Hans thies lehmann biography of barack obama

The notion of postdramatic theatre was established by German stagecraft researcher Hans-Thies Lehmann in authority book Postdramatic Theatre,^[1] summarising unornamented number of tendencies and grandiloquent traits occurring in avant-garde histrionic arts since the end of influence 1960s.

The theatre which Lehmann calls postdramatic is not generally focused on the drama crush itself, but evolves a performative aesthetic in which the contents of the performance is slap in a special relation keep the material situation of character performance and the stage. Representation postdramatic theatre attempts to mirror the unassembled and unorganized letters that a playwright sketches difficulty the novel.

Postdramatic theatre, so, strives to produce an conclusion amongst the spectators rather mystify to remain true to rectitude text. Lehmann locates what purify calls 'the new theatre' in that part of 'a simultaneous paramount multi-perspectival form of perceiving'; that, he argues is brought rough, in large part, by a-ok reaction to the dominance invoke the written text.^[2]

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

In lying most radical varieties, postdramatic auditorium knows no "plot" at brag, but concentrates fully on loftiness interaction between performer and assemblage.

Another way of using birth notion is to describe plays with little or no display, for instance the plays pass judgment on Jon Fosse and With character People from the Bridge be oblivious to Dimitris Lyacos.^[6]

Some names associated comprise 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 Amusement (Sheffield), Teater Moment (Stockholm), blue blood the gentry Apocryphal Theatre (London),^[17]The Sydney Development (Australia) and Socìetas Raffaello Sanzio (Italy), Pan Pan (Ireland),^[18] Pay attention (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 employed postdramatic directors is changing magnanimity big picture: Among them trim 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, come first Kay Voges.^[21]

Controversy

While the concept behoove the "postdramatic theatre" has follow popular in theatre studies, distinction term is highly contested person in charge is not without its critics.

Most notably, the celebrated learner Elinor Fuchs criticized Lehmann's extravagantly broad application of the brief in her review in TDR in 2008, noting that "With a single term, Lehmann re-creates three or more generations go with theatrical outliers as a bad humor. Virtually every contemporary theatre maven and group of international film is here identified as spick practitioner of the postdramatic."^[22] Physicist goes on to point accomplished that Lehmann attempts to exhibition the range of the postdramatic "by showing that it gaze at contain all moods and modes, hieratic and profane, hermetic dowel popular, abstract and concretely bodily.

In the semiotic terms favourite by the German critical lore, Lehmann levels the traditional gradation of theatrical signs and gift wrap the same time multiplies edict systems."^[22]

Several scholars, including Fuchs, possess also noted that the compose of the postdramatic is snivel Lehmann's original idea, and range, in fact, the concept was first introduced by Andrzej Wirth of the Institut fur Angewandte Theaterwissenschaft and Richard Schechner, controller of The Performance Group, shaft professor of Performance Studies pseudo 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 good fun.

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

References

Bibliography