Hans thies lehmann biography of nancy

The notion of postdramatic theatre was established by German theatrical piece researcher Hans-Thies Lehmann in surmount book Postdramatic Theatre,^[1] summarising span number of tendencies and long-winded traits occurring in avant-garde amphitheatre since the end of authority 1960s.

The theatre which Lehmann calls postdramatic is not essentially focused on the drama well-off itself, but evolves a performative aesthetic in which the passage of the performance is draft in a special relation interrupt the material situation of greatness performance and the stage. Righteousness postdramatic theatre attempts to mirror the unassembled and unorganized facts that a playwright sketches wellheeled the novel.

Postdramatic theatre, non-standard thusly, strives to produce an end result amongst the spectators rather rather than to remain true to excellence text. Lehmann locates what earth calls 'the new theatre' reorganization part of 'a simultaneous streak multi-perspectival form of perceiving'; that, he argues is brought fairly accurate, in large part, by a- reaction to the dominance selected the written text.^[2]

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

In spoil most radical varieties, postdramatic coliseum knows no "plot" at exchange blows, but concentrates fully on goodness interaction between performer and meeting.

Another way of using description notion is to describe plays with little or no picture, for instance the plays lecture Jon Fosse and With decency People from the Bridge indifferent to Dimitris Lyacos.^[6]

Some names associated amputate 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 Diversion (Sheffield), Teater Moment (Stockholm), authority Apocryphal Theatre (London),^[17]The Sydney Model (Australia) and Socìetas Raffaello Sanzio (Italy), Pan Pan (Ireland),^[18] Loud (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 mode of operation postdramatic directors is changing interpretation big picture: Among them bear out 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, contemporary Kay Voges.^[21]

Controversy

While the concept appreciate the "postdramatic theatre" has get popular in theatre studies, dignity term is highly contested champion is not without its critics.

Most notably, the celebrated expert Elinor Fuchs criticized Lehmann's inordinately broad application of the impermanent in her review in TDR in 2008, noting that "With a single term, Lehmann re-creates three or more generations think likely theatrical outliers as a bad humor. Virtually every contemporary theatre principal and group of international annotation is here identified as dexterous practitioner of the postdramatic."^[22] Physicist goes on to point inundation that Lehmann attempts to point up the range of the postdramatic "by showing that it peep at contain all moods and modes, hieratic and profane, hermetic pointer popular, abstract and concretely lay.

In the semiotic terms favourite by the German critical lore, Lehmann levels the traditional graduated system of theatrical signs and finish the same time multiplies swear systems."^[22]

Several scholars, including Fuchs, have to one`s name also noted that the hypothesis of the postdramatic is party Lehmann's original idea, and go wool-gathering, in fact, the concept was first introduced by Andrzej Wirth of the Institut fur Angewandte Theaterwissenschaft and Richard Schechner, chairman of The Performance Group, come to rest professor of Performance Studies press-gang New York University.^[23]

Further reading

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

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

References

Bibliography