In the first exhaustive history of the origins of dramaturgs and literary managers--people who act as advisers and play-doctors at today's theatres, Mary Luckhurst examines the major theorists and practitioners, arguing that Brecht, Granville Barker and Tynan have central roles in this history. Contentious figures, often accused of sinister intent, the numbers of dramaturgs have multiplied considerably in the last decades. This study inquires as to the political and cultural agendas behind this revolution, and whether dramaturgs are mentors or censors.
Author(s): Mary Luckhurst
Series: Cambridge Studies in Modern Theatre
Publisher: Cambridge University Press
Year: 2006
Language: English
Pages: 312
Cover......Page 1
Half-title......Page 3
Series-title......Page 5
Title......Page 7
Copyright......Page 8
Dedication......Page 9
Dramaturgy: A Revolution in Theatre......Page 10
Contents......Page 11
Illustrations......Page 12
Acknowledgements......Page 13
Abbreviations......Page 15
1 Introduction......Page 17
Definitions and functions......Page 21
Dramaturgical functions and functionaries 1576–1800......Page 28
Notes......Page 34
The National Theatre in Hamburg and Lessing's appointment......Page 40
The Hamburg Dramaturgy......Page 45
Lessing's legacy......Page 53
Notes......Page 57
Literary administration and the (actor-)manager 1800–1900......Page 61
Playreaders and literary advisers 1800–1900......Page 65
Dramatic criticism......Page 72
Research......Page 74
In-house criticism......Page 75
The promotion of the playwright......Page 78
Playwrights and the rehearsal process......Page 81
Privileging the literary: the rise of avant-garde theatre......Page 82
Notes......Page 86
The background to the Blue Book......Page 94
The Blue Book and the literary manager......Page 97
The exemplary theatre......Page 104
The national theatre revisited......Page 114
Notes......Page 118
5 Bertolt Brecht: the theory and practice of the dramaturg......Page 125
Der Messingkauf......Page 126
Beyond Der Messingkauf......Page 134
Collaboration and experimentation before 1949......Page 136
The foundation of the Berliner Ensemble......Page 142
Organisation and training at the Berliner Ensemble......Page 144
Post-Brechtian practice and the Berliner Ensemble......Page 154
Reception in the West......Page 156
Notes......Page 159
6 Kenneth Tynan and the National Theatre......Page 168
The founding of the National Theatre and its board......Page 169
Tynan and the idea of the dramaturg......Page 172
Tynan in post......Page 177
Tynan as educator......Page 181
The Tynan–Olivier partnership......Page 189
Tynan and the politics of the rehearsal room......Page 192
The crisis: Hochhuth's Soldiers......Page 196
Betwixt and between: 1968–1973......Page 202
Tynan's legacy......Page 205
Notes......Page 208
The silent revolution......Page 216
New writing......Page 218
The professionalisation of dramaturgical functions......Page 220
Dramaturgs and the politics of identity......Page 223
Creative and cultural interventions: the D-word......Page 226
Academic and industry training......Page 232
Case histories......Page 235
The National Theatre......Page 236
The Royal Court......Page 240
The Royal Shakespeare Company......Page 247
Case studies: the regions......Page 252
The Birmingham Rep......Page 253
Liverpool Everyman Theatre and the Liverpool Playhouse......Page 255
The Royal Exchange Theatre, Manchester......Page 258
The Stephen Joseph Theatre......Page 260
The Theatre Writing Partnership, East Midlands......Page 266
Notes......Page 268
8 Conclusion......Page 279
Note......Page 283
Interviews conducted by the author......Page 284
Other materials......Page 285
Printed materials......Page 286
Books......Page 289
Film, video and television......Page 301
Index......Page 302
