Page numbers in italics denote figures.
action 9, x, xi, xv, 5, 49–70; anatomy of an action 55, 56–59; of the author 64–65; complete actions 53–55; finding an 59–61; in full dramaturgical workup 76; human “doings” 6–8, 63; language as symbolic/Burke’s legacy 69–70; linking to form 47–48; overview 6–8; rehearsal work/action analysis 102–103; spheres of action/theatres 65–69, 67; Stanislavski’s legacy 61–63; structure of 108–109; as a term of art 49–53
action beats 26
action painting xiv
actors 6–8, 10, 24, 60–61; rehearsal work 102–103; see also playscripts: acting edition; Stanislavski System
Aeschylus xiii; Oresteia xv, 67
agency 52
American Laboratory Theatre 49
American Repertory Theatre (A.R.T.) 5, 40, 79, 80
analysis see plot-bead diagrams
analytical/critical thinking 9–11
archiving production materials 105
Aristophanes, Thesmophoriazusae xiii
Aristotle x, xv, 3, 18, 25, 42, 55; anatomy of an action 55, 56–59; complete action 54, 55, 65; praxis 9, 5, 47, 49–51, 55, 65, 102; Peri Psyches (De Anima) 55, 58, 61; The Poetics 5, 17, 21–22, 47–48, 49–51, 54, 55
Arrabal, Fernando xii
Augustine, Saint, Confessions 18, 19, 22
Auletta, Robert 102
authors see playwrights
Beckett, Samuel xii, 40, 86; Breath 22; Endgame xv; Rough for Theatre II 4, 41–47, 42
Belgrader, Andrei 102
Berc, Shelley 102
Bergman, Ingmar 98
Bogart, Anne xiv
Boleslavsky, Richard 49
boulevard xiii
Brecht, Bertolt 86
Breuer, Lee xiv; Red Horse Animation xv; Shaggy Dog Animation xiii
Brook, Peter 98
Brustein, Robert 5
Burke, Kenneth 49, 51–52; legacy 69–70; A Grammar of Motives 52
Byrd Hoffman School of Byrds xii
Café La Mama E.T.C. xii
causation 60
cause: efficient 63; formal 24, 62, 103; material 64
Chaikin, Joseph xii
character xi, 7, 59, 60, 62, 96, 102–103
Chekhov, Anton 62
Childs, Lucinda 37
collaboration 11
Comédie Française xii
Commedia dell’arte xiii
Corneille, Pierre xii
crisis in action 54
cubism xiv
cultural responsibility 99–100
cuts 76
Dante Alighieri 50; moto spiritale 55, 65; Purgatorio 18
de Kooning, Willem xiv
de Man, Paul 7
Derrida, Jacques 7
Dewey, John, Art as Experience 51
dialogue 19, 26–27, 79–80, 108; its relation to action 47, 52, 60, 69–70
dianoia 56
directors x, 2–3, 61; auteur-directors 64, 99; during production process 78, 98, 105; structural conflicts of 9–12
Donnellan, Declan 98
dramatourgos, as term 2
Dramaturgical Moment 74
dramaturg 1–2, 72–74, 101; as custodian of form 24, 40, 103; as playwright’s advocate 12, 100, 103, 106; as in-house critic 2, 79, 105; relationship with director 9–12, 105; see also dramaturgy; production dramaturgy
dramaturgy 1–12; basic principles of x–xii, 3–8, 4; applying the principles of 8–9; as term 2, 72; see also action; form; production dramaturgy
duration 3, 14, 17, 19–25, 27, 36; unit of duration 3, 19–20, 25, 45
editing, text 76
Eliot, T.S. x
episodes, as term 26
essay writing 74
Esslin, Martin 84
Feydeau, Georges, Occupe-toi d’Amélie xiii
Fergusson, Francis 49–50, 55, 65, 79
fictional actions xi, xiii–xiv, 6–7, 53, 64–65, 103, 109
Foreman, Richard xii–xiii, xiv, 4; Pandering to the Masses xiii
form 9, x, 3–6, 13–48, 84; beginnings and endings 22–24; and content confusions 14–17, 15, 16; linking to action 47–48; and production process 79; in the theatre 13–14; “formal cause” 24, 62, 103; see also time; duration; plot-bead diagrams; unity, aesthetic
formalism 13
Foucault, Michel 37
freedom see artistic freedom
French scenes 26
Genet, Jean xii
Gehry, Frank xii
Goethe, Johann Wolfgang von xiii, 90, 93
Goldoni, Carlo xiii
Gorki, Maxim 62
Graham, Martha x
Greenberg, Clement xiv
Hall, Peter 98
Harvard University, Institute for Advanced Theatre Training 9, 11, 83
histrionic sensibility 60, 76, 79, 103
Hornby, Richard, The End of Acting 61
Ibsen, Henrik xiii, 81–82; Ghosts 82; When We Dead Awaken 4, 25, 40–41; The Wild Duck 82
Ionesco, Eugène xii; The Bald Soprano 46, 84–87, 85, 91
Jarry, Alfred, Ubu Roi xiii
Kleist, Ewald Christian von 94
Laclos, Pierre Cholderlos de, Les Liaisons Dangeureuses 40
La Fontaine, Jean de xii
Lamartine, Alphonse de xii
language as symbolic action 69–70
LeCompte, Elizabeth xiv
Lessing, Gotthold Ephraim 19; Hamburgische Dramaturgie 2; Laocoön 3, 14, 22; Minna von Barnhelm 80–84, 86, 87–97, 88, 89, 103
Lewis, Irene 102
literary criticism 7, 13, 64, 77
literary managers 8
Literary Managers and Dramaturgs of the Americas (L.M.D.A.) 77
Lupa, Krystian 98
Magruder, James 102
Marthaler, Christoph 98
mathema 58
McHugh, Heather, Not a Prayer 108
Meyerhold, Vsevolod 62
Michelangelo: “Captive Slaves” 15–16, 16; David 15, 15–17; poetry 15–16
Miller, Arthur xiii
mimesis 21, 59; mimesis praxeos 49–50
Mnouchkine, Ariane 98
Molina, Tirso de xiii
Müller, Heiner, CIVIL warS, “Cologne Section” (and Robert Wilson) 40, 80, 96; Alcestis 40; Quartet 40
Naturalism 62
objectives 61
orexis 56
Ouspenskaya, Maria 49
Papp, Joe xii
performance events 3, 24, 34–35
Pirandello, Luigi, Six Characters in Search of an Author 65
playscripts: acting edition 100–101; first readings of 79–80; new play development 2, 8, 101, 108–109
playwrights 76, 88, 106; action of 64–65, 102–103; dramaturgy principles for 108–109; as term 2
plot xv, 5–6, 19, 22, 34, 51, 54; and story, distinction between 17, 28, 80, 81–87, 85
plot-bead diagrams ix; beginnings 23; in full dramaturgical workup 75–76; hinges between beads 31, 91–94; overview 3–4, 4, 24–26, 25; for playwrights 108–109; Wuhan chicken analogy 26–28; The Bald Soprano, Eugène Ionesco 84–87, 85; Einstein on the Beach, Robert Wilson 34–41, 37, 38; Julius Caesar, William Shakespeare 28–34, 29, 33, 45–46; Minna von Barnhelm, Gotthold Ephraim Lessing 87–93, 88, 89; Rough for Theatre II, Samuel Beckett 41–47, 42
Pollock, Jackson xiv
postdramatic xi–xii, xiii, 4, 86
praxis 9, 5, 47, 49–51, 55, 65, 102; see also action
presentational theatre xiii–xv, 6, 64–65
process 78–101; artistic freedom and copyright 99–102; prologue/overview 78–79; (1) reading the play 79–80; (2) gist/backstory and plot 80–87, 85; (3) plot-bead diagrams (script breakdown and analysis) 87, 88, 89; (4) sources outside the play 93–97; (5) the “take” on the play 97–100; (6) the acting edition 100–101; (7) rehearsal work/action analysis 102–103; (8) disseminating dramaturgical information 103–104; (9) tech and previews 104–105; (10) archiving production materials 105
production dramaturgy 8–12, 72–107; blueprint for 72–73; disseminating information 103–104; full dramaturgical workup 75–78; making a difference 106–107; skills needed for 73–74; structural conflicts of 9–12; see also process
psyche 51, 54–56, 59–60, 65–66; in relation to soma 66
Public Theater xii
purpose 52
Racine, Jean xiii
Rapoport, I.M. 51
Realism 9, xi, xiii–xiv, 5, 6, 53, 61–62
representational theatre xiii–xv, 5, 6, 64
research 76–78; see also context
rituals xv; of beginning and end 22–24
Ronconi, Luca 98
Rostand, Edmond xii
Rothko, Mark xiv
Saint Mark’s Church-in-the-Bowery xii
Scarry, Elaine, Dreaming by the Book 108, 109
scenes 25–26, 52, 56–57, 62, 64, 92; in Shakespeare 28, 32
Schiller, Friedrich xiii
script doctors 1
scripts see playscripts
sequence charts 35
Serban, Andrei 98
setting 5
Shakespeare, William xiii, 83; Hamlet 57, 98; Julius Caesar 28–34, 29, 33, 45–46; Measure for Measure 43
Shepard, Sam xiii
soma 66
Sophocles xiii; Oedipus Tyrannos 81–82
Souter, Camille xiv
Stanislavski, Konstantin 7, 10, 51, 60–61, 65, 106; legacy 61–63; An Actor Prepares 26–27, 63; Creating a Role 10
Stanislavski System 26, 49–50, 61–62, 66, 103
Stein, Peter 98
Stewart, Ellen xii
story 4, 14, 27, 34; and plot, distinction between 17, 28, 80, 81–87, 85
Strehler, Giorgio 98
Strindberg, August xiii
Sutton, Sheryl 37
Szell, George 24
technique x
Terence xiii
text issues 76
Théâtre du Soleil 98
Théâtre National Populaire xii
Theatre of the Absurd 84
theatres see spheres of action
Theatre Workshop 51
time xv, 3–4, 17, 90; aesthetic scale 21–22; duration 19–22, 24; faculty 18; as medium of the theatre 18–19; rituals of beginnings and endings 22–24; units of 17, 19–20; see also plot-bead diagrams
unity, aesthetic 21–22, 50–51, 90, 102, 109
Vakhtangov, Eugene 62
van Itallie, Jean-Claude xii
Variety xi
Vega, Lope de xiii
verisimilitude xiv
Villon, François xii
visuality 5
Warner, Deborah 98
Warrilow, David 40
Wilson, Robert xii, 4, 5–6, 19, 63, 86, 98; CIVIL warS, “Cologne Section” (and Heiner Müller) 40, 80, 96; Einstein on the Beach xiii, 34–40, 37, 38; The Golden Windows 40; KA Mountain 22; knee plays analogy 27; When We Dead Awaken 40–41
Wooster Group, The 4
Zigler, Scott 103