(It's dramaturgy, not thaumaturgy.)
Main Entry: thau·ma·turg
Etymology: French, from New Latin thaumaturgus, from Greek thaumatourgos working miracles, from thaumat-, thauma miracle + ergon work — more at Theater, Work
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.
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
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)
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)
"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?
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.
Authenticity and ethnicity - the theatre casting debate - Mister Producer/The Stage
Authenticity and ethnicity – the theatre casting debate, by Richard Jordan (thestage.co.uk)
"What happens if, at the end of a search, the actor may authentically fit the role but not be the best actor…."
"If theatre marginalises or categorises its actors in roles because of race or gender, then in the same way we also risk carrying that negative attitude out into the audiences. The fight must be to continue taking progressives steps forward and Broadway’s statistics illustrate that there is still much work remaining for our industry’s future in successfully ensuring that we have equality in casting, balanced with talent and inclusion. For me, that is the ‘burden of proof’ that is a responsibility for all of us."
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.
“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?’”
Care and feeing of critics
As a venue or production company you most probably spend a lot of time trying to find out what your audiences want and expect from you. Well, I hope you do. But what about that odd minority group who regularly visit your venue, who perhaps see more productions than the majority of your audience and who may have some impact on your future sales – theatre critics?
Backstage at the Goodman: The Piano Lesson (by turgical)
This 18 minute video-documentary provides a behind the scenes look at Lloyd Richards’ production of August Wilson’s The Piano Lesson at the Goodman Theater, Chicago, in Feb. 1989. Note that Wilson had not yet decided that Berniece would be able to keep the piano at the end of the play because Boy Willie realizes that it helps her to exorcise the ghost of Sutter. This change was then made at the Old Globe in San Diego, prior to the Broadway and the Pulilzer Prize being bestowed on the play.
To the fairy tale onslaught hitting television (the series “Once Upon a Time” and “Grimm”), movies (“Mirror Mirror,” the coming “Snow White and the Huntsman”) and theater (the Delacorte Theater’s revival of “Into the Woods” this summer) add “The Ash Girl”
‘The Ash Girl,’ at Connelly Theater - NYTimes.com
Theater for one?
Theatre-goers have been enjoying performances with a difference during a new festival in London - interactive plays, performed by solitary actors to a single audience member.