ON DANCE DRAMATURGY

In 1994, Marianne Van Kerkhoven, the Flemish godmother of dance dramaturgy wrote a short, seminal article on the subject – Looking without pencil in the hand – of which the title alone is already a manifesto. This contribution builds further on Van Kerkhoven insights’: how the dramaturge has to stay necessarily invisible in the creative process (s)he is supporting; how in order to capture this invisible role, a lot of metaphors have been created. It continues with looking at the different roles I take up in my own practice: that of somatic witness, dialogue partner and editor. It concludes reasserting the practice of the (dance) dramaturge as a creative practice in which the whole body is involved and in which somatic proximity to the creative process is as important as critical distance. Key wordsDance dramaturgy. Somatic witness. Dialogue partner. Editor.In 1994, Marianne Van Kerkhoven, the Flemish godmother of dance dramaturgy wrote a short, seminal article on the subject – Looking without pencil in the hand – of which the title alone is already a manifesto. This contribution builds further on Van Kerkhoven insights’: how the dramaturge has to stay necessarily invisible in the creative process (s)he is supporting; how in order to capture this invisible role, a lot of metaphors have been created. It continues with looking at the different roles I take up in my own practice: that of somatic witness, dialogue partner and editor. It concludes reasserting the practice of the (dance) dramaturge as a creative practice in which the whole body is involved and in which somatic proximity to the creative process is as important as critical distance. Key wordsDance dramaturgy. Somatic witness. Dialogue partner. Editor.

Meaning in the Weaving: Mapping and Texture as Figures of Spatiality and Eventness

Advocating a dramaturgical ontology of events rather than objects – or ecologies rather than cartographies – the article defends the metaphors of texture and weaving as intuitive, non-anthropocentric alternatives to current idioms of becoming and emergence. Already popularized as the very definition of “dramaturgy” by Eugenio Barba, these are specifically traced through Tim Ingold’s recent anthropology of weaving and S. C. Pepper’s philosophical pragmatism: where Ingold’s ecology of lines admits to “no insides or outsides [...] trailing loose ends in every direction”, Pepper’s “contextualistic world” of events admits “no top nor bottom” to its strands and textures. Intended only as a theoretical introduction to the implications of a certain family of metaphors (complete with a graphic representation thereof ), this article distinguishes the eventness of texture from certain notions of spatial “mapping” and discusses the “ecological” range of the metaphor through the concepts of textural fusion and spread

Literary Managers and Dramaturgs of the Americas Conference Brochure, July 16-19, 2009

The conference theme is Out of Bounds at Washington, DC

The drama(turgy) of non-belonging : Jeroen Coppens in dialogue with Motus on sharing identity in panorama

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Review: The Journal of Dramaturgy, volume 20, 2009/2010

Contents include: Recognizing Toward a Dramaturgical Sensibility, Geoff Proehl, recipient of the 2009 ATHE Outstanding Book Award; Geoff Proehl\u27s Acceptance Speech, Association for Theatre in Higher Education Awards Ceremony August 10, 2009; Millennial Dramaturgy, A conversation about the new book Dramaturgy and Performance; Creating Sub/Text, Dramaturging the ReStaged Festival; Dramaturgy and Interdisciplinary Learning, A Case Study of Russian Theatre and Politics; Thinking about Theatre Photography; Theatre / Photography. Issue editors: D.J. Hopkins, Sydney Cheek O\u27Donnell, Lauren Beckhttps://soundideas.pugetsound.edu/lmdareview/1040/thumbnail.jp

Arts management beyond eventification

Looking for cultural remedies between the opposite perspectives of marketisation and culturalisation of the arts, is equivalent to trying new logics between instrumental (Benjamin 1936; Bourdieu 1979) and communicative logics (Habermas 1981). This engagement includes the considera-tion of the arts management, that nowadays copes much more with design of the contents and drama-turgy of events, planning and production scheduling, marketing processes of the specific event, com-munication and promotion of the event than with a critic conceptualisation of the forced relation be-tween arts and instrumental thinking. In a new perspective of a cultural and social role of the arts, autonomously and not only instrumentally/economically conceived (i.e. the so called cultural depos-its) the aims and core of a necessary reconceptualisation of the relation between the arts and manage-ment could concern a struggle against the \u2018eventification\u2019 of the arts management: to requalify the relationship between arts and aesthetics in the frame of the need of new categories but the solid of socialspacejournal.eu nr 2/2015(10) 2 modernity; to develop awareness of the importance of creativity and innovation for individual, social and economic development; getting closer to communities; taking advantage of the new technologies; attracting new audiences; to stimulate education and research; to promote and bolster policy debate on art issues; to disseminate good practices (Chong, Gibbons, 1997)