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Dramaturgy is the study of dramatic composition and the representation of the main elements of drama on the stage. The word ''dramaturgy'' was coined by Gotthold Ephraim Lessing in his influential work ''Hamburg Dramaturgy'', written when he was employed by the Hamburg National Theatre as the world's first dramaturg. Dramaturgy is a distinct practice separate from play writing and directing, although a single individual may perform any combination of the three.〔Cardullo, Bert. ''What is Dramaturgy?'' New York: Peter Lang Publishing, 2005. p. 4.〕 Some dramatists combine writing and dramaturgy when creating a drama. Others work with a specialist, called a dramaturg, to adapt a work for the stage. Dramaturgy may also be defined, more broadly, as shaping a story into a form that may be acted. Dramaturgy gives the work or the performance a structure, an understructure as well as a reference to Zeitgeist. Dramaturgy is a tool to scrutinize narrative strategies, cross-cultural signs and references, theater and film historic sources, genre, ideological approach, representing of gender roles etc. of a narrative-performative work. Dramaturgy is a practice-based as well as practice-led discipline invented by Gotthold Ephraim Lessing (the author of well known plays like “Miss Sara Sampson”, “Emilia Galotti”, “Minna von Barnhelm” or “Nathan the Wise”) in the 18th century. The Theater of Hamburg engaged him for some years for a position today known as ‘dramaturg’. He was first of this kind and described his task as ‘dramatic judge’ (“dramatischer Richter”) who has to be able to tell the difference between the stake the play has or the main actor or the director to make us feel comfortable or not while watching a theatrical performance.〔(G. E. & BERGHAHN, K. L. 1981. Hamburgische Dramaturgie, Stuttgart, Reclam. )〕 From 1767-1770 Lessing wrote and published as result a series of criticisms entitled the ''Hamburg Dramaturgy (Hamburgische Dramaturgie).'' These works analyzed, criticized and theorized the German theatre, and made Lessing the father of modern Dramaturgy.〔(Britannical online at )〕 Based on Lessing's “Hamburgische Dramaturgie” (Lessing and Berghahn, 1981) and “Laokoon” 〔(G. E. 1766. Laokoon, Berlin,, C. F. Vosst )〕 and Hegel’s “Aesthetics” (written 1835-1838),〔(G. W. F. & KNOX, T. M. 1975. Aesthetics : lectures on fine art, Oxford, Clarendon Presst )〕 many authors, including Höderlin, Goethe, Schelling, Thorton Wilder, Arthur Miller, and Tennessee Williams, started to reflect on theater, not only in Germany.,〔(K, editor. Dramaturgische Schriften des 18. Jahrhunderts. Berlin: Henschelverlag Berlin; 1968 )〕〔(K, editor. Dramaturgische Schriften des 19. Jahrhunderts. Berlin: Henschel Verlag; 1987 )〕 Gustav Freytag summed up those reflections in his book “The Technique of the Drama”,〔(G. Technique of the drama: an exposition of dramatic composition and art; an authorized translation from the 6th German ed. by Elias J. MacEwan, New York. )〕 which has been translated into English and published in the late 19th century in the USA. Freytag's book is seen as the blue print forthe first Hollywood screenwriting manuals. ''The Technique of Play Writing'' by Charlton Andrews, 1915,〔(C. 1915. The Technique of Play Writing, Springfield, Mass. : The Home correspondence schoolt )〕 refers to European and German traditions of dramaturgy and understanding dramatic composition. Another important work in the Western theatre tradition is the ''Poetics'' by Aristotle (written around 335 BC). In this work Aristotle analyzes tragedy. Aristotle considers ''Oedipus Rex'' (c. 429 BC) as the quintessential dramatic work. He analyzes the relations among character, action, and speech, gives examples of good plots, and examines the reactions the plays provoke in the audience. Many of his "rules" are referred to today as "Aristotelian drama". In the ''Poetics'' Aristotle discusses many key concepts of drama, such as anagnorisis and catharsis. In the last century Aristotle's analysis has formed the basis of numerous TV and film-writing guides. The ''Poetics'' is the earliest surviving Western work of dramatic theory. Probably the earliest non-Western dramaturgic work is the Indian Sanskrit "Natayasatra" ('The Art of Theatre') written about AD 100, which describes the elements, forms and narrative elements of the ten major types of ancient Indian dramas.〔Eckersley, M. 1997. ''Soundings in the Dramaturgy of the Australian Theatre Director''. University of Melbourne: Melbourne. p37.〕 ==Practice== Dramaturgy is a comprehensive exploration of the context in which the play resides. The dramaturg is the resident expert on the physical, social, political, and economic milieus in which the action takes place, the psychological underpinnings of the characters, the various metaphorical expressions in the play of thematic concerns; as well as on the technical consideration of the play as a piece of writing: structure, rhythm, flow, even individual word choices.〔Terry McCabe. Mis-Directing the Play: An Argument Against Contemporary Theatre. p. 64.〕 Institutional dramaturgs may participate in many phases of play production including casting of the play, offering inhouse criticism of productions-in-progress, and informing the director, the cast and the audience about a play’s history and its current importance. In America, this type of dramaturgy is sometimes known as Production Dramaturgy.〔Eckersley, M. 1997. Soundings in the Dramaturgy of the Australian Theatre Director University of Melbourne. Melbourne. p9.〕 Institutional or Production dramaturgs may make files of materials about a play's history or social context, prepare program notes, lead post-production discussions, or write study guides for schools and groups. These actions can assist a director in integrating textual and acting criticism, performance theory, and historical research into a production before it opens.〔Cardullo, Bert. ''What is Dramaturgy?'' New York: Peter Lang Publishing, 2005. p. 4.〕 Dramaturgy can also be referred to dance and performing arts in general. Some examples are: * Heidi Gilpin, who translates ideas — linguistic, mathematical or scientific — into an understanding that offers a common ground that facilitates interaction between her and world-famous choreographer Forsythe. * Andre Lepecki is present throughout the entire rehearsal process and offers feedback to Meg Stuart outside the studio, playing the part of the witness in the creative process. * Hildegard De Vuyst is the first SPECTATOR, strengthening and developing moments of material. * Bojana Cvejic, the dramaturg of Xavier Le Roy, sees herself as someone who creates conditions for the work, therefore a facilitator of the process. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Dramaturgy」の詳細全文を読む スポンサード リンク
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