Aural oral dramaturgies : theatre in the digital age

**Aural/Oral Dramaturgies: Theatre in the Digital Age** focuses on the ‘aural turn’ in contemporary theatre-making, examining a number of seemingly disparate trends that foreground speech and sound -- ‘post-verbatim’ theatre, 'amplified storytelling' (works using microphones and headphones), and ‘gig theatre’ that incorporates live music performance. Its main argument is that the dramaturgical underpinnings of these works contribute to an understanding of theatre as an extra-literary activity, greater than the centrality of the script that traditionally dominated many historical discussions. This quality is usually expressed in terms of the corporeality in dance and physical theatre, but the aural/oral turn gives an alternative viewpoint on the interplay between text and performance. The book's case studies draw on the ways in which a range of theatre companies engage with the dramaturgy of speech and sound in their work. It is further accompanied by a specially curated collection of digital resources, including interviews, conversations, and presentations from artists and academics. This is a key text for scholars, students, and practitioners of contemporary performance, and anyone working with dramaturgies of orality and aurality in today’s performance environment. Cover Half Title Title Page Copyright Page CONTENTS Preface Acknowledgements 1. Introduction(s): The Difficult Second Album Side A: Literature Review Track 01: Overture: Premises Track 02: Context: The Aural/Oral Dramaturgies (A/OD) Project Track 03: Changing Trends Track 04: Research Methodology: A Long View of Institutional Knowledge Production Track 05: Intersections: Dramaturgy, Speech, and SoundI Side B: Methodology Track 06: Methodology: A Genealogical Retro-Articulation Track 07: Embracing Contradictions Track 08: Relational Ethnography Track 09: Towards a Dramaturgical Research Methodology: A Close View Track 10: How to Read This Book Hidden Track: COVID-19 Coda 2. Post-Verbatim Genealogies of Verbatim Theatre: A Brief Recap and an Ethnographic Addendum Although Reconfiguring Critique through Performative Ethnography Counterpoint: A Performative Intervention Towards Post-Verbatim Theatre: Holding onto Contradictions Polyphonic Insights 3. Amplified Storytelling Exposition Emplotment: From Gusle to Gestalt Culmination: Form vs Content Peripeteia: Exploding the Narrative Resolution 4. Gig Theatre Gig Theatre: The Term Historicising Gig Theatre 1: Storytelling, Punk, and Genre Historicising Gig Theatre 2: Rock Against Racism Historicising Gig Theatre 3: DIY and Dramaturgy Gig Theatre and Dramaturgy Gig Theatre and (Rave) Culture 5. Conclusion(s): Aural/Oral Dramaturgies in the Digital Age The A/OD Case Studies: Notes on a Polyphonic Methodology Paradigmatic Questions ‘Bottom Up’: Dramaturgy of Layering The Disruption of Closure: Dramaturgy of Methexis Enmeshment vs Immersion: Dramaturgy of Intersubjectivity Epilogue: Liminalities Appendices Appendix 2.1: Anna Deavere Smith: Notes from the Field Appendix 2.2: SKaGeN: Pardon/In Cuffs Appendix 2.3: Dead Centre: Lippy Appendix 2.4: Milo Rau: Five Easy Pieces Appendix 2.5: Lola Arias: Minefield Appendix 3.1: Kieran Hurley: Heads Up Appendix 3.2: Kieran Hurley: Beats Appendix 3.3: Nassim Soleimanpour: Blind Hamlet Appendix 3.4: Rachel Mars: Our Carnal Hearts Appendix 3.5: Ontroerend Goed: World Without Us Appendix 3.6: Dead Centre: Chekhov’s First Play Appendix 4.1: RashDash: Another Someone Appendix 4.2: Lucy McCormick: Triple Threat Appendix 4.3: Lucy McCormick: Post-Popular Appendix 4.4: Beatbox Academy: Frankenstein Appendix 4.5: nabokov: Symphony Appendix 4.6: Wildcard Theatre: Electrolyte Appendix 4.7: RashDash: Two Man Show Appendix 4.8: Unfolding Theatre: Putting the Band Back Together Appendix 4.9: Taylor Mac: A 24-Decade History of Popular Music: The First Act Lend Me Your Ears Collection Index "This book focuses on the 'aural turn' in contemporary theatre-making, examining a number of seemingly disparate trends that foreground speech and sound - 'post-verbatim' theatre, 'amplified storytelling (works using microphones and headphones), and 'gig theatre' that incorporates live music performance. Its main argument is that the dramaturgical underpinnings of these works contribute to an understanding of theatre as an extra-literary activity, greater than the centrality of the script that traditionally dominated many historical discussions. This quality is usually expressed in terms of the corporeality in dance and physical theatre, but the aural/oral turn gives a second alternative viewpoint on the interplay between text and performance. The book's case studies draw on the ways in which a range of theatre companies engage with the dramaturgy of sound in their work. It is further accompanied by a specially curated collection of digital resources, including interviews, conversations and presentations from artists and academics. This is a key text for scholars, students and practitioners of contemporary performance, and anyone working with sound and aurality in today's performance environment"-- Provided by publisher