An interdisciplinary critical inquiry into the working dramaturgy of The Ravel Trilogy.
This book frames the playtexts of The Ravel Trilogy—Bolero (2014), Concerto (2016), and Solo (2018)—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 contextualizes 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 theater's relationship to music.
This publication marks the culmination of the trilogy and its critical legacy, exploring the work through the dual lenses of postdramatic theater 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 theater and music, raising questions about practice-research and notions of creating playtexts from musical scores. In this volume, 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.
Edited by:
Michael Pinchbeck (University of Lincoln),
Ollie Smith
Imprint: Intellect Books
Country of Publication: United Kingdom
Dimensions:
Height: 244mm,
Width: 170mm,
ISBN: 9781789389333
ISBN 10: 178938933X
Series: Playtext
Pages: 244
Publication Date: 07 March 2024
Audience:
Professional and scholarly
,
Undergraduate
Format: Hardback
Publisher's Status: Active
List of Figures Preface Foreword: One Thing and Another: Notes on Pinchbeck & Smith’s The Ravel Trilogy Alexander Kelly 1. The Exposition Michael Pinchbeck and Ollie Smith 2. The Development Michael Pinchbeck and Ollie Smith 3. Bolero 4. Bolero: A Matter of Language Arianna Maiorani 5. Concerto 6. A Score of a Score of a Score: Examining Concerto Through Ravel’s Composition Kevin Egan 7. ‘Breathe with Your Arms’: A Conductor’s Experience Working on Concerto Paul Jenkins 8. Solo 9. Enhancing Embodied Music Cognition Through Music Theatre, with Particular Reference to Solo by Michael Pinchbeck and Ollie Smith Litha Efthymiou and Alan Taylor 10. Conducting and Composing, Poco a Poco: How We Are Moved Through the Immersive, Theatrical Experience Machine of Solo Rachel Baynton 11. Solo, Concerto, and Current Approaches to Presenting Classical Music Adrian Curtin 12. Tutti – We Can Complete It Together Rhiannon Jones 13. Afterword: The Recapitulation Michael Pinchbeck and Ollie Smith Notes on Contributors
Michael Pinchbeck is Professor of Theatre and Senior Research Lead for the Department of Art & Performance at Manchester Metropolitan University, UK. He is a writer and theatre maker based in Nottingham and has toured extensively. His research explores dramaturgy, scores, practice-as-research and the performance of commemoration. Ollie Smith is a contemporary performance maker based in Nottingham, and a Lecturer in Drama and Theatre at the University of Lincoln, UK, specialising in collaborative devised theatre and live art practices. He works cross-discipline, his practice exploring themes of self and persona, relationships and (mis)communication, social contracts and isolation.
