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Dramaturgy and History provides a practical account of an aspect of dramaturgical practice that is often taken for granted: dramaturgs’ engagements with history and historiography.Dramaturgs play a vital role in amplifying and activating theatre’s unique potential to contribute to the pressing public discourse around the uses and legacies of history.This collection challenges the notion of history as an unassailable or settled set of facts, offering readers a glimpse into the processes and methods of eighteen dramaturgs working in a variety of settings, including professional theatres, universities, museums, and archives. The dramaturgs featured use history to a variety of ends: they reframe classical texts for contemporary audiences; advocate for the production of lesser-known writers and the expansion of the canon; create new works that bring women’s, LGBTQIA+, and Global Majority histories to life; and establish new and necessary archives by/of/for minoritarian artists. Collectively, they examine and animate some of the most urgent questions, concerns, and challenges that dramaturgs encounter in working with history.An essential resource for teachers and students of dramaturgy, the collection offers a concluding hands-on exercise for each chapter to facilitate the reader’s application of the methods discussed in their own practice.
Caitlin A. Kane (they/she) is an Assistant Professor of Theatre History and Dramatic Criticism at Kent State University.Erin Stoneking (she/her) is an Assistant Professor in the Department of Gender and Race Studies at The University of Alabama.
List of contributorsAcknowledgmentsIntroductionCaitlin A. Kane and Erin StonekingPart I: Production Dramaturgy: (Re)contextualizing Existing PlaysChapter 1: Experimenting with Conceptual Casting: Tennessee Williams's The Glass MenagerieKhalid Y. LongChapter 2: (Dis)Respecting Canonical TextsJennifer PoppleChapter 3: Evoked, If Not Depicted: Dramaturgy and Local HistoriesCharlie PetersChapter 4: Punk Nuns and Early Modern Vacationlands: Dramaturgical Approaches to Staging Sor Juana in the Twenty-First CenturyAlison Hyde PascaleChapter 5: [Re]Fashioning Mowatt’s Comedy of Manners through AdapturgyJanna SegalChapter 6: History Looking Back: Dramaturging the GazeYiwen WuChapter 7: “To Attach Our Floating Hearts”: The Dramaturgy of Queer HistoriographyPercival HornakPart II: New Play Dramaturgy: Staging History and HistoriographyChapter 8: Staging the Queer Archive: soldiergirls in ProcessRyan AdelsheimChapter 9: Dancing Augmented Archives: Movement and Technology as Dramaturgical PracticeAl EvangelistaChapter 10: Animating Loss: The Role of Historiography in New Play DevelopmentErin StonekingChapter 11: Dramaturgy of Internal Displacement in NigeriaElaigwu P. AmehChapter 12: Strength in Numbers: Cultivating Dramaturgical Collaboration across DisciplinesLindsay L. BarrChapter 13: Loops of Time: A Historicized DramaturgySam RedwayPart III: Dramaturgy and/as Public History: Connecting with Broader PublicsChapter 14: Hands-On History: Engaging Historical Thinking through DramaturgyElysia SegalChapter 15: Applying Brecht’s Anti-Spectacular Approach to Staging FascismIlinca Tamara TodoruțChapter 16: “Beyond Land Acknowledgement”: Rendering Central Illinois History along the Potawatomi Trail of DeathNicole Anderson CobbChapter 17: A Public Historian’s Guide to Dramaturging Native PlaysLaurie ArnoldChapter 18: Archiving AfroLatine TheatreDaphnie SicreIndex
