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Journal articles on the topic 'Postdramatic theatre'

Author: Grafiati

Published: 4 June 2021

Last updated: 22 June 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Defraeye, Piet. "Postdramatic Theatre (review)." Modern Drama 50, no. 4 (2007): 644–47. http://dx.doi.org/10.1353/mdr.0.0015.

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12

Lehmann, Hans-Thies. "“Postdramatic Theatre”, a Decade Later." Dramsko i postdramsko pozorište 2022, posebno izdanje (2022): 31–46. http://dx.doi.org/10.18485/fdu_zr.2022.dpdp.3.

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13

Staniškytė, Jurgita. "Between (in)Visible Influences and (Im)Pure Traditions: Hybrid Character of the Postdramatic in Lithuanian Theatre." Art History & Criticism 15, no. 1 (December 1, 2019): 97–102. http://dx.doi.org/10.2478/mik-2019-0007.

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Summary Lithuanian theatre has always been known for its visual metaphors and dramaturgy of directorial images, where the language of literary text is translated into visual metaphors created on stage by a director. Due to this quality, some critics have argued that Lithuanian theatre has been demonstrating postdramatic characteristics for a long time. However, one should note that visual metaphors of modern Lithuanian theatre have been based on and controlled by literary text and never quite established a more autonomous and self-contained visuality. Dramatic text remained the point of departure whether the director chose to illustrate or concretise it, to transform or deform it. However, in post-Soviet Lithuanian theatre, these relations have been gradually turning discontinuous, their intensity often varied within the framework of the same performance. Fragmentary cracks, when images, departed from the roles of commentators or illustrators of textual meanings, turned into flashes of independent visions that were seen by the critics as an obvious shift towards a radical image-centric position or, to use the term of Hans-Thies Lehmann, postdramatic theatre. However, the recent performance Lokis (2017, Lithuanian National Drama Theatre) by Polish theatre artist Lukasz Twarkowski, produced twenty years after the initial introduction of the term postdramatic into the Lithuanian context, has paradoxically started a storm of divisive opinions in the Lithuanian theatre milieu. It became the focal point of discussions about the intrinsic character of Lithuanian theatre, especially its embedded attitudes towards drama text and acting—notoriously challenging factors for many international collaborations. The article analyses the ongoing debates about the term postdramatic theatre and its interpretations in Lithuanian theatre criticism, taking the example of Lokis as a case study.

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Ryassov, Anatoly V. "Notes on postdramatic theatre’s death." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 1 (March 1, 2020): 18–33. http://dx.doi.org/10.18522/2415-8852-2020-1-18-33.

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For many years drama theatre has been accepted almost as a synonym for the theatre itself, but at the beginning of the 20th century scenic art became enmeshed in firmly embraced stereotypes. A number of stage directors and theatre theorists were engaged in discussion about the crisis in drama and began to develop new scenic forms. Towards the middle of the 60s European stage experienced some radical transformations and witnessed the uprising of postdramatic theatre. Perhaps now, fifty years later, when the revolution is over, it is time to talk about a new crisis and point out the unsettled matters, concerning complex issues of communication and interpretation, but also of the relationships with dramatic text. And there is another important question, which is often set aside: What does it all mean for drama as a literary form? Could it be that these events have redoubled the genre’s stagnation? Could the main reasons be found not on the theatrical stage, but in the literature space? Dramaturgy has not yet realized itself as an independent art of writing, such as poetry and prose. Perhaps, all conversations about the separate ways of theatre and drama are jumping ahead, because in fact this separation has not yet begun.

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15

Shevchenko, Arina R., Elena N. Shevchenko, and Aigul R. Salakhova. "Postdramatic Theatre of Director Christoph Marthaler." Journal of History Culture and Art Research 6, no. 5 (November 28, 2017): 173. http://dx.doi.org/10.7596/taksad.v6i5.1292.

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<p>The present paper deals with the main tendencies of modern European theatre represented in the creativity of a famous Swiss director Christoph Marthaler. Drama and theatre of the end of the 20<sup>th </sup>– the beginning of the 21<sup>st</sup> century were exposed to radical transformation. This change has been reflected in the theory of <em>postdramatic theatre</em>. A contemporary theatre is becoming more visual. Nowadays natural theatrical synthesis of various arts – visual, plastic, verbal, musical becomes an intersection of all kinds of artistic and medial practices as it has never been before. The new drama and theatre decline mimesis as the main principle of attitude to reality, they do not depict and do not reflect life, but strive to create a magic and/or ritual space of performative living and a special type of communication with audience. These peculiarities of modern theatre get a vivid evocation in the works of Christoph Marthaler. Having entered into theatre from music, the director creates his own unique language of art. The article proves that Marthaler’s works are an individual model of postdramatic theatre. The author concludes that its main distinctive feature is to blur the border between musical and dramatic performance. Marthaler does not stage the play – the images appear from musical phrases, fleeting impressions, observations and dramatic improvisations. The analysis enables to claim that the theatre in a real process of performance replaces the mimetic acting today. The applied principles of drama analysis can be used in studying of the other contemporary postdramatic theatre’s models. </p>

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Guini, Eleni. "TEATRO POSDRAMÁTICO EN TIEMPOS DE CRISIS: TRES EJEMPLOS DE TEATRO DOCUMENTO Y TEATRO DE CREACIÓN." Acotaciones. Revista de Investigación y Creación Teatral 1, no. 46 (June 29, 2021): 71–101. http://dx.doi.org/10.32621/acotaciones.2021.46.03.

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En el período que nos ocupa —desde 2010 hasta la actuali-dad— caracterizado como una época de crisis que todavía no ha aca-bado, debemos reflexionar sobre cómo se involucra el teatro en la crisis y actúa en paralelo, al emitir juicios, plantear preguntas y mantener un diálogo con la sociedad. El presente ensayo analiza tres creaciones tea-trales que presentan su trabajo en la escena griega y europea y que han obtenido un notable éxito. La elección del dúo de directores Azás -Tsini-coris, el grupo Station Athens de Marcopulu y el grupo Blitz, respondió a dos consideraciones: por un lado, su temática, que expone puntos co-munes como la emigración, la xenofobia, la violencia y la melancolía pro-vocada por la resistencia a un mundo cruel, y, por otro lado, sus textos, que proceden de la ficción y el documental, y que son fruto de la labor común de todo el grupo. La intertextualidad, la alegoría y el realismo del formato como documento, componen representaciones vertebradas, road movies sin desplazamiento, relatos tragicómicos de la violencia de los siglos XX y XXI, versiones de canciones con guiños bien reconocibles a la coyuntura de crisis actual. Actores amateurs y profesionales, inmi-grantes, ciudadanos de la calle, directores que cuentan con la tecnología como coprotagonista, transforman experiencias e ideas en un fecundo género metateatral.

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Serdechnaia, Vera V. "Post-dramatically: Russian theatre and its borders." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 1 (March 1, 2020): 50–59. http://dx.doi.org/10.18522/2415-8852-2020-1-50-59.

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The article is devoted to the interpretation of the concept of postdramatic theatre as applied to the stage practice of modern Russian theatre. Despite the controversial theoretical status of the concept of postdramatic theatre, it is a convenient generalizing term to mark the directions towards expansion of theatrical boundaries that has taken place in recent decades in Russian and world theatre. The article gives various examples from modern Russian theatre practice, and explores such trends as the theatre going beyond the stage and the theatre building, the mediation of theatricality by means of modern communications, the refusal of linear text reproduction, and the documentary theatre. The modern Russian theatre breaks down ‘the fourth wall’, enriches itself with performance and engages in social work; it revises its goals, moving from purely aesthetic to research tasks, turning it from a cathedra into a full-fledged means of communication.

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Aragay, Mireia, and Clara Escoda. "Postdramatism, Ethics, and the Role of Light in Martin Crimp's Fewer Emergencies (2005)." New Theatre Quarterly 28, no. 2 (May 2012): 133–42. http://dx.doi.org/10.1017/s0266464x12000231.

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In this article Mireia Aragay and Clara Escoda examine James Macdonald's Royal Court Theatre production of Martin Crimp's triptych Fewer Emergencies (2005) in the wake of recent critical assessments of Crimp's work in relation to Hans-Thies Lehmann's postdramatic paradigm. By focusing on light design, the authors suggest that Macdonald's staging of the play productively enhanced the tension inherent in Crimp's text between dramatic and postdramatic elements. Light was conceived in postdramatic terms as a major component of the mise-en-scène, synaesthetically interacting with the linguistic material in a way that necessitated the spectators’ active processing of all onstage signs and, ultimately, their critical examination of their own ethical and political positioning with respect to the late-capitalist social and cultural order. Mireia Aragay is a Senior Lecturer in English drama and theatre at the University of Barcelona. She is co-editor of British Theatre of the 1990s: Interviews with Directors, Playwrights, Critics, and Academics (Palgrave Macmillan, 2007). Clara Escoda has recently completed a PhD thesis on Martin Crimp's theatre at the University of Barcelona, where she lectures in English literature.

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Gudavičiūtė, Aušra. "Dimensions of Poetic Expression in Drama and Theatre." Colloquia 36 (June 27, 2016): 93–116. http://dx.doi.org/10.51554/col.2016.28919.

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The author of this article has two goals: a theoretical one – to use the concepts of “poetic drama” and “poetic theatre,” which date from the first half of the twentieth century, to explore the concept of “poetics in theatre,” and a practical one – to discuss poetic forms of expression in contemporary theatre. The author reveals that the concepts of “poetic drama” and “poetic theatre” still lack strict genre definitions, so that poetic means of expression in drama and theatre can only be named. She discusses means of poetic expression within several examples of contemporary Lithuanian theatre – the plays “Audra” (The Tempest, by William Shakespeare; staged in 1997); “Jobo knyga” (The Book of Job, from the Old Testament; staged in 2014); Nutolę toliai (Distant Distances, based on the poetry of Petras Širvys; staged in 2010); and the performance “Gondii sindromas” (The Gondii Syndrome, by Gabrielė Labanauskaitė; 2014) – and comes to the conclusion that poeticism is expressed both through the reinforcement of early twentieth century principles about the use of poeticism in drama and their deconstruction, and in the highlighting of characteristics typical of postdramatic theatre – the shifting of emphasis from meaning generated by spoken discourse to sensuality, spatialisation, “textual landscape,” dedramatizing, and so on. Even though postdramatic theatre deconstructs traditional means of expressing poeticism – the generating of a poetic verbal text through drama – the author discerns, in postdramatic theatre, continuation of neoromantic Lithuanian drama traditions.

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20

BLEEKER, MAAIKE. "Look who's Looking!: Perspective and the Paradox of Postdramatic Subjectivity." Theatre Research International 29, no. 1 (March 2004): 29–41. http://dx.doi.org/10.1017/s0307883303001238.

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In his Postdramatisches Theater Lehmann compares the effect of the dramatic theatre to that of perspective in painting. Both are structured according to an aesthetic logic that can be characterized as teleological. On the contemporary post-dramatic stage, this logic is deconstructed or rejected. In my text, I take a closer look at this comparison of drama and perspective in Lehmann's text. I confront Lehmann's account of the postdramatic theatre with the work of Dutch theatre director Gerardjan Rijnders. Rijndesr's work draws attention to the inevitably of the subjectivity involved in every vision of the world, even when this world seems to be shown ‘as it is’ in itself. As I will argue, it is precisely the relationship between what is seen and the subjective point of view from where it is seen that is obscured in Lehmann's account of the similarities between drama and perspective.

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21

Nagy, Imola. "The Transylvanian Postdramatic Theatre of Radu Afrim." Theatron 17, no. 4 (2023): 110–16. http://dx.doi.org/10.55502/the.2023.4.110.

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One of the leading figures of contemporary Romanian theatre, director Radu Afrim, has been working with Hungarian companies for more than a decade, producing more than a dozen performances, which has its own significance under the circumstances that in his director’s theatre, the text is never taken for granted, be it a pre-existing and pre-chosen dramatic text or the product of a collective effort. Nevertheless, due to his peculiar, non-hierarchical handling of all the theatrical devices, where equally intensive attention is accorded to each one of them, his productions always fall under the category of postdramatic theatre. We are dealing here with two aspects of contemporary Eastern European theatre: the blurring lines between director’s theatre and collective production and the multiethnic character of it. As an aesthetic experience, his performances may be best described using Gilles Deleuze’s terms of aspects and perceptions.

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SUGIERA, MAŁGORZATA. "Beyond Drama: Writing for Postdramatic Theatre." Theatre Research International 29, no. 1 (March 2004): 6–28. http://dx.doi.org/10.1017/s0307883303001226.

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The article begins with a short description of the current situation in Polish theatre where the traditional understanding of a dramatic text has made the reception of formally innovative European playwriting difficult. On the basis of recent German plays by Rainald Goetz, Dea Loher and Roland Schimmelpfennig, which have been translated into Polish and published but have not yet received significant productions, the article tries to answer two important questions. Firstly, how the postdramatic texts written for avant-garde, feminist and postcolonial theatre during last three decades have influenced plays written for and put on the mainstream stages in the 1990s. Secondly, in what ways the new texts, which in many respects go far beyond the borders of traditional drama, have changed the existing definitions of theatrical mimesis and theories of drama

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Tasić, Ana. "Live Video Relay in Postdramatic Theatre." Dramsko i postdramsko pozorište 2022, posebno izdanje (2022): 119–28. http://dx.doi.org/10.18485/fdu_zr.2022.dpdp.10.

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Barnett, David. "When is a Play not a Drama? Two Examples of Postdramatic Theatre Texts." New Theatre Quarterly 24, no. 1 (January 30, 2008): 14–23. http://dx.doi.org/10.1017/s0266464x0800002x.

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In this article David Barnett investigates the ways in which plays can be considered ‘postdramatic’. Opening with an exploration of this new paradigm, he then seeks to examine two plays, Attempts on her Life by Martin Crimp and 4:48 Psychosis by Sarah Kane, in a bid to understand how their texts frustrate representation and the structuring of time, and concludes by considering how the restrictions imposed upon the postdramatic performance differ from the interpretive freedom of text in representational, dramatic theatre. David Barnett is senior lecturer and Head of Drama at the University of Sussex. He has published monographs on Heiner Müller (1998) and Rainer Werner Fassbinder (2005), the latter as Research Fellow of the Humboldt Foundation, Germany. He has also published articles on contemporary German, English-language, political, and postdramatic theatre.

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İzmir, Sibel. "Transformative Potential and Utopian Performative: Postdramatic Hamlet in Turkey." Multicultural Shakespeare: Translation, Appropriation and Performance 26, no. 41 (December 30, 2022): 71–85. http://dx.doi.org/10.18778/2083-8530.26.05.

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Turkey is among those Non-Anglophone countries which have had a keen interest in Shakespeare and his plays for over two hundred years. When it comes to the staging of Shakespeare in Turkey, especially when protagonists or leading roles are considered, “overacting” is one of the most notable techniques highlighting, presumably, the spirit of the Renaissance and Jacobean times. Still, in recent years, there have been some productions which try to challenge and deconstruct the traditional ways of staging a Shakespearean play. One of such productions is Hamlet of Istanbul State Theatre, directed by Işıl Kasapoğlu in 2014, in which the director makes use of postdramatic theatre techniques. As the play begins, the audience sees a huge red jewel box which has been placed onto the centre of the stage. Soon after it is opened, it becomes clear that the character coming out of the box is playing and enacting not only the role of Hamlet but also many other roles in the play. Disrupting the habitual Shakespearean staging which heavily relies on mimesis in a closed “fictive cosmos” (Lehmann 22), the production, more strikingly, allows for an innovative Shakespearean acting as an innovative Shakespearean acting possible as the actor acts out all the major roles, such as Hamlet, Claudius, Gertrude, Ophelia, Polonius, etc., in such various ways as holding dummies in his hands and enacting their roles in monologues and dialogues. Fusing Hans-Thies Lehmann’s theory of postdramatic theatre with Jill Dolan’s argumentation on utopian performative, this study will investigate how postdramatic theatre techniques challenge the traditional Shakespearean performance and contends that postdramatic theatre techniques used in Kasapoğlu’s Hamlet contribute to the utopian performative and the possibility of creating a utopian impulse in the audience. The paper thus will claim that postdramatic performance of Hamlet renders a utopian performative possible by presenting a transformative potential in the audience members which engages in our present moment.

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Cîntec, Oltița. "Refreshing Remodelling of the Classics." Studia Universitatis Babeş-Bolyai Dramatica 68, no. 2 (November 30, 2023): 97–108. http://dx.doi.org/10.24193/subbdrama.2023.2.05.

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"This paper deals with several reinterpretations and rewritings of classic texts by two directors, Susanne Kennedy and Silviu Purcărete. The theoretical framework is represented by Hans-Thies Lehmann’s idea of postdramatic theatre, but also by the reflection on how technological media change the way we look at classical texts. If Susanne Kennedy is passionate about Internet dramaturgy and technical devices, Silviu Purcărete, a director inspired by a visuality of pictorial origin, resorts to a more metaphorical-symbolic way of deconstructing the dramatic texts. Keywords: Susanne Kennedy, Silviu Purcărete, postdramatic theatre, technological devices, rewritings, scenical interpretations."

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Mallon, Clara. "(Post)Dramatic Strategies: Performing Difference in Pat Kinevane’s Solo Theatre." Irish University Review 51, no. 2 (November 2021): 329–42. http://dx.doi.org/10.3366/iur.2021.0522.

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Pat Kinevane's solo performances focus on identities constituted on the margins of contemporary Irish society. Fusing the comic with the tragic, improvisation with carefully planned execution, and entertainment with serious cultural critique, these performative works range freely through diverse theatrical styles to represent Irish characters marginalized by their communities. Utilizing Hans-Thies Lehmann's ideas in Postdramatic Theatre (2006), this essay demonstrates how Kinevane's theatre inscribes but also contests some of the modalities of postdramatic discourse, creating a platform through which hegemonic political frameworks are challenged and identities are presented outside the established social norm. Through a performative analysis of the constructional, formal, and stylistic techniques, I argue that Kinevane's combined use of dramatic and postdramatic strategies can be seen as an essential part of his attempts to create consciousness raising and promote critical thinking among audiences.

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BARNETT, DAVID. "Reading and Performing Uncertainty: Michael Frayn's Copenhagen and the Postdramatic Theatre." Theatre Research International 30, no. 2 (July 2005): 139–49. http://dx.doi.org/10.1017/s0307883305001148.

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Michael Frayn's play about quantum mechanics, memory and history, Copenhagen, has taken a lot of criticism for ‘misrepresenting’ its historical characters, primarily Werner Heisenberg. This essay analyses the dramaturgy of the play and argues for a postdramatic reading in which questions of representation are dissolved by formal strategies that ally themselves with the thematics of the work. The text is viewed as a hybrid, somewhere between the dramatic and the postdramatic, set, as it is, in a fictional afterlife where conventional human categories no longer function. The postdramatic theatre, in refusing to interpret text, becomes a viable mode for performance in that the indeterminacy of meaning on stage equates with the uncertainty principle that lies at the scientific and moral heart of Copenhagen.

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Berger, Cara. "‘Feminism in Postdramatic Theatre: An Oblique Approach’." Contemporary Theatre Review 29, no. 4 (October 2, 2019): 423–38. http://dx.doi.org/10.1080/10486801.2019.1657106.

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Badea, Gelu. "Stage Direction in Romania. The Postdramatic Perspective." Theatrical Colloquia 7, no. 2 (December 1, 2017): 231–38. http://dx.doi.org/10.1515/tco-2017-0021.

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Abstract The last fifty years of theatre have put us closer to one of the most spectacular facts of this art: every generation of theatre makers managed – we do not know if programmatically – to build its own repertoire based on its own reality. In other words, every new wave of stage directors claimed that the dramatic authors define a new formula for the stage text and the reverse. This new reality also acted on a revisiting of the classical text or of the modern text deemed classical.

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Hovik, Lise, and Elena Pérez. "Baby Becomings." Nordic Theatre Studies 32, no. 1 (May 31, 2020): 99–120. http://dx.doi.org/10.7146/nts.v32i1.120410.

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The article proposes new concepts of dramaturgical thinking for baby theatre productions. With an arts-based research approach, allowing insiderperspectives of the artmaking process to come forth, the authors, who are the director and dramaturge of the performance Baby Becomings by Teater Fot, discuss different concepts of postdramatic dramaturgical aspects in relation to the work. By adapting Donna Haraway’s theories of sympoiesis and science art worldings as a theoretical framework, the article explores how Haraway’s philosophy serves both as artistic inspiration and provides new concepts for dramaturgical reflection. The authors ask how posthumanist and sympoietic perspectives connect to postdramatic dramaturgy and wish to propose a posthumanist dramaturgy of sympoietic worlding in theatre for babies.

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Kricsfalusi, Beatrix. "Hogyan (nem) politikus az alkalmazott színház?" Theatron 15, no. 1 (2021): 19–31. http://dx.doi.org/10.55502/the.2021.1.19.

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The academic discourse on the political aspects of contemporary theatre has largely taken place within the theoretical framework of postdramatic theatre. Summarizing the essential elements of this concept, my paper argues for Hans-Thies Lehmann’s remarks on the detachment from the dramatic text (defined by action and conflict).

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Bauer, Una. "Postdramatic Tragedy and Fear." Narodna umjetnost 57, no. 1 (June 19, 2020): 217–34. http://dx.doi.org/10.15176/vol57no110.

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This article engages with conceptual constellations which allow a contemporary postdramatic theatre production, specifically Socìetas Raffaello Sanzio’s theatrical series Tragedia Endogonidia (2002 – 2004) to be regarded as a tragedy or a series of tragedies. Particular emphasis is given to the role of fear in understanding Tragedia Endogonidia as a tragedy. My claim is that Tragedia Endogonidia contributed to the modification of contemporary understanding of tragedy to, at the same time, a more abstract and a more explicitly material one, where the anchoring of the tragic into a concrete human destiny and the resolution of a plot is replaced by “plotting of the sensorial” or “plotting of the image”, driven by anticipation directly related to an unspecified feeling of discomfort and fear.

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Trencsényi, Katalin. "Storytellers: The Factory’s Dramaturgy." TDR/The Drama Review 60, no. 3 (September 2016): 39–63. http://dx.doi.org/10.1162/dram_a_00570.

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The London-based Factory theatre company is renowned for its experiments with an improvisational approach to classics, chance dramaturgy, and a playful relationship between performers and audience. The dramaturgies of three Factory productions, Hamlet (2007), The Seagull (2009), and The Odyssey after Homer (2012), create porous structures that allow classics to be rendered within postdramatic theatre.

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Desperat, Klaudyna. "Postać sceniczna w teatrze narracyjnym. „Lipiec” Iwana Wyrypajewa, „Biesiada u Hrabiny Kotłubaj” Ireny Jun." Załącznik Kulturoznawczy, no. 1 (2014): 127–57. http://dx.doi.org/10.21697/zk.2014.1.07.

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The article is devoted to the narrative theatre. Performances that represent this trend bring in to the scene, in various ways, the character of the narrator. In this draft, the theatre character has been subjected to a detailed analysis, since the character itself determines the specificity of this kind of perfomances. Ivan Vyrypayevʼs July and Irena Jun’s Dinner at Countess Pavahoke’s (Biesiada u hrabiny Kotłubaj) served as research material. The author of the article, starting from H. Lehmann’s book on Postdramatic Theatre, compares among others the narrative theatre with the Brecht’s epic theatre.

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WILMER, S. E. "Renaming and Performative Reconstructions: The Uncanny Multiplication of Janez Janša." Theatre Research International 36, no. 1 (December 21, 2010): 47–63. http://dx.doi.org/10.1017/s0307883310000714.

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This article considers the uncanny action by three Slovenian artists in 2007 to rename themselves Janez Janša, the name of the right-wing prime minister of Slovenia. It assesses specific performances by the artists, including the Slovene National Theatre, a postdramatic verbatim piece about a Roma family evicted from their homes by Janša's government in response to the mob action of Slovenian villagers. It also interrogates their performance event for the Transmediale Festival at the Holocaust Memorial in Berlin in 2008, first banned and then reinstated by the festival organizers, where they created a virtual signature of their new name on the memorial. Theoretically, the importance of naming and renaming as practised by the artists is examined in relation to concepts of subversive affirmation, the author-function in society and postdramatic theatre.

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Deres, Kornélia. "Emerging postdramatic aesthetics and Shakespeare in Hungarian theatre." Theatralia, Special Issue (2021): 105–19. http://dx.doi.org/10.5817/ty2021-s-7.

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Chin-A Lee. "The position of the audience in postdramatic theatre." Journal of korean theatre studies association ll, no. 42 (December 2010): 193–225. http://dx.doi.org/10.18396/ktsa.2010..42.006.

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Lachko, Olga. "UKRAINIAN MODEL OF POSTDRAMATIC THEATRE: CONTEXT AND PRAXIS." European philosophical and historical discourse 8, no. 2 (2022): 48–52. http://dx.doi.org/10.46340/ephd.2022.8.2.7.

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Schultz, Laura Luise. "Karakterens opløsning i diskursen: fra Gertrude Stein til René Pollesch." Peripeti 4, no. 8 (June 8, 2021): 13–28. http://dx.doi.org/10.7146/peri.v4i8.110154.

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In her reflections on the status of the subject in the postdramatic theatre, Laura Luise Schultz aims to show how the experimental writing of Gertrude Stein can be traced to the practice of contemporary playwrights such as René Pollesch.

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Roesner, David. "From the Spirit of Music." TDR: The Drama Review 67, no. 2 (June 2023): 105–23. http://dx.doi.org/10.1017/s1054204323000084.

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Theatre music has been a key driver of theatrical invention, innovation, and style since 2010 in German theatre and arguably for some years before that. This is evidenced in creative partnerships between individual directors and composers (and sometimes bands), in a strong presence of music in the rehearsal rooms, in musical forms of postdramatic writing, and in forms of acting styles and performance aesthetics where music plays a formative role.

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Meerzon, Yana. "Decolonizing Curriculum: Teaching the Twenty-First-Century Dramatic Canon." Modern Drama 66, no. 2 (June 1, 2023): 256–76. http://dx.doi.org/10.3138/md-66-2-1280.

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I have been teaching undergraduate and graduate courses in play-analysis, developmental dramaturgy, adaptation and new play creation for almost two decades. Trained within structural and semiotic approaches to text and performance analysis with emergence of what David Barnett calls “postdramatic theatre texts” (2008:14) and recent calls for decolonizing curriculum, I found myself at a philosophical and theoretical crossroads. This article summarizes my teaching practice and philosophy as inflected through decolonial methods. It argues for our need to teach students to simultaneously position every dramatic text within the critical lens of structural play-analysis and their historical/cultural contextualization or dramaturgical concretization (Vodička 1975). The twenty-first century dramatic texts I teach are often located within the postdramatic European theatre and performance canon (Lehmann 2006), as well as within postcolonial and Indigenous traditions of storytelling. The three plays I chose as my case studies— Arabian Night (2003) by German playwright Roland Schimmelpfennig, Bintou (2002) by Koffi Kwahulé, a Côte d’Ivoire writer living in France, and Burning Vision (2003) by Marie Clements, a Canadian Metis theatre artist—constitute the core of my syllabus for a graduate course in dramaturgy.

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Jürs-Munby, Karen. "The Resistant Text in Postdramatic Theatre: Performing Elfriede Jelinek'sSprachflächen." Performance Research 14, no. 1 (March 2009): 46–56. http://dx.doi.org/10.1080/13528160903113197.

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44

Tišheizere, Edīte. "Kultūru mijiedarbe kā impulss laikmetīgā teātra attīstībai. Klaipēdas Universitātes aktierkurss Liepājas teātrī." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/1 (March 1, 2021): 275–87. http://dx.doi.org/10.37384/aplkp.2021.26-1.275.

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The young actors of Liepāja theatre who graduated from Klaipeda University can serve as an excellent sample of successful interaction between cultures, traditions, and schools. Having acquired acting skills both in traditions of Lithuanian theatre and in the paradigm of so-called ‘fantastic realism’ by Evgeny Vakhtangov developed in the Boris Shchukin Theatre Institute, proposed by their pedagogues Vytautas and Velta Anužis, they can perform as actors of psychological theatre as well as postdramatic theatre performers. Evidence of this is the international success of their work in Konstantin Bogomolov’s post-dramatic chronotopic experiments “Stavanger (Pulp People)” and “My Blaster is Discharged”, and Sergey Zemlyansky’s non-verbal searches for psychological plasticity in Rainis’s tragedy “Indulis and Ārija”, and Nikolay Gogol’s comedy “The Wedding”.

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45

Matthews, Luke. "Heiner Goebbels's Stifters Dinge and the Arendtian Public Sphere." Performance Philosophy 5, no. 1 (November 30, 2019): 109–27. http://dx.doi.org/10.21476/pp.2019.51271.

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Heiner Goebbels’s works are examples of “postdramatic” theatre works that engage with the political by seeking to challenge socially ingrained habits of perception rather than by presenting traditional, literary-based theatre of political didacticism or agitation. Goebbels claims to work toward a “non-hierarchical” theatre in the contexts of his arrangement of the various theatrical elements, in fostering collaborative working processes between the artists involved, and in the creation of audience-artist relationships. In offering a reading of Goebbels’s “no-man show” Stifters Dinge, this paper seeks to situate Goebbels’s practice within a theoretical tradition that also encompasses Hannah Arendt’s deployment of the theatre as a metaphor for the public sphere. Within this analysis, I suggest, theatre can be seen to offer the possibility of a participatory democracy through its attention to disappearance and absence.

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Krpič, Tomažz. "On the Researcher’s/Reviewer’s Bodily Presence in Theatre." New Theatre Quarterly 35, no. 03 (July 18, 2019): 238–50. http://dx.doi.org/10.1017/s0266464x19000241.

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In this article Tomaž Krpič discusses two specific types of creative theatregoer: the theatre researcher and the theatre reviewer (researcher/reviewer). He stresses the influence of the theatre researcher’s/reviewer’s bodily presence in the theatre on the results of their professional work: the scholarly article and the review. Becoming a researcher or a reviewer involves going through a long complex process of personal embodiment to gain the skills associated with the learning, participative, and writing body to achieve and to maintain specific theatre bodily habitus, the physical and cultural capital necessary for fulfilling the roles of the researcher/reviewer. Tomaž Krpič is a sociologist of the body in performance studies, particularly in the spectator’s body in postdramatic theatre. He has published widely on various social, political, and cultural aspects of theatre and art performance. He is a member of the Faculty of Social Sciences, Ljubljana University.

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Wilcox, Dean. "Teaching Postdramatic Theatre: Anxieties, Aporias and Disclosures by Glenn D'Cruz." Theatre Topics 30, no. 3 (2020): 219–20. http://dx.doi.org/10.1353/tt.2020.0042.

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Roberts, Matthew. "Vanishing Acts: Sarah Kane’s Texts for Performance and Postdramatic Theatre." Modern Drama 58, no. 1 (March 2015): 94–111. http://dx.doi.org/10.3138/md.0596r.94.

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Roesner, David. "Dramaturgy of sound in the avant-garde and postdramatic theatre." Studies in Theatre and Performance 34, no. 2 (May 4, 2014): 186–87. http://dx.doi.org/10.1080/14682761.2014.906953.

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Epner, Luule. "What Do Actors Do in Contemporary Theatre." Nordic Theatre Studies 26, no. 1 (May 1, 2014): 20–30. http://dx.doi.org/10.7146/nts.v26i1.109731.

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The article addresses the issue of strategies of acting in contemporary (largely postdramatic)theatre. In thefirst part of thearticle, theacting isconceptualized asplaying, with referencetorelevant theories, particularly that of Thomas Pavel. The article puts forward the argumentthat the play world created in a theatre performance can be described by the continuousfictional ? real spectrum that accommodates a number of strategies of acting. Within thecontinuum, there exists an ongoing tension between the fictional and the real; theirrelationship is largely variable depending on the strategies of acting at work in a particularperformance. In the second part of the article, these strategies are divided into three groups:?being someone else?, ?being oneself ?and performing actions ? and are then analyzed on thebasisof examplesthat aredrawn primarily fromEstonian contemporary theatre.

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