〈フェスティバル化〉する時代におけるドラマトゥルギー

抄録

The term ‘dramaturgy’ has been considered within the geographical and artistic framework of ‘German speaking’ ‘Theatre’. Although its usage tends to become more fluid, transboundary and interdisciplinary, this change itself can be properly researched with a special focus on the relationship between the change of production process and the change of dramaturgy in German theatre after the 1980s.

As represented in Liquid Modernity by Zygmunt Bauman, modern society has changed from its former state of a solid modernity to a more liquid one. In accordance with this transition, the theatrical organization structure varies from a conventional tree-like model at repertory theatres with their own ensembles to a rhizomatic model influenced by the current circumstances around theatre, that is, the increased number of festivals. For instance, some characteristics of festivals are reflected also in current productions at theatres. Even, so-called production theatres co-produce projects with agents of festivals. Because of their fluidity and mobility, such new form of theatres are going to play as much an important a role for the contemporary theatrical culture as conventional repertory theatres.

In this essay, I investigated also practical aspects of changing dramaturgy in German theatre, analyzing the activities of several dramaturgs functioning not only at theatres but also at festivals. Here I stress that the working philosophy in creating theatrical works has transferred from the so-called ‘concept dramaturgy’ to the so-called ‘process dramaturgy’.