In recent years, the concept of dramaturgy has been expanded to include a wide range of new fields that rarely concern the analysis of the drama text itself, but rather the facilitation of creative processes. This article investigates dramaturgy as an analytical practice. The article provides an analytical, historical investigation of methodological approaches to drama analysis. The aim is to examine how drama analysis came to be regarded as a literary discipline that rarely considers aspects of performance and the material, scenic context for which the play was written. The study of drama thus became regarded as being distinct from theatre and performance studies. This approach, which has its roots in nineteenth century dramaturgy, effectively eliminated the spectator from its perspective in favour of a character and plot centred dramaturgy. It is the authors’ assertion that the drama text and theatrical performance should, nevertheless, be regarded as intrinsically interconnected and that the spectator must be “re-inserted” in the analysis of the written drama. The authors explore how we might re-think the field of dramaturgy as drama analysis by emphasizing the corporeal, spatial, performative, and cognitive aspects of the drama text together with an emphasis on the historical and scenic context.

I artiklen analyseres  Kaj Munks Ordet med fokus på, hvordan miraklet blev iscenesat med en tragisk undertone af Lars Norén på Det Kongelige Teater i 2008, og hvordan opsætningen blev mødt i en teaterkritisk kulturkontekst.  Forfatteren undersøger navnlig forestillingens teatralitet, og hvordan Lars Noréns omgang med Ordet er blevet til en iscenesættelse, der tager livtag med kulturarven og den dobbeltbundne tragedie i kærligheden.

In »The Mask of Faust« Kuhlmann reflects on danish director Sam Besekows (1911-2001) staging of himself as an artist in his work. She shows how the director’s »masking« of himself as mythological figures create images that on the one hand serves as sources of inspiration for the actors, and on the other hand unveils the specific professional identity of the director.

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