New Dramaturgies

Series Editors
Cathy Turner
Drama Department
University of Exeter Drama Department
Exeter, UK

Synne Behrndt
Royal Institute of Technology
Stockholm, Sweden
This series explores new dramaturgies within contemporary performance prac-
tice and deploys dramaturgical thinking as a productive analytical and practical
approach to both performance analysis and performance-making. Designed to
inspire students, scholars and practitioners, the series extends the understand-
ing of the complex contexts of dramaturgy and embraces its diversity and scope.
 Maaike Bleeker

Doing Dramaturgy
Thinking Through Practice
Maaike Bleeker
AMSTERDAM, Noord-Holland,
The Netherlands

ISSN 2947-6801     ISSN 2947-681X (electronic)

New Dramaturgies
ISBN 978-3-031-08302-0    ISBN 978-3-031-08303-7 (eBook)
https://doi.org/10.1007/978-3-031-08303-7
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 Acknowledgments

This book expands on my essays “Dramaturgy as a Mode of Looking” (2003)

and “Thinking No-one’s Thought” (2015). These texts presented first explo-
rations of ideas that are central to the approach to dramaturgy elaborated in
this book. Like these articles, this volume is single-authored. Yet the ideas
elaborated in it were developed together.
This book is the outcome of an ongoing dialogue with Janine Brogt. We
both know the developments in dramaturgical practice that this book is about
from the inside, yet from different positions, different journeys through time,
and different trajectories through theatre and dance practice. We both attended
the Context 01: Active Pooling New Theatre’s WordPerfect conference in 1993.
Janine as one of the most established dramaturgs in the Netherlands and co-­
founder of Toneelgroep Amsterdam, the company that is now called
Internationaal Theater Amsterdam (ITA) under the direction of Ivo van Hove.
I as a student and a beginning dramaturg. The year 1993 was also the year that
Janine became the chair of the board of theatre company Het Oranjehotel, co-­
founded by directors Ivar van Urk and Jeroen van den Berg and myself. It was
there and then that our dialogue about doing dramaturgy started. Over the
years, our paths kept crossing and from our thinking together sprang the idea
for this book. Throughout the writing Janine was my sparring partner and she
was an important voice in many of the conversations with makers that inform
this book. Being in this together has been a very special experience.
This book is informed by our personal experience with doing dramaturgy
and by many exchanges with other dramaturgs during symposia, public discus-
sions, and after-talks, as well as in more informal settings, including meetings
of various dramaturgy networks. Prominently present in this context was
Marianne van Kerkhoven. She is dearly missed. Her work and writings, as well
as her profound commitment to theatre, to people, to the world, continue to
be a source of inspiration for many, including me.
Furthermore, this book would not have been there without all the makers
whose work is represented in this book and who generously shared their inside

v
vi  ACKNOWLEDGMENTS

knowledge about doing dramaturgy and the thinking that is making. Thank
you Manuela Infante, Julian Hetzel, Miguel Angel Melgares, Ivo van Hove,
Jan Versweyveld, Anouk van Dijk, Falk Richter, Milo Rau, Stefan Bläske, Kris
Verdonck, Kristof van Baarle, Ben Kidd, Bush Moukarzel, Pauline Kalker,
Arlène Hoornweg, Herman Helle, Emio Greco, Pieter C.  Scholten, Henk
Danner, Junior Mthombeni, Fikry El Azzouzi, Cesar Janssens, Gerardo Salinas,
Robbert van Heuven, Dries Verhoeven, Lara Staal, Loo Zihan, Ray Langenbach,
Sanja Mitrović, Jonas Rutgeers, and Amanda Piña.
I would also like to thank current and former theatre and dance colleagues
at Utrecht University: Sigrid Merx, Chiel Kattenbelt, Laura Karreman, Liesbeth
Groot Nibbelink, Eugène van Erven, Konstantina Georgelou, Dick Zijp, Isis
Germano, Bojana Cvejić, Danae Kleida, Arianne Perez-Koeleman, Liza
Kardami, Bart Dieho, Wil Hildebrand, and Liesbeth Wildschut. Thank you for
offering me such supportive context in which this book could grow, and for
years of thinking together about theatre, dance, and dramaturgy. May thanks
also to colleagues and friends from other parts of the university, from other
universities, and from the field. Iris van der Tuin for recognizing that what I am
doing is new materialism, and for many inspiring explorations across real and
imaginary borders. Nanna Verhoeff for recognizing the importance and value
of dramaturgy outside the theatre and for sharing the burden of institutional
dramaturgies. Lucia van Heteren for believing in this project from the very
beginning and for her ongoing encouragement. Marijke Hoogenboom for set-
ting the stage for so many fruitful collaborations across different practices of
thinking. Nirav Christophe for collaborating in making possible Marianne van
Kerkhoven’s appointment in Utrecht and for many more collaborations and
exchanges of ideas around dramaturgy. Peter Eckersall, Helena Grehan, and
Edward Scheer for inviting me to be part of your research about New Media
Dramaturgies, for bringing me over to Melbourne and Sydney to present early
stages of my research, and for your ongoing support over many years. Thank
you also to the many BA, MA, and PhD students who read and responded to
work in progress. And thank you to my sister Bregje for many years of writing
together.
Finally, a big thank you to the series editors Cathy Turner and Synne Behrndt
for their patience, and to Eileen Srebernik and Imogen Higgins for their won-
derful support.
 Praise for Doing Dramaturgy

“This eloquently written book by Maaike Bleeker is a must read for anyone interested
in dramaturgy and contemporary performance. It includes an exceptionally precise
description of the developments of the field of dramaturgy until now, including new
contemporary methods. But more importantly this seminal book answers the question:
what does contemporary theatre do? It thinks. In a world torn between easy-fix opin-
ions and oppressive categorizations, theatre is a space for deep thinking, thinking with
others, thinking through practice, and performative thinking that goes beyond lan-
guage and definitions. Read this book: think with theatre.”
—Sodja Zupanc Lotker, Professor of Alternative and Puppet Theatre at DAMU
(Prague Academy of the Performing Arts), Czech Republic, and former director of the
Prague Quadrennial PQ

“In her new book Doing Dramaturgy, Maaike Bleeker accomplishes the unimaginable:
she embraces the inheritance of the field of dramaturgy, traces practices across different
times, places and theatre makers, and unlocks its radical potential, without determining
what the future of dramaturgy might be. If this book bares a risk, it is the risk of infect-
ing practitioners—in academic, creative or educational contexts—to resist generalities
and to never stop thinking-­doing forward together.”
—Marijke Hoogenboom, Director of the Department for Performing Arts & Film,
Zurich University of the Arts, Switzerland

“In this wonderful book, Bleeker demonstrates how doing dramaturgy is always a pro-
cess of thinking through practice. This is an important argument for conceptualizing
dramaturgy as a means of “making-thinking”. With deep historical insights, critical acu-
men, and well-chosen case studies, Bleeker shows how dramaturgy is an apparatus of
creative thinking and doing that is interwoven and interdisciplinary in ways that put
performance at the center of an expanding politics and activism. Generously referenced
and wide-ranging, Bleeker’s text helps us work with the complexity of dramaturgy to
understand its central place in the contemporary arts.”
—Peter Eckersall, The Graduate Center, City University of New York, USA

“Bleeker deftly brings late 20th century conversations about new and expanded drama-
turgies up to our 21st century moment, illuminating dramaturgy as a site where theory
and practice cannot be separated, and arguing beautifully for a dramaturgy of care.
Collaborative artists of all sorts will find fodder in Bleeker’s generous tool-box of dra-
maturgical questions and modes of engagement, as well as her detailed case studies from
a range of contemporary European performances.”
—Katherine Profeta, Professor in the Practice of Dramaturgy and Dramatic Criticism,
Yale University, USA
 Contents

1 Introduction  1
1.1 A Paradigm Shift  2
1.2 Thinking Through Practice  4
1.3 Dramaturgical Sensibility  6
1.4 The Making of My Thinking  7
1.5 About the Composition of This Book 10
References 19

Part I21

2 Thinking Through Practice 23

2.1 Lessing and Institutional Dramaturgy 27
2.2 The Rise of the Director and Production Dramaturgy 30
2.3 Brecht and the Dramaturgical Concept 39
2.4 “New Dramaturgy” 42
2.5 From Product to Process 45
2.6 Making as Thinking Through Composition 48
References 54

3 Doing Dramaturgy 57
3.1 Attending to Process 58
3.2 Inhabiting Process 61
3.3 From Process to Planet 71
3.4 Enter the Dramaturg 72
3.5 Where to Begin? 74
References 76

ix
x  Contents

4 A
 Dramaturgical Mode of Looking 79
4.1 The Apparatus 82
4.2 Six Sets of Questions 85
4.3 Puzzles That Hold The Key 96
References 98

Part II101

5 The Ghent Altarpiece—Milo Rau103

5.1 The Small Planet Called The Ghent Altarpiece 104
5.2 Beginnings, and from There108
5.3 Thinking Through Practice110
5.4 Doing Dramaturgy111
References113

6 Chekhov’s First Play—Dead Centre115

6.1 The Small Planet Called Chekhov’s First Play 116
6.2 Beginnings, and from There122
6.3 Thinking Through Practice124
6.4 Doing Dramaturgy125
References127

7 Dear Winnie—Jr.cE.sA.r129
7.1 The Small Planet Called Dear Winnie 130
7.2 Beginnings, and from There138
7.3 Thinking Through Practice139
7.4 Doing Dramaturgy141
References142

8 Complexity of Belonging—Anouk van Dijk and Falk Richter143

8.1 The Small Planet Called Complexity of Belonging 144
8.2 Beginnings, and from There150
8.3 Thinking Through Practice152
8.4 Doing Dramaturgy155
References156

9 Lazarus—Ivo van Hove157

9.1 The Small Planet Called Lazarus158
9.2 Beginnings, and from There162
9.3 Thinking Through Practice164
9.4 Doing Dramaturgy166
References168
  Contents  xi

10 L e Corps du Ballet—EG|PC169

10.1 The Small Planet Called Le Corps du Ballet 170
10.2 Beginnings, and from There174
10.3 Thinking Through Practice177
10.4 Doing Dramaturgy178
References180

11 E stado Vegetal—Manuela Infante181

11.1 The Small Planet Called Estado Vegetal 182
11.2 Beginnings, and from There188
11.3 Thinking Through Practice190
11.4 Doing Dramaturgy191
References192

12 C onversations (at the end of the world)—Kris Verdonck193

12.1 The Small Planet Called Conversations (at the end of the
world)194
12.2 Beginnings, and from There198
12.3 Thinking Through Practice201
12.4 Doing Dramaturgy203
References204

13 P hobiarama—Dries Verhoeven205

13.1 The Small Planet Called Phobiarama206
13.2 Beginnings, and from There211
13.3 Thinking Through Practice213
13.4 Doing Dramaturgy215
References217

14 A ll Inclusive—Julian Hetzel219

14.1 The Small Planet Called All Inclusive 220
14.2 Beginnings, and from There226
14.3 Thinking Through Practice227
14.4 Doing Dramaturgy229
References230

15 W AR (Ein Kriegstanz)—Amanda Piña231

15.1 The Small Planet Called WAR (Ein Kriegstanz) 232
15.2 Beginnings, and from There238
15.3 Thinking Through Practice240
15.4 Doing Dramaturgy242
References243
xii  Contents

16 K amp—Hotel Modern245

16.1 The Small Planet Called Kamp246
16.2 Beginnings, and from There252
16.3 Thinking Through Practice254
16.4 Doing Dramaturgy255
References257

17 S PEAK!—Sanja Mitrović259

17.1 The Small Planet Called SPEAK!260
17.2 Beginnings, and from There265
17.3 Thinking Through Practice268
17.4 Doing Dramaturgy269
Reference270

18 I am LGB—The LGB Society of Mind271

18.1 The Small Planet Called I am LGB 272
18.2 Beginnings, and from There279
18.3 Thinking Through Practice282
18.4 Doing Dramaturgy284
References285

19 E
 pilogue287
References290

Index291
 List of Figures

Fig. 5.1 Frank Focketyn in The Ghent Altarpiece. Photographer: Michiel

Devijver. Courtesy of NTGent 106
Fig. 6.1 Bush Moukarzel in Chekhov’s First Play. Photographer: José Miguel
Jimenéz. Courtesy of Dead Centre 116
Fig. 6.2 Rory Nolan in Chekhov’s First Play. Photographer: José Miguel
Jimenéz. Courtesy of Dead Centre 118
Fig. 6.3 Rory Nolan, Rebecca O’Mara and a member of the audience as
“Platonov” in Chekhov’s First Play. Photographer: José Miguel
Jimenéz. Courtesy of Dead Centre 119
Fig. 7.1 Joy Wielkens, Jade Wheeler, Andie Dushim, Gloria Boateng, Mahina
Ngandu, Tutu Puoane in Dear Winnie. Photographer: Reyner
Boxem. Courtesy of Noord Nederlands Toneel and KVS Brussels 134
Fig. 7.2 Gloria Boateng in Dear Winnie. Photographer: Reyner Boxem.
Courtesy of Noord Nederlands Toneel and KVS Brussels 137
Fig. 8.1 Complexity of Belonging. Photographer: Jeff Busby. Courtesy of
Chunky Move 144
Fig. 8.2 Complexity of Belonging. Photographer: Jeff Busby. Courtesy of
Chunky Move 146
Fig. 8.3 Complexity of Belonging. Photographer: Jeff Busby. Courtesy of
Chunky Move 149
Fig. 10.1 Ballet National de Marseille in Le Corps du Ballet National de
Marseille. Photographer Alwin Poiana. Courtsey of the photographer 171
Fig. 10.2 Ballet National de Marseille in Le Corps du Ballet National de
Marseille. Photographer Alwin Poiana. Courtsey of the photographer 171
Fig. 11.1 Marcella Salinas in Estado Vegetal. Photographer: Maida Carvallo.
Courtesy of the artist 182
Fig. 12.1 The snow and five performers in Conversations (at the end of the
world). Photo: Kurt van der Elst. Courtesy A Two Dogs Company 194
Fig. 13.1 Phobiarama. Photographer: Willem Popelier. Courtesy of Studio
Dries Verhoeven 206
Fig. 13.2 Phobiarama. Photographer: Willem Popelier. Courtesy of Studio
Dries Verhoeven 208

xiii
xiv  List of Figures

Fig. 13.3 Phobiarama. Photographer: Willem Popelier. Courtesy of Studio

Dries Verhoeven 210
Fig. 14.1 Geert Belpaeme and Edoardo Ripani in All Inclusive. Photographer:
Rolf Arnold. Courtesy of Ism & Heit 220
Fig. 14.2 Kristien de Proost in All Inclusive. Photographer: Rolf Arnold.
Courtesy of Ism & Heit 222
Fig. 15.1 Amanda Piña and Alexandra Mabes in WAR (ein Kriegstanz).
Courtsey of nadaproductions 234
Fig. 15.2 Alexandra Mabes, Amanda Piña, Pasqual Pakarati, and Elisabeth
Tambwe in WAR (ein Kriegstanz). Courtsey of nadaproductions 236
Fig. 16.1 Kamp. Photographer: Herman Helle. Courtesy of Hotel Modern 247
Fig. 16.2 Herman Helle and Pauline Kalker in Kamp. Photographer: Leo van
Velzen. Courtesy of Hotel Modern 249
Fig. 16.3 Kamp. Photographer: Leo van Velzen. Courtesy of Hotel Modern 251
Fig. 17.1 Sanja Mitrović and Geert Vaes in SPEAK! Photographer: Bea
Borgers. Courtesy of Sanja Mitrović / Stand Up Tall Productions 262
Fig. 17.2 Sanja Mitrović in SPEAK! Photographer: Bea Borgers. Courtesy of
Sanja Mitrović / Stand Up Tall Productions 267
Fig. 18.1 The author as participant in I am LGB. Courtsey of the LGB
Society of Mind 273
Fig. 18.2 I am LGB. Courtsey of the LGB Society of Mind 275
Fig. 18.3 Poe and his Pit by Ray Langenbach. Courtsey of the artist 281
Fig. 19.1 Imagine. Photograph by the author 290