In Mikhail Bakhtin’s scheme the “doubleness” of the hybrid is composed not through the integration of differences but via a series of dialogical counterpoints, each set against the other, allowing the language to be both the same and different. This clearly constitutes a turning point in the debates on hybridity.”
When the contemporary theatre-text is hybrid and polyphonic, how can we translate those outcomes into different voices active within the writing process of the present-day playwright, and can those voices be transformed into more general creative strategies?
There is a moment where Bakhtin describes the writing process in a polyphonic way, very suitable for a definition of the contemporary artist, always co-creating with other disciplines, always transforming the different voices of the art product into different voices in the creative process: “Where others saw a single thought, he (Dostoevsky) was able to find and feel out two thoughts, a bifurcation; where others saw a single quality, he discovered in it the presence of a second and contradictory quality. Everything that seemed simple became, in his world, complex and multi-structured. In every voice he could hear two contending voices, in every expression a crack, and the readiness to go over immediately to another contradictory expression; in every gesture he detected confidence and lack of confidence simultaneously; he perceived the profound ambiguity, even multiple ambiguity, of every phenomenon.”
In higher art education there is a longing for a new pedagogy for performing arts students that fits the creative process of the co-creation of hybrid artefacts. Nirav Christophe designed such a pedagogy based on the Writing Process Model of Flower & Hayes (1981) combined with the Bakhtinian concept of polyphony and dialogism.

1-Nikos Papastergiadis, ‘Restless Hybrids’, in: Rasheed Araeen, Sean Cubitt & Ziauddin Sardar (Hg.), The third Text Reader on Art, Culture and Theory, London / New York, 2002, p.170vv., cited in Yvonne Spielmann, Hybridkultur, Berlin 2010 p.105
2-Bakhtin Problems of Dostoevsky’s Poetics Minneapolis 1984 (1963), p.30