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A Dramaturgy of the Body

In her essay ‘Looking Without Pencil in the Hand’, Flemish dramaturg Marianne van Kerkhoven suggested that there are no fixed laws of behaviour or tasks that can be wholly defined in advance, not even for the dramaturg. ‘Every production forms its own method of work’ (1994a: 140). But, she continues, there is one thing that goes without saying: a dramaturg always deals with ‘the conversion of feeling into knowledge, and vice versa’ (1994a: 140). Heidi Gilpin, who worked as a dramaturg with William Forsythe, similarly felt that she helped ‘translate ideas’, trying ‘to create a ground with the choreographer where ... mutual obsessions can interact’ (in deLahunta, 2000: 22). In his plea for a critical re-appraisal of dramaturgy, Peter Hay speaks of dramaturgy as ‘a process of making sense both for the production and the audience’ (1983: 7). Dramaturgy is seen as the twilight zone between art and science, but it is still associated primarily with the cognitive function of the brain, with understanding, with common sense and perception, so it seems.