"A theatre which is able to speak to each spectator in a different and penetrating language is not a fantastic idea, nor a utopia. This is the theatre for which many of us, directors and leaders of groups, trained for a long time....." - from the Introduction On Directing is Eugenio Barba's unprecedented account of his own life and work. This is a major retrospective of Barba's working methods, his practical techniques, and the life experiences which fed directly into his theatre-making. On Directing is an inspirational resource. It is a dramaturgy of dramaturgies, and a professional autobiography, from one of the most significant and influential directors and theorists working today. It provides unique insights into a philosophy and practice of directing for the beginning student, the experienced practitioner, and everyone in between.

Dramaturgy of Form examines verse in twenty-first-century theatre practice across different languages, cultures, and media. Through interdisciplinary engagement, Kasia Lech offers a new method for verse analysis in the performance context. The book traces the dramaturgical operation of verse in new writings, musicals, devised performances, multilingual dramas, Hip Hop theatre, films, digital projects, and gig theatre, as well as translations and adaptations of classics and new theatre forms created by Irish, Spanish, Nigerian, Polish, American, Canadian, Australian, British, Russian, and multinational artists. Their verse dramaturgies explore timely issues such as global identities, agency and precarity, global and local politics, and generational and class stories. The development of dramaturgy is discussed with the focus turning to the new stylized approach to theatre, whose arrival Hans-Thies Lehmann foretold in his Postdramatic Theatre, documenting a turning point for contemporary Western theatre. Serving theatre-makers, scholars, and students working with classical and contemporary verse and poetry in performance contexts; practitioners and academics of aural and oral dramaturgies; voice and verse-speaking coaches; and actors seeking the creative opportunities that verse offers, Dramaturgy of Form reveals verse as a tool for innovation and transformation that is at the forefront of contemporary practices and experiences.

What is physical dramaturgy? While the traditional dramaturg shares research intellectually, the physical dramaturg does so viscerally and somatically. By combining elements of text, history, dramatic structure, and the author’s intent with movement analysis and physical theatre pedagogies, the physical dramaturg gives actors the opportunity to manifest their work in a connected and intuitive manner and creates a field that is as varied and rich as the theatre itself. Physical Dramaturgy: Perspectives from the Field explores the ways in which this unique role can benefit the production team during the design and rehearsal phases of both traditional and devised productions. Individual chapters look at new ways of approaching a wealth of physical worlds, from the works of Shakespeare and other period playwrights to the processes of Jerzy Grotowski, Lloyd Williamson, Richard Schechner, and Michael Chekhov, and devising original works in a variety of contexts from Pig Iron, Dell’Arte International, Bill Bowers and mime, Tectonic Theater Project, and Liz Lerman’s Dance Exchange. This anthology gives dramaturgs, actors, and directors new ways of looking at existing methods and provides examples of how to translate, combine, and adapt them into new explorations for training, rehearsal, or research.

""A theatre which is able to speak to each spectator in a different and penetrating language is not a fantastic idea, nor a utopia. This is the theatre for which many of us, directors and leaders of groups, trained for a long time....."" - from the Introduction. On Directing is Eugenio Barba's unprecedented account of his own life and work. This is a major retrospective of Barba's working methods, his practical techniques, and the life experiences which fed directly into his theatre-making. On Directing is an inspirational resource. It is a dramaturgy of dramaturgies, and a professional autobiog.

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

Dramaturgy: A Revolution in Theatre is a substantial history of the origins of dramaturgs and literary managers. It frames the explosion of professional appointments in England within a wider continental map reaching back to the Enlightenment and eighteenth-century Germany, examining the work of the major theorists and practitioners of dramaturgy, from Granville Barker and Gotthold Lessing to Brecht and Tynan. This study positions Brecht's model of dramaturgy as central to the worldwide revolution in theatre-making practices, and it also makes a substantial argument for Granville Barker's and Tynan's contributions to the development of literary management. With the territories of play and performance-making being increasingly hotly contested, and the public's appetite for new plays showing no sign of diminishing, Mary Luckhurst investigates the dramaturg as a cultural and political phenomenon.

This groundbreaking book moves beyond the conventional association of dramaturgy with plays to consider the substance and process of dramaturgy for dance and movement performance. Focusing on text and language, research, audience, movement, and interculturalism, the author provides vivid, practical examples from her collaboration with renowned choreographer Ralph Lemon.

Thomas Ostermeier is the most internationally recognised German theatre director of the present. With this book, he presents his directorial method for the first time. The Theatre of Thomas Ostermeier provides a toolkit for understanding and enacting the strategies of his advanced contemporary approach to staging dramatic texts. In addition, the book includes: Ostermeier’s seminal essays, lectures and manifestos translated into English for the first time. Over 140 photos from the archive of Arno Declair, who has documented Ostermeier’s work at the Schaubühne Berlin for many years, and by others. In-depth ‘casebook’ studies of two of his productions: Ibsen’s An Enemy of the People (2012) and Shakespeare’s Richard III (2015) Contributions from Ostermeier’s actors and his closest collaborators to show how his principles are put into practice. An extraordinary, richly illustrated insight into Ostermeier’s working methods, this volume will be of interest to practitioners and scholars of contemporary European theatre alike.

"Diversity, Inclusion and Representation in Contemporary Dramaturgy offers fresh perspectives on how dramaturgs can support a production beyond rigid disciplinary expectations about what information and ideas are useful and how they should be shared. The sixteen contributors to this volume offer personal windows into dramaturgy practice, encouraging theater practitioners, students, and general theater-lovers to imagine themselves as dramaturgs newly inspired by the encounters and enquiries that are the juice of contemporary theater. Each case study is written by a dramaturg whose body of work explores important issues of race, cultural equity, and culturally-specific practices within a wide range of conventions, venues, and communities. The contributors demonstrate the unique capacity of their craft to straddle the ravine between stage and stalls, intention and impact. By unpacking, in the most up-to-date ways, the central question of "Why this play, at this time, for this audience?," this collection provides valuable insights and dramaturgy tools for scholars and students of Dramaturgy, Directing and Theatre Studies"--

Since its release in 2010, Ghost Light: An Introductory Handbook for Dramaturgy has become the international standard for dramaturgy training and practice. As the field of dramaturgy continues to shift and change, this new edition prepares theatre students and practitioners to create powerful, relevant performances of all types.