Aural/Oral Dramaturgies: Theatre in the Digital Age focuses on the ‘aural turn’ in contemporary theatre-making, examining a number of seemingly disparate trends that foreground speech and sound -- ‘post-verbatim’ theatre, 'amplified storytelling' (works using microphones and headphones), and ‘gig theatre’ that incorporates live music performance.
Its main argument is that the dramaturgical underpinnings of these works contribute to an understanding of theatre as an extra-literary activity, greater than the centrality of the script that traditionally dominated many historical discussions. This quality is usually expressed in terms of the corporeality in dance and physical theatre, but the aural/oral turn gives an alternative viewpoint on the interplay between text and performance. The book's case studies draw on the ways in which a range of theatre companies engage with the dramaturgy of speech and sound in their work. It is further accompanied by a specially curated collection of digital resources, including interviews, conversations, and presentations from artists and academics.
This is a key text for scholars, students, and practitioners of contemporary performance, and anyone working with dramaturgies of orality and aurality in today’s performance environment.
Author(s): Duška Radosavljević
Publisher: Routledge
Year: 2022
Language: English
Pages: 241
City: London
Cover
Half Title
Title Page
Copyright Page
CONTENTS
Preface
Acknowledgements
1. Introduction(s): The Difficult Second Album
Side A: Literature Review
Track 01: Overture: Premises
Track 02: Context: The Aural/Oral Dramaturgies (A/OD) Project
Track 03: Changing Trends
Track 04: Research Methodology: A Long View of Institutional Knowledge Production
Track 05: Intersections: Dramaturgy, Speech, and SoundI
Side B: Methodology
Track 06: Methodology: A Genealogical Retro-Articulation
Track 07: Embracing Contradictions
Track 08: Relational Ethnography
Track 09: Towards a Dramaturgical Research Methodology: A Close View
Track 10: How to Read This Book
Hidden Track: COVID-19 Coda
2. Post-Verbatim
Genealogies of Verbatim Theatre: A Brief Recap and an Ethnographic Addendum Although
Reconfiguring Critique through Performative Ethnography
Counterpoint: A Performative Intervention
Towards Post-Verbatim Theatre: Holding onto Contradictions
Polyphonic Insights
3. Amplified Storytelling
Exposition
Emplotment: From Gusle to Gestalt
Culmination: Form vs Content
Peripeteia: Exploding the Narrative
Resolution
4. Gig Theatre
Gig Theatre: The Term
Historicising Gig Theatre 1: Storytelling, Punk, and Genre
Historicising Gig Theatre 2: Rock Against Racism
Historicising Gig Theatre 3: DIY and Dramaturgy
Gig Theatre and Dramaturgy
Gig Theatre and (Rave) Culture
5. Conclusion(s): Aural/Oral Dramaturgies in the Digital Age
The A/OD Case Studies: Notes on a Polyphonic Methodology
Paradigmatic Questions
‘Bottom Up’: Dramaturgy of Layering
The Disruption of Closure: Dramaturgy of Methexis
Enmeshment vs Immersion: Dramaturgy of Intersubjectivity
Epilogue: Liminalities
Appendices
Appendix 2.1: Anna Deavere Smith: Notes from the Field
Appendix 2.2: SKaGeN: Pardon/In Cuffs
Appendix 2.3: Dead Centre: Lippy
Appendix 2.4: Milo Rau: Five Easy Pieces
Appendix 2.5: Lola Arias: Minefield
Appendix 3.1: Kieran Hurley: Heads Up
Appendix 3.2: Kieran Hurley: Beats
Appendix 3.3: Nassim Soleimanpour: Blind Hamlet
Appendix 3.4: Rachel Mars: Our Carnal Hearts
Appendix 3.5: Ontroerend Goed: World Without Us
Appendix 3.6: Dead Centre: Chekhov’s First Play
Appendix 4.1: RashDash: Another Someone
Appendix 4.2: Lucy McCormick: Triple Threat
Appendix 4.3: Lucy McCormick: Post-Popular
Appendix 4.4: Beatbox Academy: Frankenstein
Appendix 4.5: nabokov: Symphony
Appendix 4.6: Wildcard Theatre: Electrolyte
Appendix 4.7: RashDash: Two Man Show
Appendix 4.8: Unfolding Theatre: Putting the Band Back Together
Appendix 4.9: Taylor Mac: A 24-Decade History of Popular Music: The First Act
Lend Me Your Ears Collection
Index
