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.
| Identifer | oai:union.ndltd.org:UPSALLA1/oai:DiVA.org:uniarts-1854 |
| Date | January 2024 |
| Creators | Lindhagen, Ellen |
| Publisher | Stockholms konstnärliga högskola, Institutionen för scenkonst |
| Source Sets | DiVA Archive at Upsalla University |
| Language | English |
| Detected Language | English |
| Type | Student thesis, info:eu-repo/semantics/bachelorThesis, text |
| Format | application/pdf |
| Rights | info:eu-repo/semantics/openAccess |
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