Duška Radosavljević – författare

Aural/Oral Dramaturgies: Theatre in the Digital Age focuses on the ‘aural turn’ in contemporary theatre-making, examining a number of seemingly disparate trends that foreground speech and sound -- ‘post-verbatim’ theatre, 'amplified storytelling' (works using microphones and headphones), and ‘gig theatre’ that incorporates live music performance. Its main argument is that the dramaturgical underpinnings of these works contribute to an understanding of theatre as an extra-literary activity, greater than the centrality of the script that traditionally dominated many historical discussions. This quality is usually expressed in terms of the corporeality in dance and physical theatre, but the aural/oral turn gives an alternative viewpoint on the interplay between text and performance. The book's case studies draw on the ways in which a range of theatre companies engage with the dramaturgy of speech and sound in their work. It is further accompanied by a specially curated collection of digital resources, including interviews, conversations, and presentations from artists and academics.This is a key text for scholars, students, and practitioners of contemporary performance, and anyone working with dramaturgies of orality and aurality in today’s performance environment.

Aural/Oral Dramaturgies: Theatre in the Digital Age focuses on the ‘aural turn’ in contemporary theatre-making, examining a number of seemingly disparate trends that foreground speech and sound -- ‘post-verbatim’ theatre, 'amplified storytelling' (works using microphones and headphones), and ‘gig theatre’ that incorporates live music performance. Its main argument is that the dramaturgical underpinnings of these works contribute to an understanding of theatre as an extra-literary activity, greater than the centrality of the script that traditionally dominated many historical discussions. This quality is usually expressed in terms of the corporeality in dance and physical theatre, but the aural/oral turn gives an alternative viewpoint on the interplay between text and performance. The book's case studies draw on the ways in which a range of theatre companies engage with the dramaturgy of speech and sound in their work. It is further accompanied by a specially curated collection of digital resources, including interviews, conversations, and presentations from artists and academics.This is a key text for scholars, students, and practitioners of contemporary performance, and anyone working with dramaturgies of orality and aurality in today’s performance environment.

‘Dr. Radosavljević has an excellent and extensive grasp of her subject, and deep understanding of not only the history of these groups, but how they function, and how each contributes to the field of ensemble theatre.’ – David Crespy, University of Missouri, USAQuestions of ensemble – what it is, how it works – are both inherent to a variety of Western theatre traditions, and re-emerging and evolving in striking new ways in the twenty-first century. The Contemporary Ensemble draws together an unprecedented range of original interviews with world-renowned theatre-makers in order to directly address both the former and latter concerns. Reflecting on ‘the ensemble way of working’ within this major new resource are figures including: Michael Boyd, Hermann Wündrich, Yuri Butusov, Max Stafford-Clark, Elizabeth LeCompte, Lyn Gardner, Adriano Shaplin, Phelim McDermott; and Emma Rice;representing companies including:The RSC; The Berliner Ensemble; The Satirikon Theatre; Out of Joint; The Wooster Group; Kneehigh Theatre; Song of the Goat; The Riot Group; The Neo-Futurists; Shadow Casters; and Ontroerend Goed.All 22 interviews were conducted especially for the collection, and draw upon the author’s rich background working as scholar, educator and dramaturg with a variety of ensembles. The resulting compendium radically re-situates the ensemble in the context of globalisation, higher education and simplistic understandings of ‘text-based’ and ‘devised’ theatre practice, and traces a compelling new line through the contemporary theatre landscape.

‘Dr. Radosavljević has an excellent and extensive grasp of her subject, and deep understanding of not only the history of these groups, but how they function, and how each contributes to the field of ensemble theatre.’ – David Crespy, University of Missouri, USAQuestions of ensemble – what it is, how it works – are both inherent to a variety of Western theatre traditions, and re-emerging and evolving in striking new ways in the twenty-first century. The Contemporary Ensemble draws together an unprecedented range of original interviews with world-renowned theatre-makers in order to directly address both the former and latter concerns. Reflecting on ‘the ensemble way of working’ within this major new resource are figures including: Michael Boyd, Hermann Wündrich, Yuri Butusov, Max Stafford-Clark, Elizabeth LeCompte, Lyn Gardner, Adriano Shaplin, Phelim McDermott; and Emma Rice;representing companies including:The RSC; The Berliner Ensemble; The Satirikon Theatre; Out of Joint; The Wooster Group; Kneehigh Theatre; Song of the Goat; The Riot Group; The Neo-Futurists; Shadow Casters; and Ontroerend Goed.All 22 interviews were conducted especially for the collection, and draw upon the author’s rich background working as scholar, educator and dramaturg with a variety of ensembles. The resulting compendium radically re-situates the ensemble in the context of globalisation, higher education and simplistic understandings of ‘text-based’ and ‘devised’ theatre practice, and traces a compelling new line through the contemporary theatre landscape.

The world of theatre criticism is rapidly changing in its form, function and modes of operation in the twenty-first century. The dominance of the internet has led to a growing trend of selfappointed theatre critics and bloggers who are changing the focus and purpose of the discussion around live performance. Even though the blogosphere has garnered suspicion and hostility from some mainstream newspaper critics, it has also provided significant intellectual and ideological challenges to the increasingly conservative profile of the professional critic.This book features 16 commissioned contributions from scholars, arts journalists and bloggers, as well as a small selection of innovative critical practice. Authors from Australia, Canada, Croatia, Germany, Greece, Italy, Latvia, Russia, the UK and the US share their perspectives on relevant historical, theoretical and political contexts influencing the development of the discipline, as well as specific aspects of the contemporary practices and genres of theatre criticism.The book features an introductory essay by its editor, Duška Radosavljevic.