List of Figures -- -- Preface -- -- Foreword: One Thing and Another: Notes on Pinchbeck & Smith's The Ravel Trilogy -- Alexander Kelly -- -- 1. The Exposition -- Michael Pinchbeck and Ollie Smith -- -- 2. The Development -- Michael Pinchbeck and Ollie Smith -- -- 3. Bolero -- -- 4. Bolero: A Matter of Language -- Arianna Maiorani -- -- 5. Concerto -- -- 6. A Score of a Score of a Score: Examining Concerto Through Ravel's Composition -- Kevin Egan -- -- 7. `Breathe with Your Arms': A Conductor's Experience Working on Concerto -- Paul Jenkins -- -- 8. Solo -- -- 9. Enhancing Embodied Music Cognition Through Music Theatre, with Particular Reference to Solo by Michael Pinchbeck and Ollie Smith -- Litha Efthymiou and Alan Taylor -- -- 10. Conducting and Composing, Poco a Poco: How We Are Moved Through the Immersive, Theatrical Experience Machine of Solo -- Rachel Baynton -- -- 11. Solo, Concerto, and Current Approaches to Presenting Classical Music -- Adrian Curtin -- -- 12. Tutti - We Can Complete It Together -- Rhiannon Jones -- -- 13. Afterword: The Recapitulation -- Michael Pinchbeck and Ollie Smith -- -- -- -- Notes on Contributors

This publication is a critical frame for a body of devised work that toured extensively nationally and internationally, The Ravel Trilogy. The three performances, Bolero (2014), Concerto (2016) and Solo (2018), set out to explore the dramaturgy of music and the musicality of drama. The playtexts are framed alongside reflective essays. 20 b&w illus. Based on a recent touring project, The Ravel Trilogy, this title comprises playtexts and essays that contextualise the themes and approaches of the devised work: Bolero (2014), Concerto (2016) and Solo (2018). The book takes an interdisciplinary critical enquiry into the working dramaturgy of performance `scores' inspired by the music. The book frames the playtexts of the trilogyalongside a series of reflective essays andprovocations on contemporary dramaturgy andmusicology from academics and artists in drama,music, linguistics and fine art. Itcontextualises themes and approaches of thetrilogy and serves as a critical companion to abody of devised work. It stimulates a debate aboutdramaturgy and composition and invitesdiscussion about postdramatic theatre'srelationship to music. This publication marks theculmination of the trilogy and its critical legacy andexplores the work through the dual lenses ofpostdramatic theatre and research questionsarticulated and addressed by the practice-research undertaken by its co-creators. Thedramaturgical context for The Ravel Trilogy andthe reflective essays around it allow the editors toexplore the relationship between theatre andmusic. It raises questions about practice-researchand notions of creating playtexts from musicalscores. Pinchbeck and Smith reflect on makingand performing The Ravel Trilogy and the processof researching, devising and presenting workinspired by music where score becomes script anddynamics become stage directions.