The Thaumaturgy Department

(It's dramaturgy, not thaumaturgy.)

Gavin
CENTERSTAGE
Baltimore
Maryland
USA

thaumaturg
Main Entry: thau·ma·turg
Pronunciation: \ˈthȯ-mə-ˌtərj\
Function: noun
Etymology: French, from New Latin thaumaturgus, from Greek thaumatourgos working miracles, from thaumat-, thauma miracle + ergon work — more at Theater, Work

2013-2014 Season:
Animal Crackers
Dance of the Holy Ghosts
A Civil War Christmas
Stones in His Pockets
Twelfth Night
Vanya Sonya Masha and Spike
Wild with Happy
Play Labs

The official blog of the Dramaturgy Department at Baltimore's CENTERSTAGE. For posts related to our current and upcoming shows, click the links to the right. Alternatively, you could begin at the beginning, and explore our posts in chronological order.

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One of the things Eliot sought explicitly to do in her fiction was to induce a reader to move beyond simple identification with people who are easy to comprehend because they are like us, and instead to feel with someone who is entirely unlike ourselves. Rebecca Mead on how George Eliot, who never bore children herself, knew so well what becoming a mother was like: http://nyr.kr/1s7TGS8 (via newyorker)

perhaps the acts of radical empathy made possible by fiction, or theater, begin just this way

(Source: newyorker.com, via newyorker)



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the central paradox of theater is that something which starts off complete, as true to itself, as self-contained and as subjective as a sonnet, is then thrown into a kind of spin dryer which is the process of staging the play; and that process is hilariously empirical Tom Stoppard, “Pragmatic Theatre,” Sept 23, 1999
http://www.nybooks.com/articles/archives/1999/sep/23/pragmatic-theater/


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In the theatre we always return to the same point: it is not enough for writers and actors to experience this compulsive necessity, audiences must share it, too. So in this sense it is not just a question of wooing an audience. It is an even harder matter of creating works that evoke in audiences an undeniable hunger and thirst Peter Brook, The Empty Space (via dramaturgyqandalyson)

(via dramaturgytea)



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Life is about doing things that don’t suck with people who don’t suck.

-John Green (via thatkindofwoman)

And perhaps this could be adapted as a guiding principle for theater-making just as well as for Life.

(Source: inboxfivewithenjolras, via thatkindofwoman)



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newyorker:

                          

"If a poet determines that a poem should begin at point A and conclude at point D, say, the mystery of how to get there—how to pass felicitously through points B and C—strikes me as an artistic task both genuine and enlivening. There are fertile mysteries of transition, no less than of termination."

Brad Leithauser on reading poems backward: http://nyr.kr/12jRWsX

Photograph of Robert Frost by Marvin Koner/Corbis.

Applicable to theater?



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injusticeworth:

I’m glad that it’s correct and beautiful. I just can’t quite get into the incorrect and crabbed.
[London Daily Post and General Advertiser, 13 Nov. 1735]

In honor of the current Everyman (Baltimore) production.

injusticeworth:

I’m glad that it’s correct and beautiful. I just can’t quite get into the incorrect and crabbed.

[London Daily Post and General Advertiser, 13 Nov. 1735]

In honor of the current Everyman (Baltimore) production.



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Tags | casting | theater | race | ethnicity

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Yea, I was the youngest playwright with a B’way opening ever and the 1st Black woman; what about it?
March 11 will bring the anniversary of the NYC premiere of A RAISIN IN THE SUN (1959), and one of those days that changed theater forever.
Exciting to be gearing up for #CSRaisin here with not one but TWO response plays.

Yea, I was the youngest playwright with a B’way opening ever and the 1st Black woman; what about it?

March 11 will bring the anniversary of the NYC premiere of A RAISIN IN THE SUN (1959), and one of those days that changed theater forever.

Exciting to be gearing up for #CSRaisin here with not one but TWO response plays.



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humansofnewyork:

“The greatest moment for a playwright is when you’ve written a play, and you’ve gone to see it night after night, then one night the cast takes it to a whole new level, and you say: ‘Did I write that?’”

humansofnewyork:

“The greatest moment for a playwright is when you’ve written a play, and you’ve gone to see it night after night, then one night the cast takes it to a whole new level, and you say: ‘Did I write that?’”

(via halvorsen)



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