How Dramaturgy and Curatorial Practices are Intersecting in the Contemporary Arts
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Curating Dramaturgies investigates the transformation of art and performance and its impact on dramaturgy and curatorship. Addressing contexts and processes of the performing arts as interconnecting with visual arts, the volume features interviews with leading curators, dramaturgs and programmers who are at the forefront of working in, with, and negotiating the daily practice of interdisciplinary live arts.
The book offers a view of praxis that combines perspectives on theory and practice and looks at the way that various arts institutions, practitioners and cultural agents have been working to change the way that art and performance have developed, are displayed, and experienced by spectators and audiences in the last decade.
Curating Dramaturgies argues that cultural producers and scholars are becoming more cognizant of this overlapping and transforming field. An essay by the editors explores the rise of interdisciplinary live arts and its ramifications in cultural and political terms. This is further elaborated in the interviews with 15 diversely placed arts professionals who are at the forefront of rethinking and consolidating a new field of the visual arts and performance.
Table of Contents
PART I; Introduction: Curating Dramaturgies by Peter Eckersall and Bertie Ferdman; Chapter 1: Defining the Contemporary Moment; Chapter 2: Keywords: Curating + Dramaturgy; Chapter 3: Three Areas: A- Medial Dramaturgy: Cross-disciplinary Legacies and Expectations, B- Festival Dramaturgy: Re-conceptualizing the Festival, C-Social Dramaturgy: Community Activism; PART II; Chapter 4: Chiaki Soma, Former Director, Tokyo Festival, Art Producer, Representative Director Arts Commons Tokyo (Japan); Chapter 5: Lili Chopra, former co-Curator, Crossing the Line Festival (USA) (now Artistic Director of Lower Manhattan Cultural Council and curator, River to River Festival); Chapter 6: Ron Berry, Artistic Director, Fusebox Festival (USA); Chapter 7: Felipe de Assis and Rita Aquino, Artistic Directors, FIAC Festival (Brazil); Chapter 8: Gurur Ertem, co-Director, iDANS International Contemporary Performance Festival (Turkey); Chapter 9: Fernando García Barros, Director, mARTadero (Bolivia); Chapter 10: Marc Bamuthi Joseph, Chief of Program and Pedagogy, Yerba Buena Center for the Arts (USA); Chapter 11: Ana Janevski, Curator, Department of Performance and Media Art, MoMA (USA); Chapter 12: Philip Bither, Senior Curator of Performing Arts, Walker Art Center (USA); Chapter 13: Catherine Wood, Senior Curator, Performance, Tate Modern (UK); Chapter 14: Nato Thompson, former Artistic Director, Creative Time (USA); Chapter 15: Judy Hussie-Taylor, Director and Chief Curator, Danspace Project (USA); Chapter 16: Émilie Monnet, Director, Onishka Productions (CA); Chapter 17: Florian Malzacher, Dramaturg and Curator, (Germany); Part III- Resources and Bibliography
Peter Eckersall is Professor of Theatre Studies in the PhD Program in Theatre and Performance at the Graduate Center, CUNY and Honorary Professorial Fellow in the School of Culture and Communication, University of Melbourne.
Bertie Ferdman is Associate Professor at BMCC at the City University of New York.