Black Eyez: Memoirs of a Revolutionary engages in an investigation of the performative relationship between race and color. It offers a review of the genesis of race as a political invention, to articulate the intersubjective relationship between Black Power ideology and the Black Aesthetic. By highlighting the historical recovery of Black subjectivity, I argue Black aestheticians produced a form of performative decolonization. I then suggest the use of ethnographic dramaturgy as both an informed approach to staging the self, as well as a space to offer my personal performance philosophy. The script "Sole/Daughter" is offered as an augmentation of The Revolutionary Theatre's paradigmatic assumptions.

This thesis investigates the dramaturgy of devised theatre for young audiences, specifically children ages 2-5. The chapters dissect current applications of dramaturgy in regards to the development of dramatic and performance texts, and present an exploration of devised theatre. My research revolved around qualitative research tactics through a review of the current literature on dramaturgy and devising, unobtrusive data collection, and interviews with the artistic directors of three Theatre for Young Audience (TYA) companies: Patch Theatre Company based in Adelaide, Australia, Theatre Mala Scena based in Zagreb, Croatia, and the Coterie Theatre located in Kansas City, Missouri. In addition, I viewed productions by each the above companies which helped to uncover how the artists move theory into practice based on their personal theories on TYA, dramaturgy, and devising. Through this research I reveal how dramaturgy proves a key element in moving improvisations into performance texts, creating theatrical experiences that capture the imaginations of the very young.

In the Fall of 2021, I served as the dramaturge for the Loyola Marymount campus productions of Anna Deavere's Smiths, "Twilight Los Angeles," Brandon Jacob Jenkins, "Everybody "and Melanie Marnich's "These Shining Lives." One can't ignore the distinct and separate story designs of these plays. "Twilight Los Angeles" is a verbatim theatre style, with an arrangement of monologues. "Everybody" is a modern-day morality play with a lottery. "These shining lives" is a period piece set as a docudrama. My process for this thesis will be a reflective and experiential study on performing the role of the dramaturg for these three different plays. After this research, I plan to have three dramaturg portfolios documenting the three different experiences. This research will assist future artists towards understanding how dramaturg research aids in creating the world of the show; therefore, helping with better communication and collaboration amongst the production team. The outcome will be examining how these three various productions have prepared me to perform the role of dramaturge as a future theatre arts faculty member.

Inspired by my personal interest in the topic of dramaturgy, coupled with the continuous change programmes that Shell Oman Marketing Company (SOMC) adopts in many areas, this research attempts to explore the role of dramaturgy (Goffman 1956) in change management in SOMC. The primary question that this thesis addresses is: What is the role, impact and potential of dramaturgy in change management in SOMC? The objective is to examine the ability of dramaturgy to offer an effective method for managing change, and one that will eventually be used as an integral part of effective change management programmes in SOMC. The research consists of a case study of installing Closed Circuit Television (CCTV) system cameras in the offices of SOMC. The research was a qualitative study, conducting 22 semi-structured interviews along with unstructured observations of meetings and engagements. The research concludes that front stage performances and backstage performances are witnessed extensively in SOMC, and concludes that the boundary between front and backstage is blurred, that stories, metaphors and body language play an important role in performances, and that the audience perception of the authenticity, sincerity and genuineness of the performers is a key factor in their acceptance of the message. This research identifies a number of themes that can be added to the existing literature. The study highlighted the importance of ‘Alignment’ as a way of explaining the work that goes on in backstage and front stage performances, much part of living organisations. The term found extensively in organisational life at SOMC and many other organisations. Backstage meeting often has the goal of aligning participants to the message that has to be conveyed – the coordinated front stage performance. Therefore, alignment is a key element of the rehearsals and practices for the frontstage performances, and in bringing together the supporting team and loyalists. Another contribution of this research that is not available in other studies is that the importance of context and culture. That although metaphors and storytelling are used in many organisations across the world, they resonate particularly with Omanis because they are part of their history and culture. Hence using storytelling and metaphors in performances in SOMC can have a huge help connecting the audience with the performance.

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In this essay, I endeavour to look into three aspects of dramaturgical work that have emerged as central to my practice during the two years of studying the master program in performing arts, and the subsequent year of finalizing the exam project.  Before I go into these aspects, I briefly outline what I define to be the basics of dramaturgical practice, as well as an introduction to the literature on dramaturgy that I have used for my exploration. The first aspect of dramaturgy that I examine is subjectivity, which relates to dramaturgy in the creative process, including ideas and definitions of who the dramaturg is and what the function of dramaturgy might be in contemporary performance, alongside my thoughts and inspiration regarding what animates and sustains artistic creation. In this section I connect existential philosophy to dramaturgy through my own dramatic writing and that of British playwright Sarah Kane. This is followed by an outline of my own artistic background and the ideas that have informed my creativity and method. The second aspect is listening, the term I have used to investigate dramaturgical analysis departing from Jean-Luc Nancy's writing about listening as philosopical practice and some of Maurice Merleau-Ponty's writing about perception and phenomenology. The theme of love has reoccuringly asserted itself in my investigations, which is why I use it as the third and final aspect, based on the writings of bell hooks. It connects to both of the other aspects, as well as to my artistic practice in general.

[ES] La concepción de "dramaturgia basada en la transmedialidad", surge de la reflexión teórica alrededor de los vínculos entre la dramaturgia y la transmedialidad, intensificados durante el último siglo, a partir del cual se plantea las nociones de "transmedialidad interna" , "transmedialidad externa" y "esperiencia sensible ampliada". En base a estas nociones, se interroga obras de teatro contemporáneo puntuales provenientes de varias capitales de habla hispana, en busca de recursos de significación cuyos lenguajes estén inmersos en la "transmedialidad interna", para que sean utilizados como elementos que generen una "experiencia sensible aplicada" en el marco de la "transmedialidad externa"; actividad que permite también perfilar un proyecto práctico. / [EN] The conception "transmedia based dramaturgy" arises from theoretical reflection on the links between transmediality and dramaturgy. These links have been intensified during the last century. From wich, the notions of "internal transmediality", "external transmediality", and "expanded sensitive experience" can be raise. Based in these notions, specific contemporary theater works from various Spanish-speaking capitals are questioned. In this way, meaning resources are established in relations with the languages that are immersed in the "internal transmediality". Then, they are use as elements that generate an "applied sensory experience" within the framework of "external transmediality". This activity allows the outline of a practical project. / [CA] La concepció de la dramaturgia basada en la "transmedialitat" sorgeix de la reflexió teórica al voltant dels vincles entre la dramaturgia i la transmedialitat, intensificats durant l'últim segle, a partir del qual es planteja les nocions de "transmedialidat interna" i "transmedialitat externa" i "experiencia sensible ampliada". Basant-se en aquestes nocions, s'interroguen obres de teatre contemporàni puntuals provinents de diverses capitals de llengua hispana, a la recerca de recursos de significació i que aquests llenguatges estiguen inmersos en la "transmedialitat interna", per a que siguen utilitzats como elements que generen una "experiència sensible aplicada", en el marc de la "transmedialitat externa"; activitat que permeteix també perfilar un projecte pràctic. / Jijón De La Torre, CE. (2020). "Dramaturgia basada en la transmedialidad": reflexión teórica, devenir escénico y propuesta práctica [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/157655

Hospitality management and service positions have been moving from a purely vocational field of work to a scientific and inter-disciplinary supported area of professional development. This exploratory study aims to contribute to this quest by introducing the sociological concept of Dramaturgy to the service encounter as a way of understanding and improving upon present employee behaviors. A review of existing literature illustrates that Dramaturgy has only been used to develop an analogy of service, but has not yet been applied as a tool for further understanding behaviors and interactions during service encounters. The present study identified common concepts between Service Interactions and Dramaturgical Interactions, and used them to create a survey to measure Dramaturgical Awareness. It was proposed that four factors are used to create the structure of Dramaturgy in service encounters. A likert-type survey was distributed to 464 students studying at the Rosen College of Hospitality Management. The responses were subjected to a Principal Component Analysis, and the results introduced two unexpected factors. The original structure of four underlying factors emerged as a five-factor structure, including the two new factors and one factor that combined two former concepts. In response to the given survey, the surviving structure of dramaturgical awareness in service encounters (as measured by hospitality students) includes the following concepts: Interpersonal Communication; Improvisation Techniques; and Acting and Stage Behaviors. Further research can use these findings to understand service encounter behaviors from practitioners from specific areas of work in service, and to also develop a better understanding of the two unexpected factors, dramaturgical behaviors and role theory.

A proposta principal desta dissertação é analisar a recepção que o crítico teatral Sábato Magaldi ofereceu no Jornal da Tarde às primeiras montagens das peças de Antonio Bivar, Leilah Assunção, José Vicente de Paula, Consuelo de Castro e Isabel Câmara e quais as questões em evidencia na cena teatral paulista e carioca, durante a segunda metade da década de 60, que levaram Sábato Magaldi a considerá-los representantes da Nova Dramaturgia Brasileira. O trabalho possui três capítulos. No primeiro, procuramos apontar aspectos históricos da constituição da imprensa como esfera pública e da crítica teatral nos jornais diários do Rio de Janeiro e São Paulo entre os séculos XIX e XX. O segundo, por sua vez, aborda o legado de Sábato Magaldi para a crítica nacional, além de recuperar os principais debates teóricos envolvendo os críticos e a classe teatral paulista durante a década de 60. Por fim, o último capítulo, construído a partir de uma acervo documental amplo, trata da recepção que o crítico do Jornal da Tarde deu às montagens dos chamados novos dramaturgos / The main goal of this essay is to analyze the reception given by the theater critic Sábato Magaldi at the Jornal da Tarde newspaper to the first stagings of the plays by Antonio Bivar, Leilah Assunção, José Vicente de Paula, Consuelo de Castro e Isabel Câmara. Also, which are the relevant issues on both Rio de Janeiro and São Paulo theater scenes, during the second half of the 1960\'s, that lead Sábato Magaldi to single the above mentioned authors as representants of Brazilian new dramaturgy. The essay has three chapters. The first tries to identify historic aspects of the constitution of the press as public sphere and of the theater critic on Rio de Janeiro and Sao Paulo daily newspapers between the centuries 19 and 20. The second approaches Sábato Magaldy\'s legacy to the national critics, and recovers the main theoretical debates involving critics and theater workers during the 1960\'s. At last, the third chapter, built upon a wide collection of documents, addresses the reception provided by the critic of the Jornal da Tarde to the stagings of the so-called new dramaturgists

A presente dissertação reflete sobre a produção de dramaturgia contemporânea brasileira a partir do horizonte desvelado por duas obras em especial, Agreste, de Newton Moreno, e BR-3, de Bernardo Carvalho. O foco nos dois textos não anula o diálogo pertinente e necessário também com a esfera espetacular quando necessário. Através da ideia de deslocamento, analisamos, primeiramente, o devir errático associado às obras em duas instâncias; errar para além de sua própria esfera de gênero em busca do outro e do surgimento de novos de campos de subjetividade; errar como parte de uma demanda interna e estrutural através de personagens em constante movimento e da exploração de um Brasil longínquo e extenso. Em seguida, empenhados na investigação da atuação crítica de tais obras, tendo como hipótese sua relação não documental com o presente, analisaremos o tratamento da subjetividade na elaboração das personagens, e o tratamento da ideia de território. Para além da dualidade entre realidade e representação, descortina-se a possibilidade de narrativas imagéticas, ou seja, em que os espaços autorais e imaginários possuem grande importância. Tais considerações guiam, por último, o questionamento a respeito da dimensão política de tais obras, percorrendo, primeiramente, algumas divergências que marcam o chamado teatro político. / This work reflects on the production of Brazilian contemporary dramaturgy from the unveiled horizon by two works in particular: Agreste, by Newton Moreno, and BR-3, by Bernardo Carvalho. The focus on both texts does not annul the relevant and necessary dialogue with the spectacular realm when required. Through the idea of displacement we analyze first the erratic becoming associated with the works in two instances; err beyond their own sphere in search of others and the emergence of new fields of subjectivity; err as part of an internal and structural demand, characters in constant motion, exploring a distant and extensive Brazil. Then engaged in research the critical role of the works under the hypothesis of their non-documentary relationship with the present, we will examine the treatment of subjectivity in the development of the characters, and the treatment of the territory ideia. In addition to the duality between reality and representation, it becomes visible the possibility of imagery narratives, where the authorial and imaginary spaces are of great importance. Such considerations guide, lastly, the question about the political dimension of such works, browsing, first, some differences that mark the so-called political theater.