Overview

Theories of dance dramaturgy can be found in a growing body of literature on the field (see our incomplete reading list in this issue). But for Issue #61 of the Movement Research Performance Journal the editors decided stay in the not-knowing by inviting contributions from those whose work touches on dance dramaturgy with curiosity, anxiety, anarchy, as well as a conviction for the intimacy it requires and a resistance to its history of institutional/state authority. At the heart of the issue is a special section by Contributing Editor Ligia Lewis. Across Lewis’ works there are not only a range of dramaturgs, but the role of dramaturgy shifts and morphs in relationship to the differing works and over time. The reinvention of the dramaturg that Lewis’ work articulates is something that has proliferate throughout the field of contemporary dance. The rest of the issue includes a range of texts, some from practicing dramaturgs, others from to those who have reluctantly accepted this title, and still more who reject the role outright — all exploring a simple question: why has there been an explosion of interest in, perhaps even desire for, dramaturgs in contemporary dance? The explosion I’m thinking of is not about a growing professionalization of dance dramaturgy (though that is certainly happening…). I mean simply that more dance and performance artists are including dramaturgs as part of their process, and at the same time seem to be continually reinventing what the dramaturg is meant to do. What can we make of the desire for the dramaturg as well as the desire to continually reinvent this figure and its function?

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