<\/p>\n
DRAMATURGY<\/strong><\/p>\n Arfara, Katia. “Aspects of a New Dramaturgy of the Spectator.” Performance Research<\/em>, Vol. 14 No. 3 (Sept. 2009) pp. 112-118.<\/p>\n Barranger, Milly S. Theatre: A Way of Seeing<\/em>. Fourth edition. New York: Wadsworth Publishing Co., 1995. CRITICAL THEORY<\/strong><\/p>\n Burke, Kenneth. \u201cTerminist Screens.\u201d Language as Symbolic Actions: Essays on Life, Literature, and Method.<\/em> Berkeley, U. of California Press, 1966.<\/p>\n Buchanan, Ian. A Dictionary of Critical Theory<\/em>. Oxford University Press, 2010. POSTMODERNISM<\/strong><\/p>\n Boudrillard, Jean. Simulations. Trans. Paul Foss, Paul Patton and Philip Beitchman<\/em>. New York: Semiotext(e), 1983.<\/p>\n Blau, Herbert. To All Appearance: Ideology and Performance<\/em>. New York: Routledge, 1992. DECONSTRUCTION<\/strong><\/p>\n Culler, Jonathan. On Deconstruction: Theory and Criticism<\/em>, 2007.<\/p>\n Derrida, Jacques. Hartman, Geoffrey, Miller, Hillis, and Bloom, Harold. Deconstruction and Criticism<\/em>, 2004. MATERIALISM<\/strong><\/p>\n Althusser, Louis. Lenin and Philosophy<\/em>. Trans. Bren Brewster. New York: Monthly Review Press, 1971.<\/p>\n Balibar, Etienne and Immanuel Wallerstein. Race, Nation, Class: Ambiguous Identities<\/em>. London: Verso Press, 1971. FEMINISM<\/strong><\/p>\n Astor, Elaine. An Introduction to Feminism and Theatre<\/em>. Routledge, 1994. QUEER THEORY<\/strong><\/p>\n Butler, Judith. Bodies that Matter: On the Discursive Limits of Sex<\/em>. New York: Routledge, 1993.<\/p>\n —. Gender Trouble: Feminism and the Subversion of Identity<\/em>. New York: Routledge, 1990. POST-COLONIAL THEORY<\/strong><\/p>\n Bhabha, Homi K. The Location of Culture<\/em>, Routledge, 2004.<\/p>\n C\u00e9saire, Aim\u00e9. Discourse on Colonialism<\/em>. Monthly Review Press, 2001. DRAMATURGY Arfara, Katia. “Aspects of a New Dramaturgy of the Spectator.” Performance Research, Vol. 14 No. 3 (Sept. 2009) pp. 112-118. Barranger, Milly S. Theatre: A Way of Seeing. Fourth edition. New York: Wadsworth Publishing Co., 1995. Barba, Eugenio. On Directing and Dramaturgy: Burning the House, Routledge, 2009. Barton, Bruce. “Stop Looking at Your…<\/p>\n","protected":false},"author":56,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"class_list":["post-567","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/websites.emerson.edu\/dramaturgy\/wp-json\/wp\/v2\/pages\/567","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/websites.emerson.edu\/dramaturgy\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/websites.emerson.edu\/dramaturgy\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/websites.emerson.edu\/dramaturgy\/wp-json\/wp\/v2\/users\/56"}],"replies":[{"embeddable":true,"href":"https:\/\/websites.emerson.edu\/dramaturgy\/wp-json\/wp\/v2\/comments?post=567"}],"version-history":[{"count":0,"href":"https:\/\/websites.emerson.edu\/dramaturgy\/wp-json\/wp\/v2\/pages\/567\/revisions"}],"wp:attachment":[{"href":"https:\/\/websites.emerson.edu\/dramaturgy\/wp-json\/wp\/v2\/media?parent=567"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n
\nBarba, Eugenio. On Directing and Dramaturgy<\/em>: Burning the House, Routledge, 2009.
\nBarton, Bruce. “Stop Looking at Your Feet.” Performance Research<\/em>, Vol. 14 No. 3 (Sept. 2009) pp.13-25.
\nBasso, Beatrice. \u201cItalian Dramaturg in a Translation Process.\u201d Theatre Topics<\/em> 13.1 (Mar. 2003): 161-163.
\nBiet, Christian. “Towards a Dramaturgy of Appearance.” Performance Research<\/em>, Vol. 14 No. 3 (Sept. 2009) pp. 102-109.
\nBly, Mark. \u201cPressing an Ear Against a hive or New Play Explorations in the Twenty-First Century.\u201d Theatre Topics<\/em> 13.1 (Mar. 2003): 19-23.
\nBonin-Rodriguez, Paul. \u201cBetween One and Many: Dramaturgical Praxisat Jump-Start Performance, Co.\u201d Theatre Topics<\/em> 13.1 (Mar. 2003): 87-91.
\nBrown, Lenora Inez. \u201cNight of the Living Dramaturg.\u201d American Theatre<\/em> 18.8 (Oct. 2001): 20.
\n– – -. \u201cYou Can\u2019t Tell a Dramaturg by Her Title.\u201d American Theatre<\/em> 18.1 (Jan. 2001): 22-25.
\nBrown, Lenora Inez. The Art of Active Dramaturgy<\/em>. Focus Publishing, 2011.
\nCardullo, Bert. What is Dramaturgy?<\/em> N.p.: Peter Lang Publishing, 2000.
\nChemers, Michael Mark. Ghost Light: An Introductory Handbook for Dramaturgy<\/em>. Southern Illinois University Press, 2010.
\nDevin, Lee. \u201cSpectacle and Music.\u201d Theatre Topics<\/em> 13.1 (Mar. 2003): 159-160.
\nDramatist Guild Resource Directory<\/em>, Focus Publishing, 2011.
\nEckersall, Peter and Fujii Shintaro, Takayama Akira, Hayashi Tatsuki. “On the Dramaturgical Field in Port B’s Tokyo ‘Tour Performances’.” Performance Research<\/em>, Vol. 14 No. 3 (Sept. 2009) pp. 28-43.
\nEggert, Andrew. “The Role of Dramaturg in the Creation of New Works.” Opera America<\/em>. Spring 2008: 24-27.
\nEngelman, Liz, and Michael Bigelow Dixon. \u201cWhat Makes a Turg Tick: Two Dramaturgs Discuss What They Like About Their Profession and Why They Do It.\u201d Theatre Topics<\/em> 13-.1 (Mar. 2003): 93-99.
\nEtchells, Tim. “Doing Time.” Performance Research<\/em>, Vol. 14 No. 3 (Sept. 2009) pp. 71-80.
\n\u201cExecute a dramaturg\u2019s Idea.\u201d American Theatre<\/em> 21.1 (Jan. 2004): 19.
\nFuchs, Elinor. “EF’s Visit to a Small Planet: Some Questions to Ask a Play.” Theatre<\/em> 34. 2 (Summer 2004): 5-9.
\nGandrow, Kristen. \u201cDramaturgy: Quirky and Productive.\u201d Theatre Topics<\/em> 13.1 (Mar. 2003): 79-80.
\nHardison Londre, Felicia. Words at Play: Creative Writing and Dramaturgy<\/em>. Southern Illinois University Press, 2005.
\nHaring-Smith, Tori. \u201cDramaturging Non-Realism: Creating a New Vocabulary.\u201d Theatre Topics<\/em> 13.1 (Mar. 2003): 45-54.
\nHartley, Andrew James. The Shakespearean Dramaturg: ATheoretical and Practical Guide<\/em>. Palgrave Macmillan, 2005.
\nHarvey, Alec. \u201cIs There a Dramaturg in the House?\u201d American Theatre<\/em> 21.9 (Nov. 2004): 74-79.
\nHagebolling, Heide. Interactive Dramaturgies<\/em>. Ed. N.p.: Springer, 2004.
\nIrelan, Scott R., Fletcher, Anne, Dubiner, Julie Felise. Process of Dramaturgy<\/em>. Focus Publishing \/ R. Pullins Co., 2009.
\nJonas, Susan S., Geoffrey S. Proehl, and Michael Lupo. Dramaturgy in American Theatre<\/em>: A Source Book. N.p.: Wadsworth Publishing, 1996.
\nKindelan, Nancy. Shadows of Realism: Dramaturgy and the Theories and Practices of Modernism<\/em>. Praeger Paperback, 1996.
\nKosidowski, Paul. \u201cThinking Through the Audience.\u201d Theatre Topics<\/em> 13.1 (Mar. 2003): 83-86.
\nKunst, Bojana. “The Economy of Proximity.” Performance Research<\/em>, Vol. 14 No. 3 (Sept. 2009) pp. 81-88.
\nLehmann, Hans-Thies. “Dramaturgy on Shifting Grounds.” Performance Research<\/em>, Vol. 14 No. 3 (Sept. 2009) pp. 3-6.
\nLenhardt, Martina. “Open Dramaturgies.” Performance Research<\/em>, Vol. 14 No. 3 (Sept. 2009) pp. 126-128.
\nLondre, Felicia Hardison. Words at Play: Creative Writing and Dramaturgy (Theatre in the Americas)<\/em>. N.p.: Southern Illinois Press, 2005.
\nLuckhurst, Mary. Dramaturgy: A Revolution in Theatre<\/em>. N.p.: Cambridge University Press, 2006.
\nLynn, Kirk, and Shawn Sides. \u201cCollective Dramaturgy: A Co-consideration of the Dramaturgical role in collaborative Creation.\u201d Theatre Topics<\/em> 13.1 (Mar. 2003): 111-115.
\nMagruder, James. \u201cA Place at the Table.\u201d American Theatre<\/em> 18.1 (Jan. 2001): 24-25.
\nMargraff, Ruth. \u201cthe Stadium and Theatrein Punctum at the Beloves & Life-like Torso of Antinoos.\u201d Theatre Topics<\/em> 13.1 (Mar. 2003): 67-99.
\nMazer, Cary. \u201cDramaturgy in the Classroom: Teaching Undergrad Students Not to be Students.\u201d Theatre Topics<\/em> 13.1 (Mar. 2003): 135-141.
\nMartin, Carol. Dramaturgy of the Real on the World Stage<\/em>. Palgrave McMillan, 2010.
\nMcCabe, Terry. Mis-Directing the Play: An Argument Against Contemporary Theatre<\/em>. N.p.: Ivan R. Dee, 2001.
\nMonaghan, Megan. \u201cEconomics.\u201d Theatre Topics<\/em> 13.1 (Mar. 2003): 81.
\nMulcahy, Lisa. “The Diversity of Dramaturgy: Three Dramaturgs, Three Different Career Tracks.” Stage Directions<\/em>, April 2008, Special Section: Literary Rights, Licensing & Mgmt.
\nOrr, Shelley. \u201cTeaching Play Analysis: How a Key Dramaturgical Skill Can Foster Critical Approaches.\u201d Theatre Topics<\/em> 13.1 (Mar. 2003): 153-158.
\nPalmer, Tanya. \u201cRisky Business.\u201d Theatre Topics<\/em> 13.1 (Mar. 2003): 63-67.
\nPatterson, Michael. Oxford Dictionary of Plays<\/em> – contains list of 1000 central to theatre history and their synopses.
\n“Performance Research: On Dramaturgy: Notes on Contributors.” Performance Research<\/em>, Vol. 14 No. 3 (Sept. 2009) pp. 132-134.
\nProehl, Geoffrey S. \u201cDramaturgy and Silence.\u201d Theatre Topics<\/em> 13.1 (Mar. 2003): 25-33.
\nProehl, Geoff. Toward Dramaturgical Sensibility: Landscape and Journey<\/em>. Farleigh Dickinson University Press, 2008.
\nRadosavljevic, Dusca. “The Need to Keep Moving.” Performance Research<\/em>, Vol. 14 No. 3 (Sept. 2009) pp. 45-51.
\nRudakoff, Judith. \u201cThe Four Elements: New Models for a Subversive Dramaturgy.\u201d Theatre Topics<\/em> 13.1 (Mar. 2003): 143-152.
\nShteir, Rachel. \u201cThe Dramaturg\u2019s Progress.\u201d Theatre Topics<\/em> 13.1 (Mar. 2003): 165-168.
\nSmith, Gay. \u201cHistories.\u201d Theatre Topics<\/em> 13.1 (Mar. 2003): 101.
\nSmith, Phil. “Burning the Box Office.” Performance Research<\/em>, Vol. 14 No. 3 (Sept. 2009) pp. 90-100.
\nStalpaert, Christel. “A Dramaturgy of the Body.” Performance Research<\/em>, Vol. 14 No. 3 (Sept. 2009) pp. 121-125.
\nThomson, Lynn M. \u201cTeaching and Rehearsing Collaboration.\u201d Theatre Topics<\/em> 13.1 (Mar. 2003): 117-128.
\n– – -. \u201cWhere We are Now: A Report on Literary Managers and Dramaturgs of the Americas.\u201d American Theatre<\/em> 18.1 (Jan. 2001): 26-27.
\nTurner, Cathy, and Synne Behrndt. Dramaturgy and Performance (Theatre and Performance Practices)<\/em>. N.p.: Palgrave Macmillan, 2008.
\nValentini, Valentina. “On the Dramaturgical Aspects of Bill Viola’s Multi-Media Installations.” Performance Research<\/em>, Vol. 14 No. 3 (Sept. 2009) pp. 54-64.
\nVan Kerkhoven, Marianne. “European Dramaturgy in the 21st Century.” Performance Research<\/em>, Vol. 14 No. 3 (Sept. 2009) pp. 7-11.
\nVolansky, Michael. \u201cImagining LMDA: Past, Present, and Future.\u201d Theatre Topics<\/em> 13.1 (Mar. 2003): 169-171.
\nWilson, John Kendall. \u201cA Team Approach to Dramaturgy at Cornish College of the Arts.\u201d Theatre Topics<\/em> 13.1 (Mar. 2003): 129-133.
\nWolff, Tamsen. \u201cWomen\u2019s Work: Gender and Dramaturgy.\u201d Theatre Topics<\/em> 13.1 (Mar. 2003): 103-104.
\nZelenak, Michael X. \u201cWhy We Don\u2019t Need Directors: A Dramaturgical\/\u200cHistorical Manifesto.\u201d Theatre Topics<\/em> 13.1 (Mar. 2003): 105-109.<\/p>\n
\n
\nCarlson, Marvin. Theories of the Theatre: A Historical and Critical Survey, from the Greeks to the Present<\/em>. Cornell University Press, 1993.
\nCuller, Jonathan. Literary Theory: A Very Short Introduction<\/em>. 1998.
\nMalpas, Simon. The Routledge Companion to Critical Theory<\/em>. Routledge, 2006.
\nPavis, Patrice. Theatre at the Crossroads of Culture<\/em>. Trans. Loren Kruger. New York: Routledge, 1992.
\nRabkin, Gerald. \u201cWaiting for Foucault: New Theatre Theory.\u201d Performing Arts Journal<\/em>, 14.3 (1992): 90-101.
\nReinelt, Janelle G. and Joseph R. Roach, eds. Critical Theory and Performance<\/em>. Ann Arbor: University of Michigan Press, 1992.
\nTyseon, Lois. Critical Theory Today: A User-Friendly Guide<\/em>. Routledge, 2006.<\/p>\n
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\nButler, Christopher. Postmodernism: A Very Short Introduction<\/em>. 2003.
\nConnot, Steven. The Cambridge Companion to Postmodernism<\/em>. Cambridge U. Press, 2004.
\nFoster, Hal, ed. The Anti-Aesthetic: Essays on Postmodern Culture.<\/em> Port Townsend, Washington: Bay Press, 1983.
\nFuchs, Elinor. The Death of Character: Perspectives on Theater after Modernism<\/em>. Bloomington: Indiana University Press, 1996.
\nKaye, Nick. Postmodernism and Performance<\/em>. Palgrave, 1994.
\nKroker, Arthur and David Cook. The Postmodern Scene: Excremental Culture and Hyper-Aesthetics<\/em>. New York: St. Martin\u2019s Press, 1986.
\nLehman, Hans-Thies. Postdramatic Theatre<\/em>. Routledge, 2006.
\nLyotart, Jean-Francois. The Postmodern Condition. Trans. Geoff Bennington and Brian Massumi.<\/em> Minneapolis: University of Minnesota Press, 1984.<\/p>\n
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\n— The Ear of the Other<\/em>. Trans. Avital Ronell and Peggy Kamuf. Ed. Christie MacDonald. Lincoln: University of Nebraska Press, 1985.
\n—. Writing and Difference<\/em>. Trans. Alan Bass. Chicago: University of Chicago Press, 1978.
\nPowell, Jim. Deconstruction for Beginners<\/em>, 2008.
\nNorris, Christopher. Deconstruction: Theory and Practice<\/em>. London: Methuen, 1982.<\/p>\n
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\nBenjamin, Walter. Illuminations<\/em>. Trans. Harry Zohn. Ed. Hannah Arent. New York: Schocken Books, 1979.
\nEagelton, Terry. Criticism and Ideology<\/em>. London: Verso Press, 1976.
\nKnowles, Ric. Reading the Material Theatre<\/em>. Cambridge University Press, 2004.
\nWilliams, Raymond. Problems in Materialism and Culture<\/em>. London: Verso Press, 1980.<\/p>\n
\n
\n— Feminist Theatre Practice: A Handbook<\/em>, 1999.
\nBurke, Carol. Noami Schor and Margaret Whitford. Engaging with Irigaray: Feminist Philosophy and Modern European Thought<\/em>. New York: Columbia University Press, 1994.
\nCase, Sue-Ellen, and Elaine Astor, Feminism and Theatre<\/em>. Palgrave Macmillan, 2008.
\n— Staging International Feminism<\/em>. Palgrave Macmillan, 2007.
\n— ed. Performing Feminisms<\/em>: Feminist Critical Theory and Theatre. Baltimore: The John Hopkins University Press, 1990.
\nDe Lauretis, Teresa. Technologies of Gender: Essays on Theory, Film and Fiction<\/em>. Bloomington: Indiana University Press, 1987.
\nGoodman, Lizbeth. Feminist Stages: Interviews with Women in Contemporary British Theatre<\/em>. Routledge, 1996.
\nHooks, Bell. Feminist Theory: From Margin to Center<\/em>, 2000.
\nPhelan, Peggy. Unmarked<\/em>. Routledge, 1993.
\nSchneider, Rebecca. Explicit Body in Performance<\/em>. 1997.<\/p>\n
\n
\nCase, Sue-Ellen. \u201cPerforming Lesbian in the Space of Technology: Part I and II.\u201d Theatre Journal<\/em>. 47.1 and 3 (1995): 1-18, 329-343.
\n— Feminist and Queer Performance: Critical Strategies<\/em>, 2009.
\nClum, John M. Acting Gay: Male Homosexuality in Modern Drama<\/em>. New York: Columbia University Press, 1992.
\nSavaran, David. Communists, Cowboys, and Queers: The Politics of Masculinity in the Work of Arthur Miller and Tennessee Williams<\/em>. Minneapolis: University of Minneapolis Press, 1992.<\/p>\n
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\nChaudhuri, Una. Staging Place: The Geography of Modern Drama<\/em>. Ann Arbor: University of Michigan Press, 1995.
\nFanon, Frantz. Black Skin, White Masks<\/em>. Revised edition. Grove Press, 2008.
\nGainor, Ellen. Imprerialism and Theatre<\/em>. New York: Routledge,1995.
\nGilbert Helen. Post-Colonial Drama: Theory, Practice, Politics<\/em>, 1996.
\nSaid, Edward. Orientalism<\/em>. New York: Vintage Books, 1979.
\nSpivak, Gayatri Chakrwavorty. A Critique of Postcolonial Reason: Toward a History of the Vanishing Present<\/em>. Harvard University Press, 1999.<\/p>\n","protected":false},"excerpt":{"rendered":"