ダンスドラマトゥルギーに関して、これだけの領域と手法、地域をカバーするのは初めてとなる書籍（“Dance Dramaturgy: Modes of Agency, Awareness and Engagement”）が、Palgrave出版から刊行されました。 私も、NYダウンタウンダンスの振付家・ダンサーであるクシルジャ・ホワングさんとニューヨークジャパンソサエティで上演したメディアパフォーマンス、mech[a]OUTPUT（2007）での、ドラマトゥルクとして行った実り多いクリエーションプロセスについて、テクストを寄稿しています。他にも、アンドレ・レペッキやマアイケ・ブリーカーなど、気鋭のダンスドラマトゥルク兼ダンス研究者が、著者として名を連ねています。出版社でのダンス分野ベストセラーとなり、現在はアメリカドラマトゥルク協会のダンスドラマトゥルギーのテクストブックとして使われています。ぜひ図書館、研究室などに一冊、お買い求め下さい。以下に、各紙での書評も掲載しました。
OUR PUBLICATION in Dance Dramaturgy
I contribute one article to this upcoming publication entitled “Dance Dramaturgy: Modes of Agency, Awareness and Engagement”, in which I discuss our creative and teaching/learning process of movement and my dramaturgical thinking with a NY-based choreographer koosil-ja during her media performance of “mech[a]OUTPUT” (2007) at the NY Japan Society. This book covers the broad range of methods and perspectives in dance dramaturgy and I am delighted to be with other inspiring authors together. Please order our book for your libraries and offices.
Here are the reviews on this publication:
- “Dance Dramaturgy: Modes of Agency, Awareness and Engagement” Reviewed by Lise Uytterhoeven, In: Theatre Research International. Oct 2016, Vol. 41 Issue 3, p283; Cambridge University Press doi: 10.1017/S0307883316000493
“The editors and authors skillfully historicize the turn-of-the-millennium discourses on dance dramaturgy, which were characterized by a sense of anxiety about the power relationships in choreographer–dramaturg collaborations….Each contributor highlights different ways in which the field itself creates new paradigms to guide both scholarly discourse and creative practice, in an attempt to continue to liberate these from the limits of binary thinking. Not relying on a stable dramatic text to shape the creation, the dance-makers contributing to and discussed in the book propose new ways of conceptualizing the creative process in dance dramaturgy.”
- “Dance Dramaturgy: Expanding the Discourse.” Reviewed by Synne Berndt. In: Canadian Theatre Review. Summer2016, Issue 167, p76-78. 3p. DOI: 10.3138/ctr.167.015.
“Nakajima offers an account of her collaboration as dramaturg with koosilja, an experimental choreographer, in 2007 where her role was, among other things, to “help her read original Noh texts and examine Noh principles” (166). As she puts it, her task was to help translate “a traditional Noh performer’s movement vocabulary into koosil-ja’s postmodern dance vocabulary” (167). Nakajima’s case study is a good reminder that the dramaturg carries a kind of knowledge that is not always of the intellectual kind. As Nakajima observes, her skills as dramaturg with koosil-ja is “a form of technê that is based on my internalized sensory knowledge of traditional Japanese theatre” (173).”
- “Dance Dramaturgy in Theory and Practice” Reviewed by Ariel Nereson. In: Theatre Journal. March 2017, Vol. 69 Issue 1, p103; Johns Hopkins University Press, doi:10.1017/S0149767717000390
“In another Dance Dramaturgy essay, Nanako Nakajima’s work as dance dramaturg for the media-performer koosil-ja is similarly concerned with navigation, in her case of intercultural performance. Through her analysis of the creation and performance of koosil-ja’s 2007 work mech[a]OUTPUT, a media performance that engaged Noh theatre for an audience not generally knowledgeable about this very specific form, Nakajima describes including the “perspective of the dramaturg onstage,” representing this perspective alongside the performer’s “in juxtaposition to each other within the choreography” (167). Nakajima brings her “internalised sensory knowledge” of Noh to the creative process (173), wherein her “task is to provide a means of access for people outside the community” (171). She summarizes these activities under the role of a “negotiator”—moving between dramaturg as performer and dramaturg as audience—whose critical eye is particularly necessary in performances that include cultural reproduction.”
- “Dance Dramaturgy: Modes of Agency, Awareness and Engagement” Reviewed by Jess Applebaum. In: Dance Research Journal. Dec2017, Vol. 49 Issue 3, p92-94. 3p. DOI: 10.1017/S0149767717000390
“The book is a dynamic and engaging “ performance lab” for dramaturgs, dancers, and choreographers interested in the fi eld of dance dramaturgy. Broken into three sections, “ Agency,” “ Awareness,” and “ Engagement,” the book creates its own performance-generating system2— a matrixes series of dramaturgical approaches that reset notions of dramaturgy and allow dramaturgical relationships and conversations to rise, resonate, and modulate throughout the ten curated essays.”