Decentered Playwriting investigates new and alternative strategies for dramatic writing that incorporate non-Western, Indigenous, and underrepresented storytelling techniques and traditions while deepening a creative practice that decenters hegemonic methods.
A collection of short essays and exercises by leading teaching artists, playwrights, and academics in the fields of playwriting and dramaturgy, this book focuses on reimagining pedagogical techniques by introducing playwrights to new storytelling methods, traditions, and ways of studying, and teaching diverse narratological practices.
This is a vital and invaluable book for anyone teaching or studying playwriting, dramatic structure, storytelling at advanced undergraduate and graduate levels, or as part of their own professional practice.
Decentered Playwriting investigates new and alternative strategies for dramatic writing that incorporate non-Western, Indigenous, and marginalized storytelling techniques and traditions while deepening a creative practice that decenters dominant dramatic methodologies.
Part 1: Decenter(Ed) Playwriting: Alternative Tools, Techniques, and
Structures;
1. Playwrights as Architects of Third Space: The Dramaturgy of
Japanese Traditional Performing Arts;
2. The Dramaturgy of Nothingness;
3.
Poetic Expression in Knaka Maoli Playwriting Praxis;
4. On Disaesthetics in
Hip Hop Dramaturgy: Ruminations on Thinking and Doing;
5. Context/Culture:
Using Some of the Complex Dramaturgy of Black Theatre of the 19th Century to
Build Contemporary Work;
6. Decentering Humans: Writing Our Way Out of the
Apocalypse;
7. Write Where You Are; Part 2: Decenter(Ing) Playwriting:
Community Practices, Ritual, and Healing;
8. Horizontal Theatre: Democratic
Practices of the New Docudrama;
9. Toward Self-Construction: A Filipinx
Dramaturgy in the Diaspora;
10. Writing with Irene: Sustaining the Fornés
Playwriting Method;
11. First People First: Community-Based Theatre Praxis in
Native American and Indigenous Spaces;
12. "Aruku-Improv," Playwriting and
Performance Devising Dramaturgy Part 3: Case Studies in Decentered Processes:
Models and Testimonies;
13. Outsider Indian: A Decentered Narrative on the
Long Journey of Native Playwriting;
14. Deconstructing and Reconstructing
Zimbabwean Ndebele Izaga: A Conversation on Playwriting as Auto-Ethnographic
Experiment;
15. Unarcheology: Anticolonial Aesthetics and Putting Things Back
in the Ground;
16. Indigenous Placemaking and Storyweaving: An Interview with
Murielle Borst-Tarrant (Kuna, Rappahannock)
Carolyn M. Dunn is a playwright, dramaturg, actor, and director, whose plays have been Equity produced on stages in Los Angeles and New York. She is an Associate Professor of Theatre and Dance at California State University, Los Angeles, USA.
Eric Micha Holmes is a dramatist, dramaturg, and educator, whose work has been produced and developed internationally. He teaches at The National Theatre School of Canada and Goddard Colleges MFA in Creative Writing Program, USA.
Les Hunter is a playwright and theatre historian. He is Associate Professor and Chair of the Department of English and Creative Writing at Baldwin Wallace University, USA.
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