Skip to main content Accessibility help
×
Hostname: page-component-cd9895bd7-gvvz8 Total loading time: 0 Render date: 2024-12-25T19:18:23.311Z Has data issue: false hasContentIssue false

Playwriting, Dramaturgy and Space

Published online by Cambridge University Press:  19 December 2023

Sara Freeman
Affiliation:
University of Puget Sound, Washington

Summary

Theatre has come back to text, but with perspectives shifted by the experimental practices of the twentieth century across performance forms. Contemporary playwriting brings its scenographic engagement to the foreground of the text, reflecting the spatial turn in theory and practice. In production, this spatiality has renewed and enlivened the status and impact of text-based theatre. Theatre studies needs to better describe the artfulness of contemporary text-based theatre, bringing to it the same sophisticated lenses scholars and critics have used for performance-based theatre and other experimental theatre practices. This Element does that by presenting the work of Caryl Churchill, Naomi Iizuka, and Sarah Ruhl as exemplary of the way text-based theatre, both its scripts and productions, now creates and expects a spatialized imaginary and demonstrates the potentials of text-based theatre in an increasingly visual and spatial field of cultural production.
Get access
Type
Element
Information
Online ISBN: 9781009370257
Publisher: Cambridge University Press
Print publication: 18 January 2024

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Al-Shamma, J. (2011). Sarah Ruhl: A Critical Study of the Plays. London: McFarland.Google Scholar
Arntzen, K. O. (1991). A Visual Kind of Dramaturgy: Project Theatre in Scandinavia. In Schumacher, C. and Fogg, D., eds., Small Is Beautiful 1990: Small Countries Theatre Conference. Glasgow: IFTR Theatre Studies, pp. 43–8.Google Scholar
Aronson, A. (2005). Looking into the Abyss: Essays on Scenography. Ann Arbor: University of Michigan Press.Google Scholar
Bachelard, G. (1994). The Poetics of Space. Translated by M. Jolas. Boston: Beacon Press.Google Scholar
Barnett, D. (2016). This Is Why I Am Really Excited about British Theatre in the Next Five Years: David Barnett in Conversation with Simon Stephens. Contemporary Theatre Review 26(3), 311–18.CrossRefGoogle Scholar
Bolton, J. (2011). Demarcating Dramaturgy: Mapping Theory onto Practice. Dissertation. University of Leeds.Google Scholar
Brantley, B. (1996). A Land of Fairy Tales Creepily Come True. Rev. of The Skriker. The New York Times, 16 May, C15. www.nytimes.com/1996/05/16/theater/theater-review-a-land-of-fairy-tales-creepily-come-true.htmlGoogle Scholar
Caplan, B. (1994). The Duel in the Crone. Rev. of The Skriker. New Statesman and Society 7(288), 43–4.Google Scholar
Castagno, P. (2011). New Playwriting Strategies: Language and Media in the 21st Century. London: Routledge.Google Scholar
Churchill, C. (1998). Plays Three. London: Nick Hern Books.Google Scholar
Cummings, S. T. (2022). The Theatre of Les Waters: More Like the Weather. New York: Routledge.Google Scholar
De Certeau, M. (1984). The Practice of Everyday Life. Translated by S. Randall. Berkeley: University of California Press.Google Scholar
Devin, L. (1997). Conceiving the Forms: Play Analysis for Production Dramaturgy. In Proehl, G., Jonas, S. and Lupu, M., eds., Dramaturgy and American Theatre: A Sourcebook. New York: Harcourt Brace, pp. 209–19.Google Scholar
Durham, L. A. (2013). Women’s Voices on American Stages in the Early Twenty-first Century: Sarah Ruhl and Her Contemporaries. New York: Palgrave Macmillan.Google Scholar
Feldmeyer, L. F. (2017). Preparing Boys for War: J. M. Barrie’s Peter Pan Enlists in World War I’s “Great Adventure.” Theatre History Studies 36, 5774.Google Scholar
Foucault, M. (1986). Of Other Spaces. Translated by J. Miskowiec. Diacritics Vol. 16, pp. 2227.CrossRefGoogle Scholar
Freeman, J. (2007). New Performance/New Writing. London: Palgrave Macmillan.CrossRefGoogle Scholar
Fuchs, E. (2019). Drama: The Szondi Connection. In Boyle, M. S., Cornish, M. and Woolf, B., eds., Post Dramatic Theatre and Form. London: Methuen, pp. 2030.CrossRefGoogle Scholar
Gobert, R. D. (2014). The Theatre of Caryl Churchill. London: Bloomsbury.Google Scholar
Iizuka, N. (2005). At the Vanishing Point. In Palmer, T. and Hansel, A., eds., Humana Festival 2004: The Complete Plays. Hanover, NH: Smith and Kraus, pp. 277307.Google Scholar
Iizuka, N. (2015). At the Vanishing Point. Typescript shared with author by ATL Literary Office.Google Scholar
Jarcho, J. (2020). Writing and the Modern Stage: Theatre Beyond Drama. London: Cambridge University Press.Google Scholar
Kaye, D. and LeBrecht, J. (2015). Sound and Music for the Theatre: The Art and Technique of Design. London: Routledge.CrossRefGoogle Scholar
Kiely, D. (2016). How to Read a Play: Script Analysis for Directors. London: Routledge.Google Scholar
Kiely, D. (2020). How to Rehearse a Play: A Practical Guide for Directors. London: Routledge.Google Scholar
Kipp, L. M. (2018). “What Is This Place … ?”: Howard Barker’s Spatial Scenography. Journal of Contemporary Drama in English 6(2), 249–64.Google Scholar
Knopf, R. and Listengarten, J., eds. (2011). Theater of the Avant-Garde 1950–2000: A Critical Anthology. New Haven: Yale University Press.Google Scholar
Krech, L. (2010). Towards an Understanding of Visual Dramaturgy. Blog, 19 April. http://lucaskrech.com/blog/index.php/2010/04/19/towards-an-understanding-of-visual-dramaturgy/.Google Scholar
Lee, E. K. (2006). A History of Asian-American Theatre. Cambridge: Cambridge University Press.Google Scholar
Lefebvre, H. (1991). The Production of Space. Translated by D. Nicholson-Smith. Oxford: Blackwell Publishing.Google Scholar
Lehmann, H. T. (2006). Postdramatic Theatre. Translated by K. Jurs-Münby. London: Routledge.CrossRefGoogle Scholar
López, T. A. (2016). The 1980s: Latina/o Literature during the “Decade of the Hispanic.” In González, J. M., ed., The Cambridge Companion to Latina/o American Literature. New York: Cambridge University Press, pp. 91110.Google Scholar
London, T., Pesner, B. and Giroud Voss, Z. (2009). Outrageous Fortune: The Life and Times of the New American Play. New York: Theatre Development Fund.Google Scholar
Mapp, J., Skipitares, T., Jesurun, J., et al. (2012). Forum on Writing and Performance. PAJ: A Journal of Performance and Art 34(1), 119–40.Google Scholar
Marranca, B. (1977). Theatre of Images: Robert Wilson, Richard Foreman, Lee Breuer. New York: Drama Book Specialists.Google Scholar
Massey, D. (1994). Space, Place, and Gender. Minneapolis: University of Minnesota Press.Google Scholar
McKinney, J. and Butterworth, P. (2009). The Cambridge Introduction to Scenography. Cambridge: Cambridge University Press.Google Scholar
McMullen, A. (2012). Samuel Beckett’s Scenographic Collaboration with Jocelyn Herbert. Degrés: Revues de Synthèse à Orientation Sémiotique 149–150, 117.Google Scholar
Megson, C. (2013). “And I Was Struck Still by Time”: Contemporary British Theatre and the Metaphysical Imagination. In Angelaki, V., ed., Contemporary British Theatre: Breaking New Ground. London: Palgrave Macmillan, pp. 3256.CrossRefGoogle Scholar
Metzger, S. (2011). At the Vanishing Point: Theater and Asian/American Critique. American Quarterly 63(2), 277300.Google Scholar
Miyagawa, C. (1997). Brave, Bold, and Poetic: The New Generation of Asian American Women Playwrights. In Peterson, J. and Bennett, S., eds., Women Playwrights of Diversity: A Bio-Bibliographic Sourcebook. Westport: Greenwood Press, pp. 1316.Google Scholar
O’Hara, R. (2011). Conversation with Christina Anderson about Man in Love. Steppenwolf Theatre Blog. www.steppenwolf.org/articles/man-in-love-playwright-and-director-in-conversation/.Google Scholar
Pavis, P. (2013). Contemporary Mise-en-Scène: Staging Theatre Today. Translated by J. Anderson. London: Routledge.Google Scholar
Pearce, W., Green-Rogers, M. K., Gleason, C. and Maxwell, J. (2018). Visual Dramaturgy: Problem Solver or Problem Maker in Contemporary Performance Creation. Theatre/Practice 7, 144. www.theatrepractice.us/volume7.html.Google Scholar
Poll, M. (2018). Robert LePage’s Sceneographic Dramaturgy: The Aesthetic Signature at Work. New York: Palgrave Macmillan.Google Scholar
Quigley, K. (2020). Performing the Unstageable: Success, Imagination, Failure. London: Methuen.CrossRefGoogle Scholar
Radosavljevic, D. (2013). Theatre Making: The Interplay between Text and Performance in the 21st Century. New York: Palgrave.CrossRefGoogle Scholar
Reagan, A. (2017). Maria Irene Fornes, World Builder. American Theatre, 5 July. www.americantheatre.org/2017/07/05/maria-irene-fornes-world-builder/.Google Scholar
Rebellato, D. (2013). Exit the Author. In Angelaki, V., ed., Contemporary British Theatre: Breaking New Ground. London: Palgrave Macmillan, pp. 931.Google Scholar
Remshardt, R. (1995). Rev. of The Skriker. Theatre Journal 47(1), 121–3.Google Scholar
Rosen, M. (2015). ATL’s Vanishing Point: Poetic Script, Magical Acting. Leo Weekly, 4 February. www.leoweekly.com/2015/02/theater-atls-vanishing-point-poetic-script-magical-acting/.Google Scholar
Ruhl, S. (2001). Six Small Thoughts on Fornes, the Problem of Intention, and Willfulness. Theatre Topics 11(2), 187204.Google Scholar
Ruhl, S. (2018). For Peter Pan on Her 70th Birthday. New York: Theatre Communications Group.Google Scholar
Ruhl, S. (2019). On Caryl Churchill. People’s Light Theatre Blog. www.peopleslight.org/blog/2019/sarah-ruhl-on-caryl-churchill/.Google Scholar
Saivetz, D. (2000). An Event in Space: Joanne Akalitis in Rehearsal. New York: Smith and Kraus.Google Scholar
Shaw, H. (2016). The State of the Play: A Critic Addresses the Theatre Nation. American Theatre 33(8), 3033. www.americantheatre.org/2016/09/21/the-state-of-the-play-a-critic-addresses-the-theatre-nation/.Google Scholar
Sierz, A. (2008). Reality Sucks: The Slump in British New Writing. PAJ: A Journal of Performance and Art 30(2), 102–7.Google Scholar
Sierz, A. (2011). Rewriting the Nation: British Theatre Today. London: Bloomsbury Methuen.CrossRefGoogle Scholar
Sigal, S. (2016). Writing in Collaborative Theatre-Making. London: Palgrave MacMillan.Google Scholar
Sugiera, M. (2004). Beyond Drama: Writing for Post Dramatic Theatre. Theatre Research International 29(1), 1628.Google Scholar
Svich, C. (2006). US Polyglot Latino Theatre and Its Link to the Americas. Contemporary Theatre Review 16(2), 189–97.Google Scholar
Svich, C. and Marrero, M. T. (2000). Out of the Fringe: Contemporary Latina/Latino Theatre and Performance. New York: Theatre Communications Group.Google Scholar
Tomlin, L. (2013). Dramatic Developments. In Angelaki, V., ed., Contemporary British Theatre: Breaking New Ground. London: Palgrave Macmillan, pp. viiixxvi.Google Scholar
Tompkins, J. (2014). Theatre’s Heterotopias: Performance and the Cultural Politics of Space. London: Palgrave MacMillan.Google Scholar
Tuan, Y. (1977). Space and Place: The Perspective of Experience. Minneapolis: University of Minnesota Press.Google Scholar
Ullom, J. (2008). The Humana Festival: The History of New Plays at Actors Theatre of Louisville. Carbondale: Southern Illinois University Press.Google Scholar
Vanden Heuvel, M. (1991). Performing Drama/Dramatizing Performance: Alternative Theatre and the Dramatic Text. Ann Arbor: University of Michigan Press.Google Scholar
Veltman, C. (2007). Les Waters: Explorer with an Ear. American Theatre, 24(10), 42–7.Google Scholar
Wren, C. (2002). Navigating Alien Worlds. American Theatre 19(2), 32.Google Scholar
Zeigler, T. (2015). ATL Revisits Butchertown in Revival of At the Vanishing Point. Broadway World, 10 February. www.broadwayworld.com/louisville/article/BWW-Reviews-ATL-Revisits-Butchertown-in-Revival-of-AT-THE-VANISHING-POINT-20150210.Google Scholar

Save element to Kindle

To save this element to your Kindle, first ensure no-reply@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Playwriting, Dramaturgy and Space
  • Sara Freeman, University of Puget Sound, Washington
  • Online ISBN: 9781009370257
Available formats
×

Save element to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Playwriting, Dramaturgy and Space
  • Sara Freeman, University of Puget Sound, Washington
  • Online ISBN: 9781009370257
Available formats
×

Save element to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Playwriting, Dramaturgy and Space
  • Sara Freeman, University of Puget Sound, Washington
  • Online ISBN: 9781009370257
Available formats
×