ABSTRACT

Discussions on the relationship between dramaturgy and forms of theatre and dance that do not follow traditional paradigms started to emerge in the 1990s. The recent proliferation of texts, conferences, and discussions on the topic evidences that this interest has become even more popular during the last few years (indicatively see: Hansen and Callison 2015; Trencsenyi and Cochrane 2014; Turner and Behrndt 2008). 1 At the same time, in today’s fragmented and diverse landscape of artistic production, dramaturgy has become difficult to define as a term; it cannot be the result of a single ‘guide’ for the making of certain types of work, nor can it be approached through set modes of analysis and interpretation. And yet, this is why the practice of dramaturgy has also become relativized; ‘everything and nothing is or can be (considered) dramaturgy’, as Bojana Cvejic´ (2010: 41) has noted. We therefore need to ask: If dramaturgy has indeed become an obscure area of research, an ungraspable practice, then what is at stake when engaging with dramaturgy today specifically within the frame of choreographic processes?