Dramaturgy is a discipline that is invaluable for the development of performing arts of high quality to be able to connect the artistic work to a broader context. Yet, the responsibility and work connected to the discipline can be interpreted in countless ways.

In theatre scientific context the term dramaturgy covers both theory, history, writing for theatre, performance dramaturgy and theories surrounding scenic practice. There are also many ways to think of dramaturgy; in relation to text, composition, reception, programming, but also in a larger context; in relation to historical aspects.

The Great Norwegian Encyclopaedia explains this perspective as follows: "This means that the different dramaturgical models relate to historical eras as chosen perspectives to arrange reality in systems, both in terms of performing arts’ means of expression, its nature and effect on its contemporaneity. Dramaturgical forms can thus be understood as a historical way of perceiving and presenting the world – as they may contain and express different views of the world, mankind and of knowledge.»

In collaboration with Professor Knut Ove Arntzen and the Department of Theatre Studies at the University of Bergen, we organise a seminar on dramaturgical processes which is part of the lecture programme for theatre studies. The seminar focuses on both dance and theatre, and will consist of two mutually commenting sections; one focusing on theoretical aspects connected to dramaturgy, the other aiming at applied, practical knowledge. The format is dialogical, and the audience is encouraged to join the conversation.

Knut Ove Arntzen, born 1950, is professor of theatre studies at the University of Bergen, Norway, a theatre critic in Oslo from 1976 to 1986 and has published a series of essays in Norwegian and international research periodicals. He has participated in symposia and conferences of research in theatre and cultural studies, and has been a visiting professor at different universities and theatre academies, like in Antwerpen, Frankfurt am Main, Kaunas, Oslo and Helsinki. He worked with the Les 20 Jours du Théâte â Risque festival in Canada-Québec and Bergen International Theatre.

Elena Pérez is the artistic director of the Trondheim Kunstforening (Trondheim Art Society) holds a PhD in theatre and media studies from The Norwegian University of Technology and Science (NTNU), where she has been a research fellow at the Department of Art and Media Studies. The title of her doctoral dissertation is «The Impact of Digital Media in Contemporary Theatre and Performance: Multimedia Theatre, Telematic Performance and Pervasive Theatre». 

Goran Sergej Pristas is a director, choreographer, dramaturge and professor at the Academy of Drama Art, University of Zagreb. From 1990 to 1992, he was artistic director of the SKUC theatre. In 1993 he was a dramaturge and member of the artistic council of teatar &TD, and from 1994 to 1999 a dramaturge in theatre group Montazstroj. Pristas and Ivana Sajko founded the theatre group BADco. or the "Nameless Author´s company" in 2000 while working with playwrights and artists (Pravdan Devlahovic and Nikolina Bujas-Pristas) on the project "Confessions" with teatar &TD. Pristas breaks down the borders between the different art forms and aims to create a theatrical structure from a performance art piece. His shows often combine all elements; becoming dance "dialogues" or performed art they touch upon an intuitive communication that reaches out to its audience, inspiring curiosity and emotion. As a dramaturge, Pristas has participated in numerous dance and theatre productions. He is also founder and editor-in-chief (1996-2007) of Frakcija, a highly respected magazine for the performing arts.

Mårten Spångberg (1968), lives and works in Berlin as essayist, performance critic, dramaturg and choreographer. He is guest professor at the University of Giessen, Dept. of Applied Theatre Studies, and associate teacher of dramaturgy at dance school P.A.R.T.S, Brussels. As curator, he initiated the Panacea Festivals in Stockholm (1996-2001) and co-curated the Body Currency, Wiener Festwochen (1998), Read My Lips, Oslo (1997), the fourth International Summer Academy, Frankfurt (2002), and CAPITALS Acarte, Gulbenkian Foundation, Lisbon, (2002-2003). His collaborations as performer include the collective Fame Internationale, BDC and Tom Plischke, Xavier Le Roy, Baktruppen, and Alice Chauchat. He did dramaturgical work for Ina C. Johannessen, I. Bjornsgaard, Angela Guerreiro, Dennis O'Connor, Lilia Mestre/Mette Edvardsen, and Christine de Smedt/Les Ballets C de la B. His own performance projects are internationally presented.