Dance, Music and Dramaturgy: collaboration plan and dramaturgical apparatus

Dance, Music and Dramaturgy: collaboration plan and dramaturgical apparatus – The unfolding of the concept of dramaturgy and the problematics of contemporary choreography are, today, a vast and diverse field of research, bearing numerous disclosures that lead to their reciprocal implication. Apart from that, dance and music share significant complementary ties allowing for the consideration of a common compositional inquiry. Reflecting on the compositional processes of dance and music, this article cross-examines the collaboration between choreographers and composers, integrating the incidence of dramaturgy in the strategies of choreographic and musical composition

'The show must go on': Event dramaturgy as consolidation of community

Event dramaturgy and cultural performance have not been examined in the literature from a strategic standpoint of fostering the social value of events. Thus, the purpose of this study was to explore the case of the Water Carnival, a celebratory event in a rural community of Southwest Texas, demonstrating the essence of this event as a symbolic social space, wherein event participants instantiate a shared and valued sense of community. A hermeneutical approach was employed, interpreting the event and its symbolisms as a text, combined with findings from ethnographic fieldwork, including participant observation, in-depth interviews and analysis of archival documents. The study examines the ways that dramaturgy in the Water Carnival helps frame the ongoing public discourse for community improvement and enhances social capital. The implications of the study for social leverage of events are discussed. It is suggested that a foundation for strategic social planning is the understanding of events as symbolic social spaces and their embeddedness in community development, which can be accomplished when events are pertinent to public discourse, address community issues, represent an inclusive range of stakeholders, and promote cooperation

Adoption of managerial innovations: effect of adoption rationales on the adoption process

The aim of the research is to explore the complex phenomenon of the adoption of managerial innovations by organisations, with an attempt to identify relationships between various elements of this process. Four case studies were compiled using interview data from selected managers. The data provided a means of subjecting the rationales that Sturdy (2004) posited for the adoption of managerial innovations to empirical inquiry. The study also seeks to explore how the identified rationales may relate to two main characteristics of the subsequent adoption process, namely, the timing of adoption in the life cycle of the innovation and how long the adoption process takes. To our knowledge, this study represents the first empirical exploration of the adoption rationales posited by Sturdy and their subsequent impact on the adoption process. The findings of the study will be of value to academics interested studying the adoption of managerial innovations and also practising managers who must make adoption decisions and manage the adoption process. It is recognised that the study is exploratory in nature and suggestions for further research are proposed

The tactical mimicry of social enterprise strategies: acting ‘as if’ in the everyday life of third sector organizations

Using England as a paradigmatic case of the „enterprising up ‟ of the third sector through social enterprise policies and programs, this article sheds light on resistance as enacted through dramaturgical identification with government strategies. Drawing from a longitudinal qualitative research study, which is interpreted via Michel de Certeau‟s theory of the everyday, we present the case study of Teak, a charitable regeneration company, to illustrate how its Chief Executive Liam „acted as ‟ a social entrepreneur in order to gain access to important resources. We establish „tactical mimicry ‟ as a sensitizing concept to suggest that third sector practitioners ‟ identification with the normative premises of „social enterprise ‟ is part of a parasitical prosaics geared toward appropriating public money. While tactical mimicry conforms to strategies only in order to exploit them, its ultimate aim is to increase potentials of collective agency outside the direct influence of power. The contribution we make is threefold: first, we extend the recent debate on productive resistance by highlighting how „playing the game ‟ without changing existing relations of power can nevertheless produce largely favorable outcomes. Second, we suggest that recognition of the productive potential of tactical mimicry requires methodologies which pay attention to the spatial and temporal dynamics of resistance. And third, we argue that explaining „social enterprise‟ without consideration of the non-discursive, mainly financial resources made available to those who identify with it, necessarily risks overlooking a crucial element of the dramaturgical dynamic of discourse

More than putting on a performance in commercial homes: merging family practices and critical hospitality studies

Critical hospitality studies and family studies have shown a developing theoretical convergence predicated by the ‘social turn’ in the study of hospitality. Recent hospitality research on ‘Commercial Homes’ has drawn strongly on Goffman's concept of performance to examine both guest and host behaviours. In contrast, this article introduces the family studies concept of ‘displaying families’. This concept emphasises the family practices of host families as well as the commercial practices privileged in studies of hospitality. It also widens the often individualised focus on the (adult) host(s) to one that incorporates the host family. Drawing on empirical evidence, it appears that, for the hosts, displaying families in Commercial Homes is a complex and, apparently paradoxical, mix of presentation and reticence – the family has to be highly visible but not publicly privileged over guests. The inclusion of the concept of display will serve to illuminate further the arenas where family, commercial and hospitality practices intersect

The Transition of Dramaturgy During Pandemic: From Staging to Streaming

This study discusses the transition of performances dramaturgy during the Covid-19 pandemic from analog to digital formats, from live performances commonly called staging to mediated performances which can be called performance streaming. The aim of study is to understand the application of ‘dramaturgical tactics’; and the reasons. Applying the dramaturgical analysis method investigation is directed at the transformation process from the basic concept of the performance to the practice of its presentation. The research departs from the premise that a dramaturgical process, namely the pre-production, production, and presentation of performance is permanently connected by a dramaturgical awareness. The analysis was carried out: (1) the idea of streaming; (2) performance technique; and (3) the form of performance streaming. Research shows that the critical changes in dramaturgy during the pandemic were triggered by the necessity to shift the mode of performance from staging to streaming, resulting in three dramaturgical awareness about transition, namely: (1) medium: from analog to digital performance; (2) creativity: from performer to content creator; and (3) the spectatorship: from spectator to voyeur. Perubahan Dramaturgi di Masa Pandemi: Dari Pementasan ke Siaran. Artikel ini membahas perihal transisi dramaturgi pertunjukan di masa pandemi Covid-19 dari format analog ke format digital, dari moda pertunjukan langsung yang lazim dinamakan pementasan ke pertunjukan termediasi yang dapat dinamakan siaran pertunjukan. Tujuannya untuk memahami bentuk penerapan ‘siasat dramaturgi’ serta alasan di baliknya. Mengunakan metode analisis dramaturgis, berupa investigasi atas proses transformasi dari konsep dasar pertunjukan menuju praktik presentasinya, penelitian berangkat dengan premis bahwa suatu proses  dramaturgi, yakni tahap pra-produksi, produksi, dan presentasi pertunjukan selalu terhubung oleh satu kesadaran dramaturgis. Analisis dilakukan terhadap: (1) gagasan siaran pertunjukan; (2) teknik siaran pertunjukan; dan (3) bentuk siaran pertunjukan. Penelitian menunjukkan bahwa, perubahan penting dramaturgi di masa pandemi dipicu oleh suatu keharusan untuk memindahkan moda pertunjukan dari pementasan ke siaran, menghasilkan tiga kesadaran dramaturgis tentang peralihan, yakni: (1) medium: dari pementasan analog ke siaran digital; (2) kreativitas: dari penampil menjadi pembuat konten; dan (3) kepenontonan: dari spektator menjadi voyeur

Demarcating dramaturgy : mapping theory onto practice

'Dramaturgy' and the 'dramaturg' have entered the discourse of English theatre practitioners over the past two decades. For individuals working within subsidized building-based producing theatres, understandings and applications of dramaturgical practice have been significantly shaped by the structures and objectives of literary management - a role, established within the industry since the 1990s, dedicated to the development of new plays and playwrights. In Germany, the dramaturgical profession dates back to the latter half of the eighteenth century and, since the twentieth century, has held a remit inclined more towards the programming and production of theatre works than the developing and commissioning of new theatre writing. In Germany and across mainland Europe, dramaturgs hold a recognized position at the heart of producing structures; in England, the role and status of the dramaturg are less defined. Despite a decade or so of concerted explanation and exploration, the concept of dramaturgy continues to be met with indifference, principally associated with practices of literary management which, this thesis shall argue, risk eliding the critical and creative scope of dramaturgy as it is practised on the continent. Through an assessment of the cultural, philosophical and economic contexts which inform processes of theatre-making, this thesis seeks to articulate and analyse these contrasting practices of dramaturgy. Chapters One and Two focus upon contemporary definitions of dramaturgy in England, addressing the role of the dramaturg within new play development and analysing the impact that distinctions between 'script-led' and 'non-script-led' approaches to theatre have had upon the reception of dramaturgical practice. Chapters Three and Four then compare those aspects of German and English theatre practice which I believe critically determine the agency of a dramaturg within production processes. These aspects may be summarized respectively as, on a microlevel, the relationship between text and performance and, on a macro-level, the relationship between theatre and society. This thesis regards dramaturgy as a creative practice defined in relation to a shared set of attitudes towards the production and reception of theatre, and argues that a specifically dramaturgical contribution to theatremaking rests in this analysis of the dynamic between performance and spectator