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An introduction to the fifth issue of the third volume of Ideas Magazine, concerning the thoughts, experience, and work of Dr. Marcelo J.S. de Lemos.

La premiere partie de l’essai revient sur l’histoire de la dramaturgie en Allemagne et en Grande-Bretagne ; la seconde partie traite des differentes nouvelles modalites d’ecriture dans ces deux pays.

This is a letter from the editor Kamryn Dehn regarding the first issue of this volume. It details how theatre can be utilized to promote social change, and discusses how Tasia Jones focuses on the Black experience in some of her works.

This short play is inspired by the author’s lived experience as a queer Vietnamese-American woman in academia and in US society. This theatrical piece, centered around two young women meeting for the first time after several years, reflects upon the mutable divergence of shared memory, while also exploring intersectional feminist theory and the Vietnamese-American community. This is also a critique of US-based stereotypes about young Asian-American women, and how social prejudices and microaggressions can result in internalized anti-Asian misogyny. Like the range of identities and life experiences that characters Laurel and Mattie have, the Asian diasporic experience in the United States contains multitudes.

International audience; The Scottish stage and its referendum context are at the core of this paper.Debating and arguing are at the origin of the theatrical process; the Renaissance Inns of Court included this type of training in their courses. Siobhan Keenan specified that ‘In keeping with the sharp witted culture of the Inns, lawyers appear to have had a particular taste for dramatic satire, parody and topical commentary’. Centuries later, in Scotland, the same genres are still very much appreciated and used, and the September 18th 2014 referendum on independence was particularly heralded by a very important and animated debating period in which playwrights, performers, directors, and other figures of the artistic world participated actively. All felt committed, dedicated to the cause of the national and international future of Scotland, bound by duty, by their sense of responsibility and loyalty to their country. To them, their votes meant more than the sole expression of their own cultural and political opinions; to them, the freedom of Scotland was at stake, and so was their engagement for the future generations.In this paper, a few examples of how the Scottish theatrical world showed interest and commitment during the pre-referendum period are analysed through the dialogical links relating playtexts and their contexts (including socio-political real frames).

The central research inquiry of this dissertation is how the experience of working within a collaborative context, employing the processes of devising, affects a playwright. It springs from the presentiment that the processes of devising are significantly different than traditional playwriting methodologies and have the potential to offer short and long-term benefits to both playwright and collaborators. A central focus of the dissertation is the figure of the writer-deviser as a distinctive artist with a particular skillset developed from both devising praxis and standard playwright training (which traditionally does not emphasise collaborative theatre-making). This dissertation therefore examines the historical and contemporary context of the writer-deviser in order to provide a foundation for the presentation and exegesis of my practice-as-research: a play written via the devising process and another play written as a solo playwright. The Introduction to this dissertation serves the function of presenting the central research query and associated areas for exploration. It outlines my methodological approach, placing it within the context of the discourse on performance-related practice-as-research, whilst identifying a gap within this discourse of the treatment of the playwright. Chapter One presents an overview of devising in its historical and contemporary context. The chapter also functions to identify positive aspects of devising which may aid a playwright’s development, and, alternatively, pinpoint problematic issues associated with devising. Chapter Two provides an overview of pedagogical approaches to playwright development. Original research is presented via a playwrights’ survey on training and experiences of devising. Pedagogical approaches which may aid the writer-deviser are identified, and areas of weakness revealed. Chapter Three defines the concept of the writer-deviser, incorporating challenges to the dramatic/postdramatic and text/performance binaries. This is achieved through commentary on historical and contemporary examples of writers working in a collaborative context. Chapter Four further develops the figure of the writer-deviser through a case study of Bryony Lavery, providing a close analysis of two scripts created using devising methodology, and one written as a solo playwright. Chapter Five presents the exegesis of practice-as-research section of this dissertation, with reference to the devised play The 9.21 to Shrub Hill and the non-devised play Playground, which are presented in a section entitled ‘Playscripts’. An outline of the process of both productions is provided, linked closely to the discourse of the preceding chapters of this dissertation. Based on a comparison of the two processes, findings are revealed and suggestions for other writer-deviser practitioners and devising companies are presented in a Toolkit. The conclusion reflects on the argument of the dissertation and its realization within the playscripts, and highlights areas for further investigation.

Representations of violence have been at the heart of some key movements in post-war British theatre. In the twenty-first century, however, these representations have evolved in a new way, characterised both by an escalation of the scale and intensity of the violence, to a point one could call apocalyptic, coupled with specifically non-realist dramaturgical and theatrical modes of production. The essay explains these phenomena as two sides of an attempt to resist neoliberal capitalism’s totalising colonisation of our experience of the real and to imagine the unimaginable end of capitalism. La question de la représentation de la violence est au cœur de plusieurs moments clés du théâtre anglais d’après-guerre. Au 21ème siècle, la représentation de la violence a toutefois évolué d’une nouvelle manière, caractérisée par une intensification de la violence, jusqu’à un point que l’on pourrait qualifier d’apocalyptique, tout cela allant de pair avec une sortie du réalisme sur le plan dramatique et dramaturgique. Cet article se propose d’analyser ces phénomènes comme étant les deux facettes d’une même volonté de résister à l’emprise du capitalisme néolibéral sur notre expérience du réel et d’imaginer l’inimaginable, à savoir la fin du capitalisme.

League of Resident Theatres and playwrights were surveyed to see how the field has changed in relation to playwright commissions in the decade since the research undertaken for Todd London's OUTRAGEOUS FORTUNE. This paper contains an evaluation of the number of commissions as well as the renumeration for them at LORT member theatres and suggests a new flexible model for financially supporting playwrights during the creative process.

This document contains Alexandra Deglise’s Masters of Fine Arts Thesis produced for the completion of the 2016 Professional Actor Training Program at the University of Virginia. It includes a digital portfolio of the following performances: The Bone or the Ring, by Alexandra Deglise, My Imaginary Kid, by Leonard D. Grissom, and Padam Padam, by Henri Contet, along with an Artist Statement and Journal of the Creation Process. This thesis will mainly be used as a promotional and grant research package.

Reflexiones sobre la práctica dramatúrgica. Concepción del espacio escénico como espacio de frontera. Sitio donde convergen distintas disciplinas artísticas y el público. Espacio lleno de condicionamientos, pero que permite desplegar desde él la creatividad. Breve reseña de mi trayectoria como dramaturgo y las fronteras que se presentaron a mi paso, no sólo geográficas sino también de lenguaje. La plataforma virtual como soporte para nuevas experiencias creativas. Comentario sobre el proceso de montaje de los alumnos del Atelier théâtre espagnol Lansad (Universidad Stendhal-Grenoble 3) con textos de autores rioplatenses. Balance positivo de este Coloquio que permitió unir en un mismo espacio el mundo académico y el de los creadores. Réflexions sur la pratique dramaturgique. Conception de l’espace scénique comme espace de frontière. Lieu où convergent différentes disciplines artistiques et le public. Espace plein de conditionnements, mais d’où il est possible de déployer la créativité. Bref résumé de ma trajectoire comme dramaturge, et sur les frontières qui se sont présentées à moi, non seulement géographiques mais aussi linguistiques. La plateforme virtuelle comme support pour de nouvelles expériences créatives. Commentaire sur le processus de montage des étudiants de l’Atelier théâtre espagnol Lansad (Université Stendhal-Grenoble 3) à partir de textes d’auteurs du Río de la Plata. Bilan positif de ce colloque qui a permis d’unir en un même espace le monde académique et celui des créateurs. Reflexions about playwriting practice. Notion of scenic space as a border space. Area where different art disciplines and the public converge. Space full of shapings, but that allows creativity. Short summary of my professional career as a playwright, and about the borders I had to face, not only geographical but also linguistic. The virtual platform as a support for new creative experiences. Comments concerning the play staged with the students of the Atelier théâtre espagnol Lansad (University Stendhal-Grenoble 3), based on texts from authors from the Rio de la Plata. Positive balance of this conference that brought together in one location the academic world and the world of creators.

Broadway, 1926. The Rialto is alive with drama. At the Mansfield Theater, a revival of the Pulitzer Prize-winning play Beyond the Horizon is enjoying a healthy run. At the Imperial, George Gershwin’s Prohibition romp Oh, Kay is a bona fide sell-out. At the Mayfair, an unexpected guest upstages the opening night of a searing marital tragedy entitled The Half- Naked Truth. In the words of critic Brooks Atkinson: Toward the end of the second act. . .a gray cat walked amiably across the stage, peeped curiously over the footlights, and then sat down comfortably, yawned a little, blinked sleepily and apparently settled for the night. . . . . .What drama could vie with the reality of a cat? Or what actor could put a cat to shame?. . . . . .Unfortunately. . .the play. . .was amateurish in every [other] respect. The Half-Naked Truth closed within a month; the fate of the cat remains unknown. But the dramas playing out on Broadway that fateful year aren’t all happening onstage; in a nearby office building behind closed doors, a cluster of playwrights- Eugene O’Neill and humorist George Kaufman among them-are meeting with a group of theatrical producers. The writers have recently established a Guild, just fourteen years old, to fight for equitable practices in their profession. Somewhat reluctantly, the producers have agreed to meet with them. On one point, the Guild is intractable: the right of its members to control their copyrights and prevent unauthorized changes in their scripts., The Columbia Journal of Law & the Arts, Vol. 38 No. 3 (2015)

This thesis reports on the findings of my study into playwriting pedagogy in NSW secondary schools. Utilising a comparative case study approach, the phenomenological study aimed to gather data on the experience of teachers and students engaged in playwriting pedagogy for the New South Wales Higher School Certificate Drama examination. The research, initially focusing on the impact of performance theory on the teaching and learning experience, revealed the need to attend not only to dramaturgy, but also to the related concepts of agency, creativity, engagement and the teacher-student dynamic. The research findings reflect a reluctance to engage in theory based pedagogy and the teachers adopted what I have called the Noble Savage approach. The teachers, seeing themselves as facilitators rather than teachers, expressed a reluctance to engage in specific teaching in an attempt to protect the students’ independence and original creative voice. The experience of pedagogy observed also revealed that playwriting provided students with an opportunity to demonstrate and develop skills in agency, encouraging them to think deeply and ‘imagine new worlds’ (Freire, 1974). It also provided the students with an opportunity to engage in a creative and independent writing task unique in these students’ school experience. However, my study also observed that the benefits of agency and creativity were not supported by the Noble Savage approach. This thesis argues that current playwriting pedagogy is adversely affected by a conception of creativity that is not supported by some creativity theory. Examining the experiences through Csikszentmihalyi’s (2008) concept of flow, this research identified the importance of skill development in creative tasks and the associated need for rigorous teaching and learning to maintain engagement and skill development. The research also found that despite the professed Noble Savage approach, the teachers were dissatisfied with their practice and upon reflection considered a more structured and theory informed approach would have been more effective. The thesis concludes that greater engagement with theory and the semiotics of theatre will not only improve student proficiency in playwriting practice, but will improve the benefits to students’ agency, creativity and engagement and improve the students’ and teachers’ experience of playwriting pedagogy.

In this paper the authoress refers to examples from the period between the 60s and the beginning of the 90s of the 20th century in Croatia which best illustrate not only the playwriting but also the lethalness of the act through mostly political drama typical of the period in question. At the time, the theatre was often not "the only space in which people were allowed to think and talk politically" (B. Senker). The paper discusses the following dramas: Perković's Closed Afternoon (1966), Šoljan's Diocletian's Palace (1969), Kušan's The End of Freedom (1971), Marović's Antigona, the Queen of Thebes, and the Themistocles (both from the earl 1980s), and Brešan's Julius Caesar (1994 ; publ. 1997). Dramatic literature and the theatre of these decades did not only reflect the happenings in Croatia within the former Yugoslav state (Socialist Federal Republic of Yugoslavia) ; many of the above and other authors paid for their courage to write these texts with being passed over in silence, and with intellectual, political and existential harassment.

Review of 'Break a Leg', the memoir by Irish theatre artist Peter Sheridan. First published in the Sunday Business Post Magazine.

"First Love teaches you how to love. Great Love perfects that love. Last Love...well, we never really figured out what Last Love did." "Tim Without Thalia" and "Thalia With Someone Else" sprung from a place of being tired, but not yet sleepy. The "quarter-life crisis" if you will: When everyone else seems to be getting married, having kids, starting their own basket-weaving businesses, except you. When relationships between college friends break and relationships between "real life" friends…break. When love is dictated as much by actual romance, as it is by power. Yet you still feel oddly euphoric about it all. In these two companion plays, Tim, Thalia, and their clueless but well-meaning friends wax idiotic on the rules of modern romance: the chase, the connection, and, of course, the end. Produced April 30 – May 2, 2009 in Virginia Tech's Performing Arts Building under the direction of Dr. Patricia Raun, Theatre Arts Department Head. Master of Fine Arts

A very common delusion under which most Theatre students suffer is the idea that because their craft is primarily oral and/or visual that they will not need to worry about developing their writing skills. This is a fallacy. Writing is fundamental in articulating play reviews, analysis and opinons concerning written or visual works, journal articles, theatre history, resumes, grants and proposals. In fact, writing is probably the most important form of communication in the theatre because, without it, there is generally no play to perform. In that plays begin life as written compositions, writing is arguably a very important, in face primary, form of communication in the theatre.

Juan Radrigán ha cumplido, durante la temporada teatral 2004, veinticinco años como dramaturgo, período durante el cual ha llegado a ser uno de los más importantes autores en la historia del teatro chileno. Este artículo ofrece una mirada panorámica sobre estos veinticinco años de producción dramatúrgica y teatral de Juan Radrigán, desde sus obras más emblemáticas estrenadas al final de los años setenta e inicio de los ochenta, en las que aborda fundamentalmente la marginalidad en el contexto del autoritarismo, algunas de las cuales ya forman parte de los clásicos del teatro chileno, hasta las piezas más recientes y menos conocidas del autor, en las que se refiere principalmente a la memoria en el contexto de la democracia, y con las que Juan Radrigán activamente se ha proyectado como dramaturgo para el siglo XXI Juan Radrigán has celebrated during the 2004 Theatrical Season twenty five years as a playwright. During this period he became one of the most important authors on Chilean Theatre history. This article offers a panoramic view about this twenty five years of Juan Radrigán’s dramatic and theatrical production, from his most emblematic plays premiered at the late 70’s and early 80’s, in which he fundamentally highlights exclusion in the context of authoritarianism -some of those works are already part of Chilean Theatre Classics-, until the author’s newest and least known plays, in which he mainly refers to memory in the context of democracy -works that have actively proyected Juan Radrigán as a playwright for the XXI century

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A play in two acts. A macabre farce about murder and the search for justice during carnival time.

Din hi l-bijografija tas-Sur George Joseph Vella li miet f’Tas-Sliema fl-1962., peer-reviewed

L-awtur jitkellem dwar is-sitwazzjoni preżenti ta’ żmienu fir-rigward tal-kitba teatrali Maltija., N/A

L-arti drammatika f’Malta jidher li ħadet żvilupp kbir f’dawn is-snin tal-aħħar meta tqabbilha ma’ dik ta’ mitt sena ilu., N/A

Ħafna llum iħossuhom imħawda dwar jekk William Shakespeare hux il-veru awtur ta’ ħafna mid-drammi li kiteb. Kien hemm min innota li xi kitbiet inkitbu minn Christopher Marlowe., peer-reviewed

L-awtur jitkellem dwar Victorien Sardou, wieħed mill-aqwa drammaturgi tat-teatru Franċiż tas-seklu dsatax., N/A

L-awtur jitkellem dwar il-palk Malti barra minn xtutna fejn il-Maltin emigranti jistgħu jinġabru f’teatru wieħed biex jaraw xi reċta bil-Malti. L-awtur ried juri li l-Maltin ta’ barra li żammew l-arti teatrali fosthom, jistħoqqilhom ġieħ kbir., N/A

L-awtur jagħmel analiżi letterarja dwar ix-xogħol teatrali ta’ Ninu Cremona bħala drammaturgu., N/A