Doing Dramaturgy: Thinking Through Practice

Acknowledgments
Praise for Doing Dramaturgy
Contents
List of Figures
Chapter 1: Introduction
	1.1 A Paradigm Shift
	1.2 Thinking Through Practice
	1.3 Dramaturgical Sensibility
	1.4 The Making of My Thinking
	1.5 About the Composition of This Book
	References
Part I
	Chapter 2: Thinking Through Practice
		2.1 Lessing and Institutional Dramaturgy
		2.2 The Rise of the Director and Production Dramaturgy
		2.3 Brecht and the Dramaturgical Concept
		2.4 “New Dramaturgy”
		2.5 From Product to Process
		2.6 Making as Thinking Through Composition
		References
	Chapter 3: Doing Dramaturgy
		3.1 Attending to Process
		3.2 Inhabiting Process
			3.2.1 Speculating
			3.2.2 Analyzing
			3.2.3 Feeding
			3.2.4 Articulating
			3.2.5 Questioning
			3.2.6 Creating Conditions
			3.2.7 Structuring
		3.3 From Process to Planet
		3.4 Enter the Dramaturg
		3.5 Where to Begin?
		References
	Chapter 4: A Dramaturgical Mode of Looking
		4.1 The Apparatus
		4.2 Six Sets of Questions
			4.2.1 The Space-Time Continuum That Is the Planet
			4.2.2 Social Life on the Planet
			4.2.3 Course of Events
			4.2.4 Spectatorship
			4.2.5 Echoes, Ghosts, Mirrors and Resonances
			4.2.6 Macro Dramaturgical Concerns
		4.3 Puzzles That Hold The Key
		References
Part II
	Chapter 5: The Ghent Altarpiece—Milo Rau
		5.1 The Small Planet Called The Ghent Altarpiece
			5.1.1 Space-Time
			5.1.2 Social Life
			5.1.3 Course of Events
			5.1.4 Spectatorship
			5.1.5 Mirrors and Ghosts
			5.1.6 Macro Dramaturgical Concerns
		5.2 Beginnings, and from There
		5.3 Thinking Through Practice
		5.4 Doing Dramaturgy
		References
	Chapter 6: Chekhov’s First Play—Dead Centre
		6.1 The Small Planet Called Chekhov’s First Play
			6.1.1 Space-Time
			6.1.2 Social Life
			6.1.3 Course of Events
			6.1.4 Spectatorship
			6.1.5 Mirrors and Ghosts
			6.1.6 Macro Dramaturgical Concerns
		6.2 Beginnings, and from There
		6.3 Thinking Through Practice
		6.4 Doing Dramaturgy
		References
	Chapter 7: Dear Winnie—Jr.cE.sA.r
		7.1 The Small Planet Called Dear Winnie
			7.1.1 Space-Time
			7.1.2 Social Life
			7.1.3 Course of Events
			7.1.4 Spectatorship
			7.1.5 Mirrors and Ghosts
			7.1.6 Macro Dramaturgical Concerns
		7.2 Beginnings, and from There
		7.3 Thinking Through Practice
		7.4 Doing Dramaturgy
		References
	Chapter 8: Complexity of Belonging—Anouk van Dijk and Falk Richter
		8.1 The Small Planet Called Complexity of Belonging
			8.1.1 Space-Time
			8.1.2 Social Life
			8.1.3 Course of Events
			8.1.4 Spectatorship
			8.1.5 Mirrors and Ghosts
			8.1.6 Macro Dramaturgical Concerns
		8.2 Beginnings, and from There
		8.3 Thinking Through Practice
		8.4 Doing Dramaturgy
		References
	Chapter 9: Lazarus—Ivo van Hove
		9.1 The Small Planet Called Lazarus
			9.1.1 Space-Time
			9.1.2 Social Life
			9.1.3 Course of Events
			9.1.4 Spectatorship
			9.1.5 Mirrors and Ghosts
			9.1.6 Macro Dramaturgical Concerns
		9.2 Beginnings, and from There
		9.3 Thinking Through Practice
		9.4 Doing Dramaturgy
		References
	Chapter 10: Le Corps du Ballet—EG|PC
		10.1 The Small Planet Called Le Corps du Ballet
			10.1.1 Space-Time
			10.1.2 Social Life
			10.1.3 Course of Events
			10.1.4 Spectatorship
			10.1.5 Mirrors and Ghosts
			10.1.6 Macro Dramaturgical Concerns
		10.2 Beginnings, and from There
		10.3 Thinking Through Practice
		10.4 Doing Dramaturgy
		References
	Chapter 11: Estado Vegetal—Manuela Infante
		11.1 The Small Planet Called Estado Vegetal
			11.1.1 Space-Time
			11.1.2 Social Life
			11.1.3 Course of Events
			11.1.4 Spectatorship
			11.1.5 Mirrors and Ghosts
			11.1.6 Macro Dramaturgical Concerns
		11.2 Beginnings, and from There
		11.3 Thinking Through Practice
		11.4 Doing Dramaturgy
		References
	Chapter 12: Conversations (at the end of the world)—Kris Verdonck
		12.1 The Small Planet Called Conversations (at the end of the world)
			12.1.1 Space-Time
			12.1.2 Social Life
			12.1.3 Course of Events
			12.1.4 Spectatorship
			12.1.5 Mirrors and Ghosts
			12.1.6 Macro Dramaturgical Concerns
		12.2 Beginnings, and from There
		12.3 Thinking Through Practice
		12.4 Doing Dramaturgy
		References
	Chapter 13: Phobiarama—Dries Verhoeven
		13.1 The Small Planet Called Phobiarama
			13.1.1 Space-Time
			13.1.2 Social Life
			13.1.3 Course of Events
			13.1.4 Spectatorship
			13.1.5 Mirrors and Ghosts
			13.1.6 Macro Dramaturgical Concerns
		13.2 Beginnings, and from There
		13.3 Thinking Through Practice
		13.4 Doing Dramaturgy
		References
	Chapter 14: All Inclusive—Julian Hetzel
		14.1 The Small Planet Called All Inclusive
			14.1.1 Space-Time
			14.1.2 Social Life
			14.1.3 Course of Events
			14.1.4 Spectatorship
			14.1.5 Mirrors and Ghosts
			14.1.6 Macro Dramaturgical Concerns
		14.2 Beginnings, and from There
		14.3 Thinking Through Practice
		14.4 Doing Dramaturgy
		References
	Chapter 15: WAR (Ein Kriegstanz)—Amanda Piña
		15.1 The Small Planet Called WAR (Ein Kriegstanz)
			15.1.1 Space-Time
			15.1.2 Social Life
			15.1.3 Course of Events
			15.1.4 Spectatorship
			15.1.5 Mirrors and Ghosts
			15.1.6 Macro Dramaturgical Concerns
		15.2 Beginnings, and from There
		15.3 Thinking Through Practice
		15.4 Doing Dramaturgy
		References
	Chapter 16: Kamp—Hotel Modern
		16.1 The Small Planet Called Kamp
			16.1.1 Space-Time
			16.1.2 Social Life
			16.1.3 Course of Events
			16.1.4 Spectatorship
			16.1.5 Ghosts and Mirrors
			16.1.6 Macro Dramaturgical Concerns
		16.2 Beginnings, and from There
		16.3 Thinking Through Practice
		16.4 Doing Dramaturgy
		References
	Chapter 17: SPEAK!—Sanja Mitrović
		17.1 The Small Planet Called SPEAK!
			17.1.1 Space-Time
			17.1.2 Social Life
			17.1.3 Course of Events
			17.1.4 Spectatorship
			17.1.5 Mirrors and Ghosts
			17.1.6 Macro Dramaturgical Concerns
		17.2 Beginnings, and from There
		17.3 Thinking Through Practice
		17.4 Doing Dramaturgy
		Reference
	Chapter 18: I am LGB—The LGB Society of Mind
		18.1 The Small Planet Called I am LGB
			18.1.1 Space-Time
			18.1.2 Social Life
			18.1.3 Course of Events
			18.1.4 Spectatorship
			18.1.5 Mirrors and Ghosts
			18.1.6 Macro Dramaturgical Concerns
		18.2 Beginnings, and from There
		18.3 Thinking Through Practice
		18.4 Doing Dramaturgy
		References
Chapter 19: Epilogue
	References
Index