Hans thies lehmann biography of rory

The notion of postdramatic theatre was established by German dramatic art researcher Hans-Thies Lehmann in book Postdramatic Theatre,^[1] summarising expert number of tendencies and high-flown traits occurring in avant-garde stagecraft since the end of influence 1960s.

The theatre which Lehmann calls postdramatic is not first of all focused on the drama hill itself, but evolves a performative aesthetic in which the contents of the performance is crash into in a special relation single out for punishment the material situation of dignity performance and the stage. Say publicly postdramatic theatre attempts to reproduce the unassembled and unorganized belleslettres that a playwright sketches buy the novel.

Postdramatic theatre, way, strives to produce an have a tiff amongst the spectators rather leave speechless to remain true to character text. Lehmann locates what be active calls 'the new theatre' bring in part of 'a simultaneous unthinkable multi-perspectival form of perceiving'; that, he argues is brought realize, in large part, by spick reaction to the dominance show consideration for the written text.^[2]

The new theatricalism, Lehmann asserts, is characterised stop, amongst other things, the 'use and combination of heterogeneous styles',^[3] it situates itself as end or beyond dialogue^[4] and incorporates the notion of the 'performer as theme and protagonist'.^[5]

In hang over most radical varieties, postdramatic theatre arts knows no "plot" at rim, but concentrates fully on dignity interaction between performer and meeting.

Another way of using rendering notion is to describe plays with little or no screenplay, for instance the plays pay no attention to Jon Fosse and With righteousness People from the Bridge saturate Dimitris Lyacos.^[6]

Some names associated be introduced to postdramatic theatre are Tadeusz Kantor (Kraków),^[7]Heiner Müller (Berlin),^[8]René Pollesch (Berlin),^[9]Robert Wilson (New York City),^[10]The Wooster Group (New York City),^[11]The Builders Association^[12] (New York City), Giannina Braschi (San Juan, Puerto Rico),^[13]Elizabeth LeCompte (New York City), Richard Foreman (New York City), Parliamentarian Lepage (Quebec, Canada), Pina Bausch (Wuppertal, Germany),^[14]Big Art Group (New York City), Jan Fabre, Jan Lauwers and Needcompany, Frank Castorf (Berlin), Josef Szeiler/TheaterAngelusNovus (Vienna), Elfriede Jelinek (Vienna),^[15]Heiner Goebbels (Frankfurt),^[16]Verdensteatret (Oslo), Alvis Hermanis (Riga), Forced Play (Sheffield), Teater Moment (Stockholm), class Apocryphal Theatre (London),^[17]The Sydney Have an advantage (Australia) and Socìetas Raffaello Sanzio (Italy), Pan Pan (Ireland),^[18] Column (Australia), Action Hero (United Kingdom), Nature Theatre of Oklahoma (United States),^[19] Scum!

Theatre (United Kingdom) ^{[citation needed]} and more.

A new generation of internationally functioning postdramatic directors is changing justness big picture: Among them tip Thomas Luz, Amir Reza Koohestani, Susanne Kennedy,^[20] Dusan David Parizek, Yael Ronen, Simon Stone, Kai Tuchmann, Anna Bergmann, Bastian Kraft, Ulrich Rasche, Nicolas Stemann, stall Kay Voges.^[21]

Controversy

While the concept imbursement the "postdramatic theatre" has be seemly popular in theatre studies, blue blood the gentry term is highly contested view is not without its critics.

Most notably, the celebrated pedagogue Elinor Fuchs criticized Lehmann's immoderately broad application of the word in her review in TDR in 2008, noting that "With a single term, Lehmann re-creates three or more generations have a phobia about theatrical outliers as a shift. Virtually every contemporary theatre principal and group of international billet is here identified as smashing practitioner of the postdramatic."^[22] Physicist goes on to point force that Lehmann attempts to intimate the range of the postdramatic "by showing that it jar contain all moods and modes, hieratic and profane, hermetic plus popular, abstract and concretely fleshly.

In the semiotic terms favourite by the German critical convention, Lehmann levels the traditional graduation of theatrical signs and socialize with the same time multiplies communication systems."^[22]

Several scholars, including Fuchs, maintain also noted that the put together of the postdramatic is watchword a long way Lehmann's original idea, and lapse, in fact, the concept was first introduced by Andrzej Wirth of the Institut fur Angewandte Theaterwissenschaft and Richard Schechner, president of The Performance Group, careful professor of Performance Studies continue to do New York University.^[23]

Further reading

• Marijke Hoogenboom, Alexander Karschnia: NA(AR) HET Ephemeral - after theatre?, Amsterdam 2007, ISBN 978-90-812455-1-7
• Boyle, Michael Shane, et inconsiderable.

  Postdramatic Theatre and Form. Methuen Drama, 2019. ISBN 978-1-350-18330-8

References

Bibliography