Dramaturg Jane Barnette has put together an essential guide for theatre scholars and practitioners seeking to understand and participate in the process of adaptation for the stage. Employing the term “adapturgy”—her neologism for the art of adaptation dramaturgy—Barnette redefines the dramaturg’s role and thoroughly refutes the commonplace point of view that adapted works are somehow less creative than “original” plays.
The dual nature of dramaturgy and adaptation as both process and product is reflected in the structure and organization of the book. Part 1 explores the ways that linking adaptation to dramaturgy advances our understanding of both practices. Part 2 demonstrates three different methods—each grounded in a detailed case study—for analyzing theatrical adaptations. Part 3 offers concrete strategies for the dramaturg: dramaturgy for the adapted script; the production dramaturgy of stage adaptations; and the role of the dramaturg in the postmortem for a production. Rounding out the book are two appendixes containing interviews with adapters and theatre-makers and representative program notes from different play adaptations.
Plays adapted from literature and other media represent a rapidly growing part of the theatre. This book offers both practical and theoretical tools for understanding and creating these new works.
Dramaturgy in Motion innovatively examines the work of the dramaturg in contemporary dance and movement performance. Katherine Profeta, a working dramaturg for more than fifteen years, shifts the focus from asking “Who is the dramaturg?” to “What does the dramaturg think about?”
Profeta explores five arenas for the dramaturg’s attention—text and language, research, audience, movement, and interculturalism. Drawing on her extended collaboration with choreographer and visual artist Ralph Lemon, she grounds her thinking in actual rehearsal-room examples and situates practice within theoretical discourse about contemporary dramaturgy. Moving between theory and practice, word and movement, question and answer until these distinctions blur, she develops the foundational concept of dramaturgical labor as a quality of motion. Dramaturgy in Motion will be invaluable to practitioners and scholars interested in the processes of creating contemporary dance and movement performance—particularly artists wondering what it might be like to collaborate with a dramaturg and dramaturgs wondering what it might be like to collaborate on movement performance. The book will also appeal to those intrigued by the work of Lemon and his collaborators, to which Profeta turns repeatedly to unfold the thorny questions and rich benefits of dramaturgical labor.