbedaan antara Front Stage dan Back Stage, Performance aktor sangat berperan penting dan menjadi perhatian penulis. Asumsi Teori Dramaturgis Erving Goffman bahwa dalam interaksi keseharian, individu selalu berperilaku tidak sama. penelitian ini menggunakan metode kulitatif dengan pendekatan Studi dramaturgi milik E

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HS, Wendy. "Dramaturgi Teater Rakyat Randai di Minangkabau." Jurnal Kajian Seni 1, no. 1 (2014): 32. http://dx.doi.org/10.22146/art.5874.

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As a cultural performance, Randai traditionally organized in various ways as partof a traditional Minangkabau order adaik salingka nagari prevailing at each villagesin Minangkabau. As a folk theater, Randai always produced with distinctive-lookingdramaturgi order relating to the socio-cultural order prevailing in Minangkabau society.Based on the description dramaturgi aspects of it, seems a common thread that connectsthe various elements of the socio-cultural order Minangkabau society.Study of this paper will show that the Randai dramaturgy typically constructed based onthe existence of elemen

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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 con

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Szatkowski, Janek. "En teori om dramaturgi." Peripeti 16, S9 (2020): 34–47. http://dx.doi.org/10.7146/peri.v16is9.121385.

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Jeg forsøger mig i dette essay med tre postulater: Det første er, at dramaturgi kan forstås som en videnskab om kommunikation af kommunikation. Det andet er, at et kunstfag bør være forligtet på at kunne forklare, hvordan kunst kommunikerer mening. Det tredje er at dramaturgien bæres af en historisk og aktuel viden om, hvordan figurer på scenen udtrykker værdier.

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Krøgholt, Ida. "Dramaturgi som krumtap." Peripeti 16, S9 (2020): 183–93. http://dx.doi.org/10.7146/peri.v16is9.121408.

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The article suggests how a particular dramaturgical approach to participatory research as accompanying research can be framed. In continuation of a case from Aarhus Theatre, I ask some methodological questions for the concept of participatory and accompanying research, discuss the negotiation of the participatory agenda and come up with a frame for dramaturgical participatory research. The article builds upon the exploration of accompanying research in an earlier article, and it draws on theory of evaluation, action research, participatory research and partnerships, as well as theory of the ro

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14

Helstad, Kristin. "Mellom entré og sorti – dramaturgisk didaktikk i klasserommet." Journal for Research in Arts and Sports Education 5, no. 2 (2021): 24–38. http://dx.doi.org/10.23865/jased.v5.2659.

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Undervisning består av komplekse handlinger der lærere leder læringsprosesser og kontinuerlig må balansere ulike hensyn opp mot hverandre. Å tenke som en dramaturg kan bidra til å bevisstgjøre og profesjonalisere det didaktiske arbeidet i klasserommet. I denne artikkelen undersøker vi hva dramaturgisk didaktikk kan innebære, og vi ser nærmere på hvordan dramaturgiske begreper og verktøy kan stimulere og utvikle lærerens iscenesettelse av undervisning. Artikkelen er et teoretisk bidrag til klasseromforskning der et læringsperspektiv på undervisning koples med et dramaturgisk perspektiv. Til gru

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Lindstøl, Frinde, Kristian Nødtvedt Knudsen, and Jannike Orhem Bakke. "Et temanummer om dramaturgi i didaktiske kontekster." Journal for Research in Arts and Sports Education 5, no. 2 (2021): 01–05. http://dx.doi.org/10.23865/jased.v5.3257.

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Intensjonen bak dette temanummeret i JASEd er å styrke dramaturgi som forskningsfelt koplet til klasserommet og andre didaktiske kontekster. I Norge, men også i Norden, har det de siste par tiårene vært en økende interesse for å anvende dramaturgiske perspektiver i blant annet klasserom. Didaktiske kontekster forstår vi som rom, møteplasser og situasjoner/hendelser der undervisning og læring oppstår, skapes og settes i spill. I dette temanummeret vil vi undersøke hvordan dramaturgiske praksiser, dramaturgisk teori, dramaturgisk metode og tilhørende analyser kan supplere og vitalisere undervisn

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Rinawati, Rini. "Dramaturgi Poligami." Mediator: Jurnal Komunikasi 7, no. 1 (2006): 147–62. http://dx.doi.org/10.29313/mediator.v7i1.1226.

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Hovik, Lise. "Øyeblikkets dramaturgi." Peripeti 4, no. 7 (2007): 77–88. http://dx.doi.org/10.7146/peri.v4i7.107631.

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In this article, Lise Hovik investigates the correlation between children’s play and improvisation with inspiration from the phenomenology of Maurice Merleau-Ponty. Under the heading: »dramaturgy of the moment«, Hovik describes different kinds of children’s theatre where both actors and child engage in improvisation.

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Szatkowski, Janek. "Kompleks dramaturgi." Peripeti 2, no. 3 (2024): 41–80. http://dx.doi.org/10.7146/peri.v2i3.143734.

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I artiklen "Kompleks dramaturgi - studie i Christian Lollikes dramatik" diskuterer Janek Szatkowski, hvordan dramatikeren gennem en række parabasiske udsigelseskonstruktioner rejser et udsigtspunkt, hvorfra han kan beskrive, hvordanværdier baseres og håndteres i det senmoderne. Den analytiske tilgang består i en kombination af indsigter fra udsigelsesanalysen og systemteori, hvorigennemSzatkowski beskriver den særlige kompleksitetsdramaturgi, man møder hos Lollike. [The issue has been reconstructed from a scanned version of a printed issue, which might result in minor flaws in the text. This i

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Saidah, Musfiah, Maya Maulidia, Diah Ayu Kusuma Ningrum, and Rafiq Subhi Sahfi. "DRAMATURGY OF GENDER ROLES IN PERSONAL OUTREACH ON SOCIAL MEDIA THROUGH RELIGIOUS TEXTS." Jurnal Harkat : Media Komunikasi Gender 19, no. 2 (2023): 155–70. http://dx.doi.org/10.15408/harkat.v19i2.34513.

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Abstract. Social media, as a platform that allows individuals to share personal stories with a wide audience, has become an important vehicle for personal stories. Religious texts, on the other hand, are often used as a tool to articulate individual feelings and experiences, as well as provide moral and spiritual guidance. This study aims to explain how gender role dramaturgy occurs in personal accounts on social media through religious texts. Is there a difference in influence between men and women in sharing Islamic words through social media and how does dramaturgy theory answer this. This

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Marcher, Tanja, and Arendse Lillesø. "Dramaturgisk tænkning i en praksis uden scene." Peripeti 16, S9 (2020): 99–104. http://dx.doi.org/10.7146/peri.v16is9.121397.

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Hvilken rolle spiller dramaturgi, når vi skaber et improviseret møde sammen med mennesker, der ikke har opsøgt teatret og ikke nødvendigvis opdager, at det er teatrets magi, der skaber den gode oplevelse? Hvordan skaber dramaturgisk tænkning værdi i en praksis langt væk fra teatrets skrå brædder?

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Harbet, Parlin. "Pengelolan Kesan Seorang Gay Menurut Kajian Dramaturgi." Jurnal Public Relations (J-PR) 3, no. 1 (2022): 18–23. http://dx.doi.org/10.31294/jpr.v3i1.518.

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Penelitian ini berjudul Pengelolan Kesan Seorang Gay Menurt Kajian Teori Dramaturgi, Dalam penelitian ini peneliti ingin mengetahui bagaimana seorang gay mengeloa kesan yang ingin disampaikan tentang identitas diri mereka sebagai seorang gay di tinjau dari teori dramatugi yang menunjukan adanya panggung depan dan panggung belakang dalam kehidupan seorang gay. Juga penelitian mengunakan pendekatan metode kualitatif deskriptif yaitu metode yang meneliti mengenai objek tertentu, kondisi tertentu. Tujuannya adalah untuk membuat deskripsi. Dari hasil penelitian menunjukan bahwa adanya dua panggung

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Susandro, Susandro, Rika Wirandi, and Hatmi Negria Taruan. "DRAMATURGI KESENIAN TRADISIONAL DALUPA PRODUKSI SANGGAR SENI DATOK RIMBA DI WOYLA ACEH BARAT." Gorga : Jurnal Seni Rupa 10, no. 1 (2021): 15. http://dx.doi.org/10.24114/gr.v10i1.22730.

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Dalupa art emerged from the creative process of the people of West Aceh which can be stretched into three stages. First, Dalupa was originally a folk tale or folklore that was narrated from generation to generation. Second, the Dalupa then manifests (a person wearing the costume of a Dalupa character) so that it can be witnessed in person. At this stage, the Dalupa character does not manifest itself in the form of theater or dance. Its presence is only intended to entertain or enliven an event, such as weddings, processions, campaigns and so on. Third, the Dalupa character is presented by cons

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Pramayoza, Dede. "Skenografi dan Material Dramaturgis." Gema Seni: Jurnal Komindok 1, no. 2 (2006): 114–26. https://doi.org/10.5281/zenodo.6476402.

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‘Skenografi’ adalah term baru dalam diskursus teater di Indonesia. Pada saat yang bersamaan term ‘Skenografi’ digunakan pula dalam berbagai diskursus senirupa, seni tari, bahkan film. Sinyalemen ini menunjukan bahwa Skenografi merupakan multidisipliner baru. Dalam salah satu perspektif, ‘skenografi’ tidak saja merupakan rancangan visual-lingkungan teater, tetapi merupakan juga refleksi dari pertautan gagasan antar elemen teater, yaitu ; awak panggung, elemen-elemen pertunjukan, dan penonton. Bahkan, lebih jauh, skenografi berhubungan erat dengan penelitian s

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Nissi, Keizah, and Suzy Azeharie. "Dramaturgi pada Serial Korea True Beauty." Koneksi 6, no. 2 (2022): 440–48. http://dx.doi.org/10.24912/kn.v6i2.15825.

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One of the Korean popular culture industries, the Korean Wave, is a Korean drama series. Korean drama series is a series of shows or shows that are broadcast in the Korean language. This drama usually tells stories about culture, activities, or daily activities that tell about life in South Korea. One of the stories that are often made into a story in Korean drama series is about the construction of a woman's beauty, one of which is raised in the Korean series True Beauty. The Korean series True Beauty is a series that tells about the life of a woman who does not have an attractive appearance,

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Rahma, Silkvi Kheir, Nona Astri Nasution, Shafia Marwah, Michael Reinaldo Partogi, and Bayu Fadiantama. "Analisis bibliometrik publikasi ilmiah pada Scopus tentang kajian dramaturgi." Comdent: Communication Student Journal 2, no. 1 (2024): 55–61. https://doi.org/10.24198/comdent.v2i1.50807.

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Latar belakang: Dramaturgi adalah sandiwara kehidupan yang menggambarkan interaksi sosial sebagai panggung. Meski konsep ini relevan, kajian penerapannya dalam era digital dan media sosial masih terbatas, sehingga diperlukan penelitian lebih lanjut untuk memahami dinamika sosial kontemporer. Tujuan: Tujuan penelitian ini untuk mengetahui tren publikasi ilmiah dramaturgi dari tahun ke tahun, jurnal inti publikasi ilmiah dramaturgi yang paling banyak disitasi, jumlah peneliti produktif, jumlah publikasi ilmiah berdasarkan negara, jumlah publikasi ilmiah berdasarkan subjek, dan frekuensi kemuncul

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Sulaeman, Sulaeman. "DRAMATURGI PENYANDANG OLIGODAKTILI." Jurnal ASPIKOM 3, no. 4 (2018): 662. http://dx.doi.org/10.24329/aspikom.v3i4.270.

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Bahfiarti, Tuti. "Komunikasi Bisu Dramaturgi." Jurnal Ilmu Komunikasi 1, no. 2 (2011): 159–68. http://dx.doi.org/10.15642/jik.2011.1.2.159-168.

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Højgaard, Søren. "Dramaturgi og mennesker." Peripeti 16, S9 (2020): 123–26. http://dx.doi.org/10.7146/peri.v16is9.121401.

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I essayet giver Søren Højgaard indsigt i produktionen af forestillingen 100% Fremmed? Levende fortællinger produceret på Teater Katapult i samarbejde med Københavns Internationale Teater, Metropolis. Han beretter om castingen af de medvirkende danskere med flygtningebaggrund og om det at fortælle sin livshistorie i spændet mellem det interessante og det uinteressante.

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Ertløv Hansen, Ole. "Computerspillets interaktive dramaturgi." Peripeti 6, no. 11 (2021): 55–65. http://dx.doi.org/10.7146/peri.v6i11.107686.

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Ertløv Hansen rethinks the classic narrative terms of ‘syuzhet’ and ‘fabula’, as understood in film theory, into the domain of computer games and accounts for the ways in which the terms can lead to a deepened understanding of the interplay between game and gamer.

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Gladsø, Svein. "Dramaturgi som vitenskap?" Peripeti 16, S9 (2020): 48–55. http://dx.doi.org/10.7146/peri.v16is9.121386.

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Christoffersen, Erik Exe. "Dramaturgi og skuespilkunst." Peripeti 6, no. 12 (2009): 165–73. http://dx.doi.org/10.7146/peri.v6i12.107720.

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Skjoldager-Nielsen, Kim. "Dramaturgi pro forma." Peripeti 5, no. 10 (2008): 105–17. http://dx.doi.org/10.7146/peri.v5i10.110799.

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Christoffersen, Erik Exe. "Remediering og dramaturgi." Peripeti 5, no. 10 (2008): 158–68. http://dx.doi.org/10.7146/peri.v5i10.110804.

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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 s

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Kirana, Nevi Dwi, and Farid Pribadi. "Dramaturgi Di Balik Kehidupan Akun Alter Twitter Dramaturgy Behind Twitter Alter Accounts." Jurnal ISIP: Jurnal Ilmu Sosial dan Ilmu Politik 18, no. 1 (2023): 39–47. http://dx.doi.org/10.36451/jisip.v18i1.65.

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This article discusses the practice of Dramaturgy theory carried by the owners of alter Twitter accounts. In the modern era, communication technology is not only used to facilitate human work. Communication technology is also used to make it easier for humans to interact with each other. That practice of social interaction does not only occur in the real world but also in the virtual world. Many dramaturgical theory practices appear in cyberspace, one example is alter accounts on Twitter. This research uses descriptive qualitative method. The researcher creates a description based on the facts

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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

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Muhammad Ghiyatuddin Islamy and Erik Setiawan. "Dramaturgi Zaenal Akbar sebagai Imam Masjid Al Lathiif." Bandung Conference Series: Public Relations 5, no. 1 (2025): 107–14. https://doi.org/10.29313/bcspr.v5i1.17023.

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Abstract. The role of the imam in the modern era is highly strategic in the religious domain. In addition to leading prayers, the imam serves as a preacher to the mosque's congregation, such as teaching Quran recitation, delivering sermons, and being a role model. The imam's role in the mosque is significant. However, on the other hand, an imam also has a personal life to manage, which means they cannot always meet the often high expectations of the congregation. This can lead to dramaturgy, where the imam carefully prepares how to present himself in the "front stage" as a religious leader, wh

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Hidayati, Mega, and Medhy Aginta Hidayat. "Dramaturgi Identitas Perempuan Penggemar Karya Fiksi Homoseksual (Boys Love) di Indonesia." Jurnal Ilmiah Ilmu Sosial 7, no. 2 (2021): 159. http://dx.doi.org/10.23887/jiis.v7i2.39338.

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Artikel ini mengkaji praktik dramaturgi identitas fujoshi atau perempuan penggemar karya fiksi homoseksual (Boys Love) di Indonesia. Fujoshi adalah istilah bahasa Jepang yang berarti perempuan heteroseksual penggemar cerita fiksi homoseksual. Penelitian ini bertujuan menjelaskan bentuk-bentuk praktik dramaturgi identitas yang dilakukan oleh para fujoshi sebagai perempuan heteroseksual dan sekaligus penggemar karya fiksi homoseksual. Penelitian ini menggunakan pendekatan kualitatif dengan metode netnografi. Data diperoleh melalui observasi terlibat dan wawancara mendalam terhadap 20 fujoshi. Da

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Krøgholt, Ida. "Faciliteringens dramaturgi i affektive rum." Journal for Research in Arts and Sports Education 5, no. 2 (2021): 73–87. http://dx.doi.org/10.23865/jased.v5.3176.

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Denne artikel undersøger facilitering som dramaturgisk kommunikation med fokus på de affektive og kropslige dele af kommunikationen. Facilitering åbner som begreb for en spændvidde af teknikker og tilgange til processer indenfor organisationsledelse, pædagogik og kunstprocesser. I artiklen er begrebet specifikt rettet mod teaterpædagogik men har også generel didaktisk relevans. Gennem analyse af et konkret eksempel på en facilitators ledelse af en kropslig samarbejdsøvelse med en gruppe unge, spørger jeg, hvordan affektteori kan bidrage til at observere og analysere de fintfølende dele af faci

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Østern, Anna-Lena. "«I touch the future – I teach» – en nomadisk tidsreise om dramaturgi i didaktisk kontekst." Journal for Research in Arts and Sports Education 5, no. 2 (2021): 06–23. http://dx.doi.org/10.23865/jased.v5.3219.

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I denne studien spør forfatteren Hva bidrar en lærerutdanners modelltenkning med, knyttet til dramaturgi i didaktisk kontekst i perioden 1998 til 2021? I studien brukes performance writing innenfor et performativt forskningsparadigme som strukturerende tilnærming. Tre dramaturgiske analysemodeller utviklet som dramaturgididaktisk tenkning, utgjør det empiriske materialet i studien. Modellene bærer spor av den reisen forfatteren har gjort som lærerutdanner, og av de møtene med fenomener og mennesker som har vært og er del av reisen. En preliminær dramaturgisk analysemodell, en relasjonell drama

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Rasmussen, Bjørn. "Dramaturgi ut over teaterscenen." DRAMA 58, no. 2 (2021): 74–75. http://dx.doi.org/10.18261/issn.2535-4310-2021-02-17.

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Adorján, Beáta. "A dramaturgi lét aspektusai." Theatron 18, no. 2 (2024): 76–81. https://doi.org/10.55502/the.2024.2.76.

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Langsted, Jørn. "Kunstpolitikkens dramaturgi – version 2." Peripeti 6, no. 12 (2009): 109–13. http://dx.doi.org/10.7146/peri.v6i12.107710.

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Man har ansøgninger fra institutioner, der har fået offentlige tilskud i årevis, og som gør det godt. Og man har ansøgninger fra nogen, der vil gøre noget andet på en anden måde. Hvorfor i himlens navn skal man prioritere det nye og uprøvede i forhold til det stabile og anerkendt gode? Eller hvorfor skal man netop ikke gøre det?

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Thygesen, Mads, and Thomas Rosendal Nielsen. "Dramaturgi som universitetsfag – revisited." Peripeti 16, S9 (2020): 9–19. http://dx.doi.org/10.7146/peri.v16is9.121384.

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Wiseth, Hanne. "Refleksiv dramaturgi som veiviser i kunstpedagogisk arbeid sammen med barnehagebarn." BUKS - Tidsskrift for Børne- & Ungdomskultur 40, no. 68 (2024): 18. https://doi.org/10.7146/buks.v40i68.143603.

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Hensikten med artikkelen er å undersøke, hvordan a/r/tografen sikrer retning og framdrift i et kunstpedagogisk prosjekt i barnehagen, samtidig som barnas deltagelse, medskaping og lek ivaretas. Datamaterialet er hentet fra gjennomføringen av fire utforskende verksteder, der strategier fra egenskapt teater ble anvendt for å utvikle fantasiunivers i samspill med barnehagebarn. I artikkelen analyseres to sekvenser av leksamspill ved bruk av dramaturgisk analyse (Guss, 2017) og dramaturgi som praksis-teori (Knudsen, 2018; Lid, 2018; Szatkowski, 2017, 2019). Analysen viser hvor i forløpet og på hvi

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Gade, Solveig. "In-between Figure Working in a Precarious Field." Nordic Theatre Studies 30, no. 2 (2019): 61–77. http://dx.doi.org/10.7146/nts.v30i2.112952.

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This essay is preoccupied with a notion that is often embraced in theatre and performance theory: that of the dramaturge as a flexible, in-between figure. Taking into consideration, however, the precarious working and living conditions that freelance dramaturgs are typically subjected to as well as the structural parallels between the flexible dramaturg and the ideal of the agile post-Fordist employee, the article sets out to critically investigate the concept of inbetween-ness. Theoretically, the essay draws on theory formations from theatre and performance theory on new dramaturgies as well

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Frey, Heather Fitzsimmons. "Dramaturgy and a Collective Theatre." Canadian Theatre Review 123 (June 2005): 73–78. http://dx.doi.org/10.3138/ctr.123.014.

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For the last four years, I have had the privilege of being the company dramaturge for the Etcetera Theatre Collective (ETC), a small Edmonton company led by Artistic Director Barbra French. The company, whose motto is “a never ending process,” is dedicated to creation-based theatre. Following Peter Hinton’s recent article on dramaturgy in CTR, I identify myself as a dramaturge with some trepidation — he writes, “[Canada] has very few fine dramaturges” (6) — and I know I am still learning and growing in my profession. Yet, I think the ETC collective process makes a worthwhile contribution to th

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Tejawati, Andi, Muhammad Bambang Firdaus, Fahrul Yamani, and M. Khairul Anam. "Rancang Bangun Kamus Digital Dramaturgi Teater Berbasis Android." SIMKOM 6, no. 2 (2021): 75–82. http://dx.doi.org/10.51717/simkom.v6i2.57.

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Teater berkembang dengan baik di Indonesia sebagai sebuah karya seni, dan teater biasanya disebut sebagai drama. Untuk menyajikan pertunjukan yang berkesan, lakon dapat dilihat sebagai salah satu bentuk seni sastra, tetapi tentu saja harus memahami teknik dan metode untuk melakukan, termasuk dramaturgi dan hukum yang ada di atas panggung. Dramaturgi penting karena dapat meningkatkan kinerja seniman. Penelitian ini akan membuat kamus digital yang dapat membantu seniman belajar tentang dramaturgi. Sistem ini dikembangkan dengan menggunakan prosedur prototipe. Penyelidikan ini dilakukan dengan me

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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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Putri, Intan Amelia. "Dramaturgi Penggunaan Second Account Media Sosial Instagram (Studi Pada 4 Mahasiswa Universitas Sriwijaya Pengguna Second Account)." Kaghas: Jurnal Ilmu Komunikasi Universitas Sriwijaya 4, no. 1 (2024): 11–17. https://doi.org/10.47753/kaghas.v4i1.45.

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Penelitian ini berjudul “Dramaturgi Penggunaan Second Account Media Sosial Instagram (Studi pada 4 Mahasiswa Universitas Sriwijaya pengguna Second Account” yang mengangkat permasalahan penggunaan second account berdasarkan konsep teori Dramaturgi dari Erving Goffman dalam bukunya yang berjudul “The Presentation of Self in Everyday Life”. Penelitian ini bertujuan untuk mengetahui bagaimana kehidupan second account Instagram pada keempat mahasiswa berdasarkan konsep Dramaturgi itu sendiri. Penelitian ini menggunakan metode kualitatif dengan teknik deskriptif. Teori ini mengatakan bahwa Dramaturg

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