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Based on a recent touring project, The Ravel Trilogy, this title comprises playtexts and essays that contextualise the themes and approaches of the devised work: Bolero (2014), Concerto (2016) and Solo (2018). The book takes an interdisciplinary critical enquiry into the working dramaturgy of performance 'scores' inspired by the music.
The book frames the playtexts of the trilogy alongside a series of reflective essays and provocations on contemporary dramaturgy and musicology from academics and artists in drama, music, linguistics and fine art. It contextualises themes and approaches of the trilogy and serves as a critical companion to a body of devised work. It stimulates a debate about dramaturgy and composition and invites discussion about postdramatic theatre's relationship to music.
This publication marks the culmination of the trilogy and its critical legacy and explores the work through the dual lenses of postdramatic theatre and research questions articulated and addressed by the practice-research undertaken by its co-creators. The dramaturgical context for The Ravel Trilogy and the reflective essays around it allow the editors to explore the relationship between theatre and music.
It raises questions about practice-research and notions of creating playtexts from musical scores. Pinchbeck and 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.
The book frames the playtexts of the trilogy alongside a series of reflective essays and provocations on contemporary dramaturgy and musicology from academics and artists in drama, music, linguistics and fine art. It contextualises themes and approaches of the trilogy and serves as a critical companion to a body of devised work. It stimulates a debate about dramaturgy and composition and invites discussion about postdramatic theatre's relationship to music.
This publication marks the culmination of the trilogy and its critical legacy and explores the work through the dual lenses of postdramatic theatre and research questions articulated and addressed by the practice-research undertaken by its co-creators. The dramaturgical context for The Ravel Trilogy and the reflective essays around it allow the editors to explore the relationship between theatre and music.
It raises questions about practice-research and notions of creating playtexts from musical scores. Pinchbeck and 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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