CILECT CONGRESS 2019 – VGIK, Moscow, Russia

(7-11 October 2019)

Dramaturgy and Media

A quantum leap of the contemporary media culture over the past few decades resulted in the development of a new information-oriented society shifting from periodicals to cinema, television, and online news media and on to the new media and mobile applications. In this changing context a major role is played by the Internet which expands the media culture universe not only by enriching the capabilities of one-way communication but also by establishing quite a new form of dramaturgy – a dialogical, an interactive one.

Both in new media and in social networking an ever-greater popularity is being now gained by storytelling. Within the net communication the stories are translated by a series of statements. Thus, text- or video bloggers in the social networks employ the dramatic structure of the TV series which make the audience keep watching some characters day by day. This kind of dramaturgy is often based on the so called crowd-sourcing that is team research, creative activity and voting. In which case dramaturgy is faced with one of the essential characteristics of the contemporary media universe – that of the nonlinear narration.

Another challenging development pattern of contemporary media dramaturgy is cross media, i. e. the opportunity to transmit a text via different media platforms, due to the digital revolution that integrated all the media into a universal one, a universal media text. This integrated medium allows for the use of different codes characteristic of cinema, theatre, painting, advertisement, literature etc. tending here to converge. Genre, specific etc. boundaries fade away so that different segments of culture merge into one single universe. Cross media character of the visual language implies its omnitude. Thus screenwriting and stage design are used on television (live analytical talk-shows, documentary projects), in multimedia projects, online and new media.

One of the fundamental problems in contemporary media communication is a certain quality gap between the technical capacities and the form of communication translated by different media. That is to say, the media as a complex of means and methods of production and delivery of heteromorphic information need a new kind of dramaturgy taking into account the essential qualities of the contemporary media universe, its multimedial, hypersexual and interactive character. This refers directly to the future cinema which attempts already to create a virtual space in which the viewer happens to be a film character or a watcher who can influence the story unraveling. These changes regard still other forms of the media culture and multimedia creative work.

Discussion Topics

  • • Dramaturgy and the new forms of metacommunication; new forms of reality; interpenetration of fiction, documentary and animation into hybrid forms;
  • • Interactivity, hypertextuality, nonlinearity, intertextuality and other basic principles of the new kind of dramaturgy; video blogs, “do-it-yourself” (DIY) or “film from scratch”, interactive cinema, video for cell phones (the language of close-ups), computer games; new characters – the human being design;
  • • New media script formats with reference to multimedia and cinema creative work; new/old means (texts, video, photos, pictures, animated graphics and others) as part of the script;
  • • The school and the tutor roles in the 21st century; the development of a student’s creative potential – modern teaching technologies and methods.