Relevant bibliographies by topics / Postdramatic theatre

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Postdramatic theatre'

Author: Grafiati
Published: 4 June 2021
Last updated: 22 June 2024

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Journal articles on the topic "Postdramatic theatre"

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Carlson, Marvin. "Postdramatic Theatre and Postdramatic Performance." Revista Brasileira de Estudos da Presença 5, no. 3 (December 2015): 577–95. http://dx.doi.org/10.1590/2237-266053731.

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Abstract: Beginning with the concept of a postdramatic theatre as articulated by the German theorist Hans-Thies Lehmann, this essay considers the recent work of several major international directors - Ivo van Hove, Punchdrunk, Signa and others - as examples of postdramatic performance. It argues that what they have in common is a challenge to the traditional concept of mimesis and of the theatre world as a fictional construct distinctly separated from everyday life and its surroundings.
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Harun, Afrizal, Kurniasih Zaitun, and Susandro Susandro. "Postdramatik: Dramaturgi Teater Indonesia Kontemporer." Dance and Theatre Review 4, no. 2 (January 11, 2022): 57–69. http://dx.doi.org/10.24821/dtr.v4i2.6450.

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Postdramatic: The Dramaturgy of Contemporary Indonesian Theater. The research attempts to explain a new possibility in theatre practice in Indonesia, which was initially formed through the power of words in the form of dialogue depicted in drama scripts. Since then, there was another tendency which was a matter of fact, in the early 1920s, for which Antonin Artaud initiated. Various terms have been used to describe new trends in the dramaturgy of Indonesian theatre since the 1970s up to now, such as cutting-edge theatre, avant-garde theatre, experimental theatre, body theatre, visual/visual theatre, postmodern theatre, contemporary theatre, and so on. Therefore, the appearing terms show doubts in determining the identity of the currently developing Indonesian theatre. This study aims to explain the potential for postdramatic theatre works that have been performed by Indonesian theatre directors, such as WS Rendra, Putu Wijaya, Boedi S. Otong, Dindon WS, Rahman Sabur, Yudi A Tajudin, including Yusril with a Postdramatic theatre approach. This research method is dominated by literature studies that take references such as books, journal-based articles, and online and printed media. The results of the study indicate that postdramatic dramaturgy in the practice of theatre in Indonesia is necessary from the spirit of the times that formed it, including the possibility of creating a new form of post-dramatic theatre developing in the current era of the Covid-19 pandemic.Keywords: postdramatic; dramaturgy; theatre; Indonesia; contemporary
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Frljić, Oliver. "Postdramatic Theatre and Political Theatre." Dramsko i postdramsko pozorište 2022, posebno izdanje (2022): 129–35. http://dx.doi.org/10.18485/fdu_zr.2022.dpdp.11.

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BALME, CHRISTOPHER. "Editorial." Theatre Research International 29, no. 1 (March 2004): 1–3. http://dx.doi.org/10.1017/s0307883303001202.

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The first issue of the journal in 2004, and the first under my editorship, is devoted to a special focus on ‘Postdramatic Theatre’. While this term may not be familiar to many readers, the phenomenon it embraces most certainly is. Coined by the German theatre studies scholar, Hans-Thies Lehmann in his book Postdramatisches Theater,1 the concept refers to tendencies and experiments defining theatre outside the paradigm of the dramatic text. Also known, somewhat imprecisely, as postmodern theatre, it questions fundamentally the very tenets of the dramatic theatre. Postdramatic performances usually eschew clear coordinates of narrative and character and require therefore considerable effort on the part of the spectator. For this reason, it has been termed, in the words of New York theatre critic Elinor Fuchs, ‘spectator's response theatre: we write our own script out of the “pieces of culture” offered’.2 Like Lehmann, Fuchs tries to find an over-arching frame within which to make sense of the manifold experiments in theatre and performance that were taking place in the 1980s. Whereas Lehmann sees postdramatic theatre primarily as a question of form and history which affect the configuration of time, space and mediality of theatre, Fuchs regards the same developments as a response to the massive critique of Western models of subjectivity that we associate with terms such as poststructuralism and deconstruction.
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Crossley, Tracy. "Active Experiencing in Postdramatic Performance: Affective Memory and Quarantine Theatre's Wallflower." New Theatre Quarterly 34, no. 2 (April 19, 2018): 145–59. http://dx.doi.org/10.1017/s0266464x18000052.

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Postdramatic approaches to performance and Stanislavsky's methodology seemingly occupy divergent performance traditions. Nonetheless, both traditions often require performers to mine their own lives (albeit to different ends) and operate in an experiential realm that demands responsiveness to and within the live moment of performing. Tracy Crossley explores this realm through an analysis of Quarantine Theatre's Wallflower (2015), an example of postdramatic practice that blends a poetics of failure with a psycho - physical dramaturgical approach that can be aligned with Stanislavsky's concepts of affective memory and active analysis.Wallflower provides a useful case study of practice that challenges the binary opposition between the dramatic and postdramatic prevalent in theatre and performance studies scholarship. Aspects of Stanislavsky's system, nuanced by cognitive neuroscience, can expand the theorization of postdramatic theatre, which in turn generates techniques that can prove valuable in the rehearsal of dramatic theatre itself. Tracy Crossley is a Senior Lecturer in Theatre and Performance at the University of Salford, Manchester. She is currently developing a practical handbook, Making Postdramatic Theatre, for Digital Theatre Plus.
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Kotelevskaya, Vera V. "Books about postdramatic theatre." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 1 (March 1, 2020): 158–71. http://dx.doi.org/10.18522/2415-8852-2020-1-158-171.

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The review considers three books on post-dramatic theatre (in various studies it is also called anti-mimetic, radical, post-modern theatre, metatheatre, etc.). Different concepts of post-dramatic theatre are brought together by what may be considered as experiments per se, overcoming or problematizing genre and media boundaries, neutralizing binary oppositions, such as subject – object, playwright – director, platform – hall, actor – character, etc. I analyze the concept of H.-T. Lehmann (“Postdramatic theatre: 1999), who argues concerning the main feature of the “radical theatre” in weakening the connection with the text of the play, “re-theatricalization”, and rejection of the mimesis. For E. Fischer-Lichte (“Ästhetik des Performativen”, 2004 / “The Transformative Power of Performance: A New Aesthetics”, 2008), the main feature of the newest theatre is “performativity” – the production of aesthetic meaning within the event of a performance, and not in the perception of an artifact by an observing subject. The criteria for the so called “performative turn” in drama and theatre, which, according to Fischer-Lichte, are self-reference, materiality, bodily contact, the liminality of aesthetic experience, and the transformation of the spectator. The neoconservative point of view of G. Stadelmaier (“Director’s Theatre. On the Scenes of the Spirit of the Times”, 2016), which expresses nostalgia for the tradition, is considered as polemic in respect to the innovations of the post-drama
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Gantar, Jure. "The Death of Character in Postdramatic Comedy." Amfiteater 9, no. 2021-2 (June 30, 2022): 66–78. http://dx.doi.org/10.51937/amfiteater-2022-1/66-78.

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According to Elinor Fuchs, the main characteristic of postmodern theatre and, consequently, the main reason for the decline of the dramatic text as the most important element of classical theatre is the death of character. While the traditional Hegelian view of drama depends heavily on a unified fictional subject, Fuchs argues that both modern and postmodern theatre destabilise and subvert this subject to the degree that we can no longer see it as a coherent whole. Yet, her theory, like Hans-Thies Lehmann’s, has one notable methodological weakness: she almost entirely ignores comedy. Her study omits in its analysis a substantial portion of the repertoire not only of the mainstream but also of fringe and experimental theatres. This paper attempts to rectify this omission and hopes to determine whether character also disappears from postdramatic comedy and not just from serious postdramatic theatre. The analysis focuses on three forms of postmodern comedy that deviate from the traditional narrative format and seem to support Fuchs’s reading: on sketch, stand-up and improvisational comedy. Using examples from sketch comedy Beyond the Fringe, George Carlin’s stand-up acts and The Second City improvs, the main body of the argument tests the cogency of the basic tenets of Fuchs’s theory. The second part of the paper offers a counterargument and a possible supplement to her hypothesis.
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Meewon Lee. "The Postdramatic Theatre in Korea." Journal of korean theatre studies association 1, no. 43 (April 2011): 5–40. http://dx.doi.org/10.18396/ktsa.2011.1.43.001.

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Epner, Luule. "Theatre in the Postdramatic Text." Nordic Theatre Studies 24, no. 1 (June 18, 2019): 66–75. http://dx.doi.org/10.7146/nts.v24i1.114831.

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Jeanne Willcoxon. "Postdramatic Theatre (review)." Theatre Topics 18, no. 2 (2008): 248–49. http://dx.doi.org/10.1353/tt.0.0033.

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Dissertations / Theses on the topic "Postdramatic theatre"

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Hickie, Rebecca J. "Scenography as process in British devised and postdramatic theatre." Thesis, Loughborough University, 2009. https://dspace.lboro.ac.uk/2134/12660.

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The term scenography is an increasingly popular one within the worldwide theatre making community, becoming the term of choice to refer to the visual, spatial and aural aspects of theatre production. In her book What is Scenography? (2002) Pamela Howard suggests that we should consider the term scenography as referring not only to those aspects of the theatre product, but also to the collaborative process through which the product is created. In the context of her study, Howard refers to scenography as process within her own work, grounded in the production of literary texts. But what are the implications of scenography as process within non text-based and postdramatic theatre? This thesis will consider the place and process of design within devised and postdramatic theatre, and how this fits with Howard's conception of scenography as process. The change and development in all aspects of the theatre making process that occurred through the twentieth century, with the growth of devising methodologies and collective-based companies, necessitated the emergence of a different type of theatre designer. Howard cites an emphasis in collaboration and the scenographer's presence in the rehearsal room as distinguishing factors between a scenographic and more orthodox design process, and as such this need for a collaborative design methodology can be seen as having arisen from the development of collective and devising working processes. Considering the historical importance of figures such as Appia, Craig, Meyerhold, Brecht and Svoboda in the revolution and development of stage design and scenography through the twentieth century, this thesis documents the scenic practice of Complicite, Improbable, Forced Entertainment, Fevered Sleep and two recent productions by Katie Mitchell at the National Theatre, considering scenography as an integral part of the process of writing the performance text. Out of the work of these practitioners various models of scenographic practice are drawn, offering a variety of methodologies that can be used individually or in combination as a starting point for developing scenography in a devised or postdramatic context.
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Fenton, David Raymond. "Unstable acts : a practitioner's case study of the poetics of postdramatic theatre and intermediality." Thesis, Queensland University of Technology, 2007. https://eprints.qut.edu.au/16527/1/David_Fenton_Thesis.pdf.

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This practice-led research enquiry examines the form and experience of postdramatic theatre and intermediality. Through three practice-led enquiry cycles, the performance, Unstable Acts, was created. The study was designed to introduce the practitioner to a new process of practice within a postmodern aesthetic and to investigate the theory and practice of intermedial performance. Accordingly, Unstable Acts generated moments of praxis concerning postdramatic theatre and intermediality. By analysing this praxis an increasingly complex understanding of de-representational performance, the liminal experience, percipience, reflection and intermediality in postdramatic theatre was developed. In responding to Unstable Acts, the study proposes a working model for the poetics of postdramatic theatre which places intermediality as a formal recurrence of the postdramatic form. The model also proposes that the postdramaturgical strategy of de-representational performance is a central stylistic quality of postdramatic form, and that the liminal experience is central to the postdramatic theatre experience. Connecting de-representation and liminality through queer theory, the model contends that reflection is an important aspect of both the form and experience of postdramatic theatre. In so doing, the study provides a clearer understanding for theorists and practitioners of the poetics of postdramatic theatre and the position of intermediality in postdramatic practice.
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Fenton, David Raymond. "Unstable acts : a practitioner's case study of the poetics of postdramatic theatre and intermediality." Queensland University of Technology, 2007. http://eprints.qut.edu.au/16527/.

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This practice-led research enquiry examines the form and experience of postdramatic theatre and intermediality. Through three practice-led enquiry cycles, the performance, Unstable Acts, was created. The study was designed to introduce the practitioner to a new process of practice within a postmodern aesthetic and to investigate the theory and practice of intermedial performance. Accordingly, Unstable Acts generated moments of praxis concerning postdramatic theatre and intermediality. By analysing this praxis an increasingly complex understanding of de-representational performance, the liminal experience, percipience, reflection and intermediality in postdramatic theatre was developed. In responding to Unstable Acts, the study proposes a working model for the poetics of postdramatic theatre which places intermediality as a formal recurrence of the postdramatic form. The model also proposes that the postdramaturgical strategy of de-representational performance is a central stylistic quality of postdramatic form, and that the liminal experience is central to the postdramatic theatre experience. Connecting de-representation and liminality through queer theory, the model contends that reflection is an important aspect of both the form and experience of postdramatic theatre. In so doing, the study provides a clearer understanding for theorists and practitioners of the poetics of postdramatic theatre and the position of intermediality in postdramatic practice.
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Ceraolo, Francesco. "The aesthetics of the Wagnerian Gesamtkunstwerk in the 20th and 21st Century : from Appia to postdramatic theatre." Thesis, Queen Mary, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610955.

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Shamsuddeen, Bello. "The postdramatic theatre of Athol Fugard and Maishe Maponya: commitment, collaboration, and experiment in apartheid South Africa." Thesis, University of Zululand, 2017. http://hdl.handle.net/10530/1591.

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A dissertation submitted to the Faculty of Arts in fulfilment of the requirements for the Degree of Doctor of Philosophy in the Department of English at the University of Zululand, 2017
Athol Fugard and Maishe Maponya both used the postdramatic theatre, which was largely anti-elitist, anti-text, experimental and collaborative, at certain point in their literary careers. They rebelled against established conventions, and, in their own ways, produced a type of theatre that suited their context and literary and ideological leanings. The rebellion and transformation of the theatre was not peculiar to them, but was a universal phenomenon at the time this thesis examines. As such, it manifested in works of artists who appropriated the new dramatic techniques to represent their different contexts and emerging socio-political trends. The thesis examines the collaborative process of Fugard, Kani, and Ntshona in view of the critical debates about identity, politics, role play, and Fugard’s claim to primary authorship of Sizwe Bansi is Dead and The Island. Collaboration is not a fixed term or practice. It depends largely on the play, play-making situation, and intention. It also changes even with the same artists involved in the collaboration. The devising process that led to The Coat, for example, differed from that of Sizwe Bansi is Dead and The Island. Even the collaborative process of Sizwe Bansi is Dead and The Island differs despite that the plays were produced around the same time. Fugard’s collaboration with the Circle Players (late 1950s) also differs from his collaboration with the Serpent Players (1960s) and that with Kani and Ntshona (early 1970s). Collaboration meant different things at different times for Fugard. He seems to have ridden on the coattails of black actors, although he successfully toured the plays around the world. Maponya’s idea of collaboration differs from that of Fugard. Although Maponya did not officially collaborate with actors, he used them as conduits into their lived experiences (The Hungry Earth) and professions (Umongikazi). This play-making technique is in many ways collaborative and similar to Fugard’s collaborative pattern during his work with the Circle Players in the production of No-Good Friday and Nongogo. Maponya lifts up the black artist but suffers the consequences. Fugard and Maponya used the actors in different capacities and utilised fairly similar, but different, collaborative techniques. They both utilised experimental, improvisational, and workshop-based methods differently, and at different times. The white South African playwright Fugard prepared the ground for radical experimentation with form and content in South Africa. Fugard enjoys a place of honour in the South African (and more generally African) canon. His reputation as a great writer, creative collaborator and director, and as a person who was able to create a unique theatre that blended African and Western forms of performance, has been acknowledged globally. His work with black actors, notably John Kani and Winston Ntshona, enabled this feat. He adopted a multidimensional approach to art, retained his literary leaning and identity, collaborated, and assisted in training and directing of black actors, and so contributed in his own equally potent way to the struggle against apartheid through the theatre. He promoted a belief in “the personal is political” through plays to be examined herein. The Coat (1966), Sizwe Bansi is Dead (1972) and The Island (1973) are selected because they are Fugard’s most political plays and because they were devised in collaboration with actors. The Hungry Earth (1979), Gangsters (1984) and Jika (1986) also pass the litmus test because they are Maponya’s most radical indictment of the apartheid regime and because they were also devised through experiments with actors who provided material and acting. In contrast to most writing on Fugard and Maponya, which are anchored to either a literary interpretation of the plays or performance discourse, this study offers a literary and performative analysis of the selected plays, demonstrating that this must be done together. This thesis also offers a comparative analysis of the selected plays. Maponya is a black artist and bitter playwright of the Struggle. His works are multifaceted, open to differing interpretations and are fairly universal and timeless because of their concern with general themes such as capitalism, subversion and containment; so also for their relation with more universal works, and their demonstration that the local and immediate experiences can have global legs. His concern with Black Consciousness and resistance however confined his status to a black ideologue. Maponya’s dramas nonetheless resist the accustomed standard of categorisation as plays by a black South African dramatist. The sharp cataloguing between white and black and major and minor playwright begins to fall apart when comparing Fugard and Maponya in terms of theatre practice and experiences. The reception of Maponya’s plays – both at home and abroad – reveals that he was an equally theatrically-aware and successful artist of the struggle, although he cannot be evenly matched with Fugard in terms of literary craft and outreach. This reductionism has also affected Fugard, who many regard as a liberal white writer. His colour was a handicap and a saving grace since it allowed him to work with black actors despite the laws banning interracial relations. The discourse of commitment in the plays to be examined – as well as in the dramatists’ practice of theatre – is centred on the relation between intention, context and text. The study examines the artists’ contribution(s) to the struggle; and how effective that contribution is, considering the complicated context and events they wrote about. To my knowledge, no other work, specifically, examines these two quite different playwrights, particularly in the context of their writing methods, their political reception in South Africa and abroad, and their ideas about play-making. New Historicism is chosen for the analysis of the selected plays because they are produced in history and for the theory’s concern with historical situation; because it is more of a practice than a set of doctrines or theory (Greenblatt 1990); and because it is concerned with intention and choice of genre (Bressler 2000). The theory, or rather practice, is also chosen because it promotes the study of both major and minor authors, thereby blurring the distinction between them (Gallagher and Greenblatt 2000); and because it accords more place for collaborative works (Greenblatt 1989) – which is one of the main concerns of this study.
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Wood, Michael Alistair Peter. "Making the audience work : textual politics and performance strategies for a 'democratic' theatre in the works of Heiner Müller." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/11702.

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In 1985, the East German playwright Heiner Müller (1929-95) spoke of the importance of a ‘democratic’ theatre: for Müller, the theatre was to be a space in which audience members are free to produce their own interpretations of the material presented on stage. In turn, the audience is encouraged to question the composition of its material reality but is not presented with a solution. Müller explicitly related this practice to his own production of his three texts Der Lohndrücker (1956-57), Der Horatier (1968), and Wolokolamsker Chaussee IV: Kentauren (1986) together at the Deutsches Theater in 1988-91. As this thesis demonstrates, Müller foregrounds instigating audience participation and the means of creating ‘democratic’ theatre from the very beginning of his career. In studying the composition of Müller’s texts, the historical contexts in which they were written, and their premières we gain new perspectives on the ways in which the possibility for political theatre is anchored in Müller’s texts and just how this political theatre aims to engage its contemporary, implied audiences; indeed, this thesis argues that the politics of Müller’s theatre can be best defined as ‘democratic’. In the introduction, I establish how Müller understands the term ‘democratic’ and how his understanding differs from interpretations of democracy contemporary to him; in doing so, I borrow critical vocabulary from the contemporary French philosopher Jacques Rancière. The introduction also elaborates a methodology for studying both implied and real audiences. While each of the prevalent semiological, phenomenological, or materialist theories of audience response has its strengths, in order to pay sufficient attention to the multiple influences upon and aspects of audience interaction, we must take a more holistic approach to audience research. I therefore articulate a new materialist phenomenological approach to audiences, drawing on Martin Heidegger’s phenomenology. In the following chapters, I study Der Lohndrücker, Der Horatier, and Kentauren in their historical contexts and consider how they were both composed with their contemporary audiences in mind and staged in their premières. This approach sheds new light on each text in question: not only do all three texts demonstrate a concern for a lack of democracy in material reality, but each also contains strategies for engaging audience involvement in a piece of ‘democratic’ theatre. My final chapter analyses Müller’s own staging techniques in Der Lohndrücker in 1988, arguing that they enhance the production’s democratic political potential and contribute to our understanding of Müller’s political theatre. While the productions discussed in Chapters 2 and 3 have largely been overlooked by theatre scholarship to date, they provide important insights into the politics of Müller’s texts and the possible limits of writing political theatre texts. This thesis draws on a wide range of both published and unpublished materials, including rehearsal notes, stage manuscripts, audience letters, newspaper reviews, theatre programmes, records of reactions to Müller’s works within the GDR’s statecraft, and Müller’s own notes for writing his texts. Through this wealth of material we not only gain an insight into the ways in which Müller’s texts were written for his audiences but we also recognise the parameters for his audiences’ responses. In offering a fresh perspective on Müller’s works, this thesis demonstrates both a compelling model for audience research and that a synthesis of textual/performance analysis, historical contextualisation, and audience research provides us with a very adept tool for analysing the making of political theatre and the politics of making theatre.
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Cronin, Bernadette Joan. "Post-memories of the Holocaust in contemporary Austrian theatre : projects against forgetting." Thesis, University of Exeter, 2009. http://hdl.handle.net/10036/104522.

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This dissertation examines contemporary responses by Austrian theatre makers from the free theatre sector, that is, those working outside of the state theatre establishment, to the outcome of what came to be known as ‘the big lie’ on which Austrian national identity was built following liberation from German rule by the Allied forces in 1945. The ensuing problem for the post-war generations of having to claim a past that was buried under the carefully constructed official version of history but mediated through the silence of their parents and grandparents – shaping their (inner) lives – and possibilities for representing such experience through the medium of theatre are core issues explored in this study. The main focus of the dissertation is analysis of a selection of three pieces of theatre produced by two free theatre companies in Austria, Auf der Suche nach Jakob / Searching for Jacob / Szukajac Jakuba, and Pola, both by the Projekttheater Studio based in Vienna, and Speaking Stones: images, voices, fragments… from that which comes after by Theater Asou in Graz, Styria. Apart from contextualization of the central thematic concerns of the selected pieces of theatre within the historical events of 20th century Austria, and discussion of the theoretical framework within which the pieces are analysed, this study also offers a consideration of the phenomenon of the free theatre sector in contemporary Austria as a complement and an alternative to the state theatre sector, its roots and development since the post WWII period through to the early 21st century. Interviews with theatre artists, arts administrators and a Holocaust eye witness are also drawn upon to investigate how free theatre can provide a medium though which memory-work, the subtleties of damage and the inexpressible, and the difficult task of claiming the past can be explored.
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Nelander, Sissela. "”Jag vill ha slitningar där sprickor växer, där avstånd mellan tid och tid / blir kött” : Att teckna i negationer: En studie av negationens kritiska potential i Christina Ouzounidis postdramatiska teatertext Spår av Antigone (2014)." Thesis, Södertörns högskola, Litteraturvetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-43697.

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With basis in critical theory, as defined by Theodor W. Adorno, as well as Hans-Thies Lehmann’s theory on postdramatic theatre this study investigates the ethic and aesthetic processes of negation in Christina Ouzounidis theatre texts. Analyzing the ways in which the postdramatic form serves as a negation of classical dramaturgy, as well as reading the negative statements as representants of the very challenge of portraying utopia, the studie examines three main themes: the notion of postdramatic theatre text, the postdramatic adaption of classical texts and the political postdramatic.
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Lim, Bao Tung Michelle. "Performing morality : a framework for assessing the moral significance of selected works of postdramatic performance." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/76539/1/Bao%20Tung%20Michelle_Lim_Thesis.pdf.

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This study examines the relationship between aesthetic and moral dimensions of postdramatic performance (PdP) with specific reference to two case studies: The Power of Theatrical Madness (1984) by Jan Fabre; and Inferno (2008) by Romeo Castellucci. These two cases were selected based on Lehmann's (1999/2006) "Postdramatic Theatre" theoretical framework by identifying various aspects of PdP: text, space, time, body and media. There are three primary objectives in this research project: (1) to examine if the selected works of PdP have moral functions; (2) identify these moral functions; and (3) establish a suitable framework to examine and assess the moral significance of the selected works.
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Plummer, Kris Bronwyn. "Contemporary dramaturgy in theatre for young people : the conceptual shape of displacement and installation." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/32454/1/Kris_Plummer_Thesis.pdf.

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This thesis investigates Theatre for Young People (TYP) as a site of performance innovation. The inquiry is focused on contemporary dramaturgy and its fieldwork aims to identify new dramaturgical principles operating in the creation and presentation of TYP. The research then seeks to assess how these new principles contribute to Postdramatic Theatre theory. This research inquiry springs from an imperative based in practice: Young people under 25 years have a literacy based on online hypertextual experiences which take the reader outside the frames of a dramatic narrative and beyond principles such as linearity, dramatic unity, teleology and resolution. As a dramaturg and educator I wanted to understand the new ways that young people engage in cultural products, to identify and utilize the new principles of dramaturgy that are now in evidence. My research examines how two playwright/directors approach their work and the new principles that can be identified in their dramaturgy. The fieldwork is scoped into two case studies: the first on TJ Eckleberg working in Australian Theatre for Young People and the second on Kristo Šagor working in German Children’s and Young People’s Theatre (KJT). These case studies address both types of production dramaturgy - the dramaturgy emergent through process in devised performance making, and that emergent in a performance based on a written playscript. On Case Study One the researcher, as participant observer, worked as production dramaturg on a large scale, site specific performance, observing the dramaturgy in process of its director and chief devisor. On Case Study Two the researcher, as observer and analyst, undertook a performance analysis of three playscripts and productions by a contemporary German playwright and director. Utilizing participant observation, reflective practice and grounded analysis the case studies have identified two new principles animating the dramaturgy of these TYP practitioners, namely ‘displacement’ and ‘installation.’ Taking practice into theory, the thesis concludes by demonstrating how displacement and installation contribute to Postdramatic Theatre’s “arsenal of expressive gestures which serve as theatre’s response to changed social communication under the conditions of generalized communication technologies” (Lehmann, H.-T., 2006, p.23). This research makes an original contribution to knowledge by evidencing that the principles of Postdramatic Theory lie within the practice of contemporary Theatre for Young People. It also contributes valuable research to a specialized, often overlooked terrain, namely Dramaturgy in Theatre for Young People, presented here with a contemporary, international and intercultural perspective.
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Books on the topic "Postdramatic theatre"

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Postdramatic theatre. Abingdon, [England]: Routledge, 2006.

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D'Cruz, Glenn. Teaching Postdramatic Theatre. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71685-5.

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Tuchmann, Kai, ed. Postdramatic Dramaturgies. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839459973.

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This book compiles lectures by the world's leading practitioners of postdramatic theatre from East Asia and the German-speaking world, which were given at Asia's only dramaturgy degree program at The Central Academy of Drama in Beijing 2018/19. It includes first-time English-language scripts of the discussed plays. The material is complemented by contextualizing essays by the program founder Li Yinan and its co-developer Kai Tuchmann. Hans-Thies Lehmann contributes the foreword to this volume. This rare compilation enables the reader to gain a unique insider's impression of postdramatic theatre's artistic thinking and working methods and informs about its manifold manifestations. With contributions from Hans-Werner Kroesinger, Lee Kyung-Sung, Li Yinan, Boris Nikitin, Kai Tuchmann, Wang Mengfan, Wen Hui, Zhao Chuan and Zhuang Jiayun.
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Gao Xingjian's post-exile plays: Transnationalism and postdramatic theatre. New York: Bloomsbury Methuen Drama, 2015.

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Vass, Freya. William Forsythe’s Postdramatic Dance Theater. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-26658-4.

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Kim, Hyŏng-gi. P'osŭt'ŭdŭrama yŏn'gŭk ŭi chigak pangsik kwa kwan'gaek ŭi yŏkhal: Suhaengjŏgin kŏt ŭi mihak ŭi sŏngkwa wa han'gye = The modus of perception and the role of the audience in the postdramatic theatre : focused on the aesthetics of the performative. Sŏul-si: P'urŭn Sasang, 2014.

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Laudahn, Christine. Zwischen Postdramatik und Dramatik: Roland Schimmelpfennigs Raumentwürfe. Tübingen: Narr, 2012.

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Postdramatik: Transformationen des epischen Theaters bei Peter Handke, Heiner Müller, Elfriede Jelinek und Rainald Goetz. Berlin: De Gruyter, 2015.

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Lehmann, Hans-Thies. Postdramatic Theatre. Routledge, 2006. http://dx.doi.org/10.4324/9780203088104.

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Lenmann, Hans-Thies. Postdramatic Theatre. Taylor & Francis Group, 2006.

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Book chapters on the topic "Postdramatic theatre"

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Szatkowski, Janek. "Postdramatic theatre." In A Theory of Dramaturgy, 222–47. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781351132114-8.

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Pavis, Patrice. "Postdramatic Theatre." In Performance Studies, 258–72. London: Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-46315-9_30.

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D’Cruz, Glenn. "Introduction: Pedagogy, Politics and the Personal." In Teaching Postdramatic Theatre, 1–15. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71685-5_1.

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D’Cruz, Glenn. "John Laws/Sade: Postmodern or Postdramatic?" In Teaching Postdramatic Theatre, 17–48. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71685-5_2.

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D’Cruz, Glenn. "From Drama to Theatre to Performance Studies." In Teaching Postdramatic Theatre, 49–72. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71685-5_3.

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D’Cruz, Glenn. "Ganesh Versus the Third Reich as Pedagogical Parable." In Teaching Postdramatic Theatre, 73–93. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71685-5_4.

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D’Cruz, Glenn. "Attempts on Her Life: A Postdramatic Learning Play?" In Teaching Postdramatic Theatre, 95–117. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71685-5_5.

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D’Cruz, Glenn. "Teaching History and (Gender) Politics: The Hamletmachine and the Princess Plays." In Teaching Postdramatic Theatre, 119–49. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71685-5_6.

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D’Cruz, Glenn. "Devising Postdramatic Theatre in the Academy." In Teaching Postdramatic Theatre, 151–79. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71685-5_7.

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D’Cruz, Glenn. "An Enemy of Postdramatic Theatre? Or, What I Think About When I Think About Teaching Postdramatic Theatre." In Teaching Postdramatic Theatre, 181–99. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71685-5_8.

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Conference papers on the topic "Postdramatic theatre"

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Ryöppy, Merja, Salu Ylirisku, Preben Friis, and Jacob Buur. "Postdramatic theatre in smart city design." In AcademicMindtrek'16: Academic Mindtrek Conference 2016. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2994310.2994361.

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