Essay On Dramaturgy

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Introduction

What is Dramaturgy? When I want to define this word, it will always be very difficult. And when I look through books, I find a lot of excuses for letting me escape from giving a certain answer.

However, no matter how difficult it is to define “dramaturgy”, it seems that we cannot avoid the explanation of the word and use it directly.

“Dramaturgy” originated from Germany, which is a position in the theatre as well as a theatrical creation concept. The central idea is to break the system of theatre director and adapt a dramatic work to the present context. After the birth of the concept of dramaturgy, it has been under continuous development, and the specific content in various periods and regions have certain

Its general definition encompasses almost the whole of theatrical activity, but in the context of what dramaturgs do, 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. There are different sort of dramaturgs, with varying responsibilities, though few dramaturgs are of a pure type; most overlap categories. The institutional dramaturgs help find and select plays to be produced, while the education dramaturg prepares activities and materials for school group and leads audience discussions.”(McCabe 2008：64）

“In Germany, Eastern Europe, Scandinavia and the Netherlands dramaturgs and literary managers are a lynchpin of mainstream, state-funded theatre, and have been officially employed for well over two centuries. Playreaders, advisers on the repertoire and textural, critical and practical experts working in partnerships with directors and/or writers are accepted as an integral part of theatre-making.”

- Luckhurst, Mary. Dramaturgy: A Revolution in Theatre. Cambridge U. Press, 2006,

He himself believes that many of these "cultural challenges" need to be overcome to get the work done better. However, the process, while fully rehearsed, was not so much presented at the end. This is closely related to miller's own theatrical view. He did not try to make "death of the salesman" completely sinicized and localized, but hoped that the audience would understand the meaning through the full display of the play itself. All scripts for 1983 Chinese viewers unfamiliar symbols are held on the show, including football, steel wire recorders, cheese, etc., as well as related to the theme of a salesman, and insurance payment by installments. These parts of the actor's doubts are not being revised too much, and miller is clearly not worried about the