ZUPANC LOTKER, Sodja. The Escapologist Case: Transformations of Practice Towards Spatial Dramaturgy in Contemporary Theatre, PhD dissertation, Theatre Faculty of the Prague Academy of the Performing Arts, Prague 2017, 226 pages. This thesis aims to define a contemporary theatre practice, a new practice in dramaturgy influenced by some radical changes in theater since the 1980’s, I call this new practice ‘spatial dramaturgy,’ it includes: 1) a decentralization and fragmentation of narrative; 2) performing in found spaces; 3) using authentic material for creation of performance (space, community or events); and 4) physical and mental activation of audiences. My primary case study for spatial dramaturgy is Apology of the Escapologist performance by Hungarian Krétakör company from 2009, a performance that also marked a change in theatre making practice for this company. Apology of the Escapologist took audiences through eight separate spaces, with a variety of functions (a garage, hospital, offices, public square etc.), originally none of them built for theatre, in a series of events that took place in Budapest District 9 over the course of eight weeks from March 8th to May 1st, 2009. The Apology of the Escapologist performance had five parts consisting of eight scenes. The performance took place over the course of nine weeks in eight locations; each scene took place in a different location on a different day. The audience had to make sense of the fragmented story, had to choose how to follow the story physically - where and when to go, and had to dedicate a lot of time to do this. The audience also physically entered into the playing spaces. This thesis follows the project and proposes that contemporary theatre is a ‘shared space’ entered by audiences, that contemporary dramaturgy is becoming de-hierarchized and decentralized and is proposing forms of relating in-between the dramaturgical elements of the performance, and that by using authentic material (people, spaces, events), through this ‘spatial dramaturgy’ theatre is proposing new ways to perceive relationships between reality and fiction. This thesis also describes the political motivation behind the change in Krétakör’s work and focus. It provides background information about the situation in politics in Hungary at the time of the making of the Apology of the Escapologist that caused Árpád Schilling change the way he makes theatre. But it also looks at these new strategies of ‘spatial dramaturgy,’ that include: points of view, positioning and relating - as strategies that politicize the act and experience of theatre.

Zugl.: Passau, Univ., Diss., 2006

This master?s thesis deals with the difference between interpretative and devised dramaturgy. It defines the term script and describes possible methods of creating a script; the authoress mentions examples from her own experience and from history and presents of the Czech professional and amateur theater. In the second part of the text the authoress analyses inscenations Deník 1959-1974 and Golem, Štvanice, stemming from nondramatic theme; the authoress cooperates on these inscenations as script author and dramaturgist. She describes her own procedures while working on the adaptation of diarial and novelistic draft and explains the role of dramaturgist on two strongly different inscenations.

This thesis is dealt with one of the most important domain in preparatory and production works of radio drama - sound dramaturgy. In the first part I systemize sound material from the point of view of creativity focusing on its formative and semantic potential. Then I apply the previous findings considering the radio drama production itself. I distinguish two phase of sound-dramaturge`s work: phase of timeline construction and phase of building up the sound scene. There are many practical examples illustrating my partial conclusions in the thesis as well as contemplations of next radio drama sound dramaturgy development. I suppose this thesis will be a contribution for radio drama theory in the Czech area.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

Thesis--University of Amsterdam. / "Stellingen" ([4]) inserted. On cover: Universitatis Amstelodomensis, Facultas Litterarum et Philosophiae. Bibliography: p. 11-12.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Thesis--Giessen. / Vita. Includes bibliographical references (p. 210-218).

The present work aims at analysing selected social and cultural phenomena and tracing their impact on dramaturgy. For the present purposes dramaturgy is understood in two ways: firstly, as a practical theatre activity; secondly - and most importantly, in a wider sense as a discipline of artistic research that provides the chaos of the global world with important categorization and interpretation functions.

Artiste autodidacte, Jovette Marchessault a touché aux arts visuels avant de devenir auteure. En grande féministe, ses œuvres témoignent de ses idéologies et leur expression s’est approfondie et complexifiée au fil des années. Par cette recherche, nous avons souhaité démontrer l’hypothèse que Jovette Marchessault a eu recours à des techniques chamaniques et à un processus chamanologique afin de réhabiliter le féminin dans la société, cette réhabilitation du féminin devenant la quête chamanique de Marchessault. La dramaturge remonte à l’origine de son art à la recherche des traces de ces femmes auteures et créatrices et assure la transmission de leur mémoire. L’analyse dramaturgique de ses œuvres nous montre comment elles répondent à la logique chamanique et comment le chamanisme accepte la modernité et peut s’exprimer artistiquement. Une seconde hypothèse a été formulée selon laquelle la quête chamanique de Marchessault s’est poursuivie à travers le mysticisme. L’un des résultats de notre démarche est le développement d’une pratique artistique personnelle et d’une méthodologie chamanologique. Par l’expérience personnelle au sein d’un cercle de femmes initiées au chamanisme, cette recherche est devenue une initiation chamanique.