A Midsummer Nights Dream
https://fountain.benedikt-eickhoff.de/thepolyxsupershow/AMidsummerNightsDream.pdf
https://fountain.benedikt-eickhoff.de/thepolyxsupershow/AMidsummerNightsDream.pdf
Title: Dramaturg Role Questionnaire
Credit: Based on original concept by: Benedikt Eickhoff
Draft date: 2023-12-05
Draft number: Draft 1 (on demand)
Contact info: mail@benedikt-eickhoff.de
Notes: This questionnaire is designed to guide individuals considering a commitment to the role of 'Dramaturg' in a German state theater. It aims to explore their understanding, skills, and approach to this unique and critical role in theater production.
URL: http://coach.benedikt-eickhoff.de/essays/2023/12/dramaturg/
URL: https://de.wikipedia.org/wiki/Liste_deutschsprachiger_Theaterbühnen
URL: https://www.buehnenverein.de/de/jobs-und-bildung/jobboerse.html
***
This questionnaire is intended for individuals aspiring to embrace the role of a Dramaturg in a German state theater. It serves to self-assess their readiness, understanding of the role, and alignment with the theater's expectations and cultural milieu.
1. What is your current understanding of the role and responsibilities of a Dramaturg in a German state theater?
2. How do you envision contributing to the theater's productions in this role?
1. What relevant experience do you have that prepares you for this role?
2. Can you describe any previous dramaturgical work you've done? What were the challenges and successes?
3. What are your strongest skills that you bring to this position?
1. How do you approach researching for a new production?
2. What methods do you use to ensure historical and cultural accuracy in your research?
1. How do you approach collaboration with directors, playwrights, and other members of the production team?
2. Can you give an example of a successful collaborative project you were involved in?
1. What is your understanding of the German state theater system and its cultural significance?
2. Are you familiar with any current trends or notable movements in German theater?
1. How do you adapt to changes in a production, such as directorial or script changes?
2. Can you describe a time when you had to solve a creative challenge in a production?
1. How do you view the role of the audience in a theater production?
2. What experience do you have in creating programs or materials that engage the audience?
1. How proficient are you in German, both written and spoken?
2. How do you ensure cultural sensitivity and appropriateness in your work?
1. What are your long-term goals in the field of dramaturgy?
2. How does this role at the German state theater align with your professional aspirations?
1. Why do you feel passionate about working in theater and specifically as a Dramaturg?
2. What do you hope to learn and achieve in this role?
"Modern ideation" refers to the process of forming ideas or concepts within a contemporary context. This often involves incorporating present-day values, perspectives, and themes, which can be quite diverse and multifaceted. When applied to narratives or artistic expressions, modern ideation seeks to reflect current societal norms, challenges, and the rich tapestry of modern life, which includes acknowledging and representing a wide range of identities, experiences, and cultural backgrounds. In the context of a narrative or a piece of art, "modern ideation" could involve:
In storytelling and art, these elements combine to create works that speak to the present moment, inviting reflection on where we are now as a society and where we might be headed.
Currently sharing ChatGTP 4 Chats with Images isn’t supported yet - so I post a screenshot video reference here:
http://coach.benedikt-eickhoff.de/albums/object-body-shift/content/modern-ideation-1/
https://fountain.benedikt-eickhoff.de/thepolyxsupershow/Ballern-Gehen.pdf
User:
Please write an essay about what makes a typical 'Doku-Drama' -
Assistant:
Title: The Anatomy of a Doku-Drama: A Unique Blend of Fact and Fiction
Introduction
A Doku-Drama, also known as a docudrama, is a unique genre of film and television that combines elements of documentary and drama. This genre is characterized by its ability to present historical or current events in a narrative format, often using reenactments, interviews, and archival footage to tell a compelling story. The aim of a Doku-Drama is to provide a more immersive and engaging experience for the audience, allowing them to connect with the subject matter on a deeper level.
Characteristics of a Doku-Drama
Conclusion
In conclusion, a Doku-Drama is a unique blend of fact and fiction that serves to engage, inform, and entertain its audience. By combining the factual basis of a documentary with the emotional engagement of a drama, this genre provides a unique perspective on real-life events and individuals. Whether it's a historical event, a biography, or a social issue, a Doku-Drama brings the subject matter to life in a way that is both engaging and informative.
User:
Considering https://coach.benedikt-eickhoff.de/essays/2023/05/alters-in-dissociative-identity/ - please give a report and compare the given story genre with that of a docudrama -
Assistant:
The essay titled "Alters in Dissociative Identity" on the website of Benedikt Eickhoff, a coach, counselor, and therapist, presents a detailed exploration of a character named Evelyn who suffers from Dissociative Identity Disorder. The essay is structured as a series of scenes and character explorations, with a focus on the different "alters" or personalities that Evelyn embodies. The essay also includes a speculative step outline for further character exploration, a characterization guided by the ICD 11 framework of classifying and understanding prominent personality traits or patterns, and two loglines. The antagonist in the story is Evelyn's struggle with her disorder, particularly with one alter's disruptive behavior. The essay ends with a speculative step outline of the entire story arc and a discussion of the story's genre and uniqueness.
Comparing this with a docudrama, there are several similarities and differences:
Similarities:
Differences:
In conclusion, while the essay "Alters in Dissociative Identity" shares some characteristics with a docudrama, such as its factual basis and use of dramatization, it also differs in significant ways, particularly in its medium and focus on a single character's personal journey.
User:
Please consider the content of the essay and transform it into a docudrama -
Assistant:
Title: "Fragmented Canvas: A Journey Through Dissociative Identity"
Scene 1: Introduction
The docudrama opens with a montage of Evelyn, a woman in her mid-thirties, living her life. We see her painting, interacting with her boyfriend Peter, and attending therapy sessions with Dr. Samuel. The voiceover introduces Evelyn and her condition, Dissociative Identity Disorder, and her four distinct personalities or "alters": Eve, Lyn, Vin, and Ynne.
Scene 2: Backstory
The scene shifts to a therapy session with Dr. Samuel. Through a series of flashbacks, we learn about Evelyn's tumultuous childhood, the onset of her disorder, and how she's learned to live with her alters. The scene is interspersed with archival footage of real-life cases of Dissociative Identity Disorder, providing a factual basis for the narrative.
Scene 3: The Struggle
The docudrama then delves into Evelyn's struggle with her alters, particularly Ynne, who is growing more disruptive. We see Evelyn's relationship with Peter strained as she transitions between her alters during a dinner at their apartment. The scene ends with a sense of unease, hinting at an upcoming struggle.
Scene 4: The Breakup
The tension escalates as Evelyn, under the influence of Ynne, breaks up with Peter. This scene is emotionally charged, showcasing the turmoil within Evelyn and the heartbreak Peter experiences.
Scene 5: The Journey
The docudrama then follows Evelyn's journey to understand and reconcile with her alters, guided by Dr. Samuel. We see her exploring her alters through her painting, revealing more about their individual traits and histories. Interviews with real-life individuals who have managed to live with Dissociative Identity Disorder are interspersed throughout this scene, adding another layer of authenticity and credibility to the narrative.
Scene 6: The Reunion
In the final scene, Evelyn reunites with Peter, leading to a deeper understanding and acceptance of her disorder. The docudrama ends on a hopeful note, with Evelyn gaining control over her life and her relationship with Peter stronger than ever.
Throughout the docudrama, the narrative is interspersed with interviews, archival footage, and factual information about Dissociative Identity Disorder, providing both an engaging story and an educational experience for the audience. The docudrama successfully blends the factual basis of a documentary with the emotional engagement of a drama, providing a unique perspective on a rarely understood mental disorder.
User:
There's also a genre called 'mokumentary' - what's this, in comparison?
A "mockumentary" is a genre of film and television that parodies the conventions of the documentary genre. The term is a portmanteau of "mock" and "documentary." Mockumentaries often use the same filming techniques as documentaries, such as talking head interviews, handheld camera footage, and archival footage, to present fictional events as if they were real.
Here's how a mockumentary compares to a docudrama and a documentary:
Famous examples of mockumentaries include "This is Spinal Tap," which parodies rock documentaries, and television shows like "The Office" and "Parks and Recreation," which use the mockumentary format to present fictional events in a workplace setting.
User:
Please project the "Lovers Eat: A still life of a table and chairs in a room." into a mokumentary -
Assistant:
Title: "Lovers Eat: The Untold Story of a Table and Chairs"
Scene 1: Introduction
The mockumentary opens with a dramatic voiceover: "In a world where inanimate objects have lives of their own, one table and four chairs tell a tale of love, loss, and lasagna." The camera pans over a seemingly ordinary dining room set in a well-lit room.
Scene 2: The Characters
The camera zooms in on each piece of furniture as the narrator introduces them with exaggerated gravitas. The table, "Timber Tim," is described as a sturdy oak with a heart of gold. The chairs, "Chatty Charles," "Wobbly Wanda," "Squeaky Steve," and "Rocking Rachel," each have their quirks and personalities.
Scene 3: The Love Story
The mockumentary then delves into the "love story" between the table and chairs. Through a series of staged interviews with the furniture (voiced by off-screen actors), we learn about their "experiences" hosting various meals, from romantic dinners to disastrous family gatherings. The table and chairs share their "feelings" about the different people who've sat on them and the various foods they've had placed on them.
Scene 4: The Conflict
The narrative takes a dramatic turn when a new, modern coffee table, "Sleek Sam," is introduced into the living room. The dining set feels threatened and neglected, leading to a series of humorous and exaggerated "conflicts."
Scene 5: The Resolution
In the end, the dining set realizes that each piece of furniture in the house has its role and importance. They come to terms with their existence and continue their duty of serving as a place for people to eat and converse.
Throughout the mockumentary, the narrative is interspersed with "expert interviews" with furniture historians, psychologists, and even a psychic who claims to communicate with furniture. The mockumentary ends with a humorous twist, leaving the audience entertained and amused.
"Lovers Eat: The Untold Story of a Table and Chairs" uses the format of a documentary to tell a completely fictional and comedic story, embodying the essence of a mockumentary.
User:
Love it! - now, consider https://coach.benedikt-eickhoff.de/essays/2023/05/alters-in-dissociative-identity/ and change genre to a mokumentary -
Assistant:
Title: "Alters in Action: A Not-So-Serious Look at Dissociative Identity Disorder"
Scene 1: Introduction
The mockumentary opens with a dramatic voiceover: "In a world where personalities are as interchangeable as socks, one woman, Evelyn, navigates the chaos of her mind with humor and a paintbrush." The camera pans over a seemingly ordinary woman painting in her apartment.
Scene 2: The Characters
The camera zooms in on Evelyn as the narrator introduces her and her four "alters": Eve, Lyn, Vin, and Ynne. Each alter is introduced with exaggerated humor and dramatization, making light of their distinct traits.
Scene 3: The Love Story
The mockumentary then delves into the "love story" between Evelyn and her boyfriend Peter. Through a series of staged interviews with Evelyn's alters, we learn about their unique relationships with Peter, each alter humorously recounting their interactions with him.
Scene 4: The Conflict
The narrative takes a comedic turn when Evelyn's alter, Ynne, decides she wants to break up with Peter. This scene is filled with humor as Ynne attempts to navigate the breakup while the other alters try to intervene.
Scene 5: The Resolution
In the end, Evelyn and her alters come to a consensus and decide to reconcile with Peter. The mockumentary ends on a humorous note, with Evelyn and Peter navigating their unique relationship with laughter and understanding.
Throughout the mockumentary, the narrative is interspersed with "expert interviews" with a quirky psychiatrist, Dr. Samuel, who provides comedic insights into Evelyn's condition. The mockumentary ends with a humorous twist, leaving the audience entertained and amused.
"Alters in Action: A Not-So-Serious Look at Dissociative Identity Disorder" uses the format of a documentary to tell a completely fictional and comedic story, embodying the essence of a mockumentary. The serious topic of Dissociative Identity Disorder is approached with humor and light-heartedness, providing an entertaining perspective on a complex condition.
User:
Considering the concept of Dissociative Identity and so called „alters“, take „Lovers Eat: A still life of a table and chairs in a room.“ as a title, write an ensemble scene for stage, complete with character descriptions, backstory scenes and an outlook on what might happen next ( = a total of three scenic settings). Then, focussing the main character, write a speculative step outline for further character exploration. In a next step write a characterization guided by the icd 11 framework of classifying and understanding prominent personality traits or patterns ( ICD11 Code : 6D11.0 Negative Affectivity, 6D11.1 Detachment, 6D11.2 Dissociality, 6D11.3 Disinhibition, 6D11.4 Anankastia ) Write two loglines , one of it not longer than 255 characters. Introduce a focus on an overwhelming antagonist or antagonistic energy to the main character. Write a significant anecdote about the life of story characters; start by giving a completion of the standard title „The Day When (person or event x) (to be completed)…“ Create a scene for stage putting anecdotical events into perspective. Write a speculative step outline of the entire story arc considering a cross genre approach and eventually discuss story genre and uniqueness - what’s the selling point?
Assistant:
Title: "Lovers Eat: A still life of a table and chairs in a room."
Evelyn (Main Character): A woman in her mid-thirties, suffering from Dissociative Identity Disorder.
She has four distinct personalities or "alters": Eve (Negative Affectivity), Lyn (Detachment), Vin (Dissociality), and Ynne (Disinhibition). Evelyn is a talented painter, and each of her alters contributes to her art in unique ways.
Dr. Samuel: Evelyn's psychiatrist, a compassionate man in his late fifties. He is dedicated to helping Evelyn manage her disorder and understand her alters.
Peter: Evelyn's boyfriend, a patient and understanding man who loves Evelyn and all her alters. He is a chef and often uses food as a way to connect with Evelyn's alters.
The scene opens in Dr. Samuel's office. Evelyn, as Eve, is in a therapy session, discussing a recent painting she's been working on - a still life of a table and chairs in a room. As they delve deeper into the painting's symbolism, the audience learns about Evelyn's past - her tumultuous childhood, the onset of her disorder, and how she's learned to live with her alters.
The scene shifts to Evelyn's apartment. Peter is cooking dinner, and Evelyn, as Lyn, is finishing her painting. As they eat, Evelyn transitions between her alters, each reacting differently to the food and conversation. The scene ends with a sense of unease, hinting at an upcoming struggle with Ynne, who has been growing more disruptive.
The antagonist in this story is not a person, but Evelyn's struggle with her disorder, particularly with Ynne's disruptive behavior. This internal conflict drives the narrative, creating tension and drama as Evelyn fights for control over her life.
Title: "The Day When Evelyn Met Peter"
Evelyn, as Vin, was at a local bar, her aggressive alter keeping potential threats at bay. Peter, a chef, was there too, unwinding after a long day. Intrigued by Evelyn's intensity, he approached her. Despite Vin's initial hostility, Peter's patience and kindness won him over. That night, Evelyn transitioned to her other alters, each one interacting with Peter differently. By the time Evelyn herself surfaced, she found herself drawn to Peter, marking the beginning of their unique love story.
The scene is set in the same bar where Evelyn and Peter met. Peter is recounting the story to Dr. Samuel, revealing his deep understanding and acceptance of Evelyn's alters. The scene is intercut with flashbacks of their first meeting, showcasing the distinct personalities of Evelyn's alters and their interactions with Peter.
The story is a unique blend of drama, romance, and psychological thriller. The exploration of Dissociative Identity Disorder through the lens of a painter adds a unique artistic element to the narrative. The selling point is the authentic portrayal of a rarely understood mental disorder, the exploration of love in such a complex scenario, and the intriguing interplay between Evelyn's alters.