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The playtexts of The Ravel Trilogy - Bolero (2014), Concerto (2016), and Solo (2018) - are included alongside a series of reflective essays and provocations on contemporary dramaturgy and musicology from academics and artists in drama, music, linguistics, and fine art. They contextualize the themes and approaches of the trilogy and serves as a critical companion to a body of devised work, stimulating a debate about dramaturgy and composition and inviting discussion about post-dramatic theatre's relationship to music. The dramaturgical context for The Ravel Trilogy and the reflective essays…mehr
The playtexts of The Ravel Trilogy - Bolero (2014), Concerto (2016), and Solo (2018) - are included alongside a series of reflective essays and provocations on contemporary dramaturgy and musicology from academics and artists in drama, music, linguistics, and fine art. They contextualize the themes and approaches of the trilogy and serves as a critical companion to a body of devised work, stimulating a debate about dramaturgy and composition and inviting discussion about post-dramatic theatre's relationship to music.
The dramaturgical context for The Ravel Trilogy and the reflective essays around it allow the editors to explore the relationship between theatre and music, raising questions about practice-research and notions of creating playtexts from musical scores. Michael Pinchbeck and Ollie Smith reflect on making and performing The Ravel Trilogy and the process of researching, devising, and presenting work inspired by music where score becomes script and dynamics become stage directions.
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Autorenporträt
Michael Pinchbeck is a reader in theater at Manchester School of Art and senior research lead for the Department of Art & Performance at Manchester Metropolitan University, UK. Ollie Smith is a contemporary performance maker based in Nottingham, and a lecturer in drama and theater at the University of Lincoln, UK, specializing in collaborative devised theater and live art practices.
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