(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.
samplings from the lobby for Colman Domingo’s WILD WITH HAPPY that recently closed at Baltimore’s Center Stage - including an interactive road-tripping map that invited audiences to share their best & worst travel memories. some real doozies found their way onto green (happy times) or red (road rage) cards.
A scrupulous writer, in every sentence that he writes, will ask himself at least four questions, thus: 1. What am I trying to say? 2. What words will express it? 3. What image or idiom will make it clearer? 4. Is this image fresh enough to have an effect?
George Orwell; Politics and the English Language (via thatkindofwoman)
(Source: wordpainting, via fledglingflaneuse)
Watch your thoughts; they become words. Watch your words; they become actions. Watch your actions; they become habit. Watch your habits; they become character. Watch your character; it becomes your destiny.
Perhaps a rubric of sorts for theatrical writing? A dramaturgy to link character, action, intention.
Considering this quotation and the work of so many playwrights, authors, artists, and other world-makers; and wondering whether instead our world is bound only by the limits of our imaginations, and not by our inability - yet - to utter it in language. Seems, rather, that language will follow when and where it must.
« The limits of my language means the limits of my world. »
You gotta let people come and weep! FALL OUT and LAY over the casket weep! If they don’t weep there, then they could do it at the CEMETARY, where they toss FLOWERS on the CASKET. THE CASKET, not the URN! You don’t toss flowers on an URN! Toss flowers on the CASKET AND REACH THEIR GRIEF-STRICKEN ARTHRITIC FINGERS TO THE BOWELS OF THE EARTH AS THEIR LOVED ONE IS TAKEN ON AN ELEVATOR TO THEIR FINAL RESTING PLACE SIX FEET UNDER.
WILD WITH HAPPY, Colman Domingo
When you are standing on the edge, waiting to jump into it, you think you can’t but when you’re in it, it doesn’t matter because it’s real and it’s true and it just becomes part of you and it never goes away it just becomes part of the fabric of who you are. Your grief is as unique as you are.
WILD WITH HAPPY, Colman Domingo
"Life without Mozart" - never gets old. AMADEUS coming Fall 2014, and also because.
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
What a fine weather today! Can’t choose whether to drink tea or to hang myself.
Anton Chekhov (via linparis)
With Durang’s VANYA & SONIA & MASHA & SPIKE all set to hit the stage in a few days, a cheerful rumination from inspiring source author, Mr A Chekhov.
To put it more radically, the true horror of life, the essence of drama, lies in the lack of dramaturgy. If there were a dramaturge or demiurge, if we (truly) believed that someone else was writing the play, that someone else was handing out the roles, this would mean we would be sure that our existence had meaning, that there was a play in it somewhere. Armed with this knowledge, neither our personal apocalypse nor the shared one is frightening: it’s simply the writing on the wall. But what if there’s nothing written about us anywhere? What if no one writes us? If no one is watching?
We have nothing else to use against the Apocalypse besides our personal history, without being sure that there are eyes and ears ready to hear us out. So we feel our way with words, like children in the dark. The only thing we know is that as long as we are telling stories, we’re alive. Even if they are stories about the end.”
~ Georgi Gospodinov
[Thanks to @belle_kelle for the quotation]
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)
There is no shame in not knowing; the shame lies in not finding out.
Russian proverb (via myfotolog)
Or, dramaturgy proverb…
(Source: wasbella102, via myfotolog)
Water is 2 parts hydrogen and one part oxygen. What if someone says,’Well, that’s not how I choose to think about water.’?
All we can do is appeal to scientific values. If he doesn’t share those values, the conversation is over. If someone doesn’t value evidence, what evidence are you going to provide to prove that they should value it? If someone doesn’t value logic, what logical argument could you provide to show the importance of logic?
- Sam Harris
Of puns it has been said that those who most dislike them are those who are least able to utter them.
~Edgar Allan Poe, standing up for wordplay then and now.