Inspired by the book 'The Practice of Dramaturgy' by Georgelou, Protopapa & Theodoridou (2018), we suggest to take a closer look at the etymological dimension of ‘dramaturgy’, by recovering the notions of 'action' (‘drama’) and 'work' (‘ergon’). We would like to add here also the notion of ‘gesture(s)’. In performing arts gestures are about physical (or bodily) and mental (or imaginary) movements. It can be employed as a learned ‘technique of the body’ (cf. Mauss, 1973), and it can be considered a sign that communicates meaning (Feldman, 2006).This perspective points at a dual operation of dramaturgy: ‘How actions/gestures work?’ and ‘How one works on actions/gestures?’ (cf. ‘Dramaturgy as Working on Actions’ by Georgelou, Protopapa & Theodoridou, 2017: 20).

We will translate this in three dramaturgical sections: ‘actions/gestures’, ‘reflection’ and ‘extraction’. Reflection is here about questioning and thinking on meaningful and critical moments in the unfolding dramaturgical process, this in advance, during and after the workshop. These moments are about crossing the ‘in-between position’ amid knowing and not-knowing and the ‘alterity position’ between the same and the other (cf. Georgelou et al., 2017: 59). Extraction is about distilling the revealing threads, connections and relationships between the different meaningful and critical moments. It’s about searching new potentiality of links and approaches for the future to emerge.