HANS THIES LEHMANN POSTDRAMATIC THEATRE PDF

The notion of postdramatic theatre was established by German theatre researcher Hans-Thies Lehmann in his book Postdramatic Theatre , [1] summarising a number of tendencies and stylistic traits occurring in avant-garde theatre since the end of the s. The theatre which Lehmann calls postdramatic is not primarily focused on the drama in itself, but evolves a performative aesthetic in which the text of the performance is put in a special relation to the material situation of the performance and the stage. The post dramatic theatre attempts to mimic the unassembled and unorganized literature that a playwright sketches in the novel. Thus postdramatic theatre is more striving to produce an effect amongst the spectators than to remain true to the text. Lehmann locates what he calls 'the new theatre' as part of 'a simultaneous and multi-perspectival form of perceiving'; this, he argues is brought about, in large part, by a reaction to the dominance of the written text.

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Hans-Thies Lehmann, a renowned theater scholar currently teaching at the University of Kent, UK, is the author of Postdramatic Theatre , a groundbreaking study of posts forms and aesthetics. The resonance of my book Postdramatic Theatre surprised me. I am glad to have contributed a little to opening new ideas in theater in such different theater cultures as those of Brazil, Japan, or Russia. Ideas, concepts, and terms, however, often quickly take on a life of their own.

I wish today, therefore, to point to some aspects of the term postdramatic that should not be neglected. I think that this wider theoretical and historical dimension of the concept received too little attention; instead people focused on questions of whether there should be a post-postdramatic or a neodramatic or whether one should not speak overall only of performance and so forth.

The book was an attempt to theorize the political in theater in the time of the so-called postmodern more from the perspective of its forms of language and the self-reflection of its praxis and less as an illustration of directly political themes.

While theater is not politics, postdramatic theater entertains necessarily a relation to the political. To say it with an oft-quoted formula: it is not about doing political theater but about doing theater politically. Therefore I welcome collaboration between the discourse on theater today and that of philosophical and political theory, a collaboration that can enhance the understanding of theater abandoning a purely aesthetic silo and that is able to perceive without prejudice art and theater in pedagogical, social, political forms of praxis.

Because the book treats the new means, or treats in a partly new way the means used by theater praxis, and discusses the text only marginally, the postdramatic was misunderstood as a rejection of the theater of the text overall. This concept includes now, for example, dance theater, or performance; installation works, or a walk through a city; theater presents itself as close to a rehearsal, as an exhibition, or as a public debate.

Within such experiments, however, theater continues to work with language, with dramatic and nondramatic texts, with the document and writing. And theater remains a site of political consciousness and memory. In this regard I wish that the poetic-literary potential of postdramatic theater, the lyrical as well as the narrative power of the theatrical moment, would be further researched and developed.

Einar Schleef, Verratenes Volk , Deutschen Theater, Berlin. Media — Rudolf Frieling. Character — Mac Wellman. Performance lasts 24 hours.

Young Jean Lee, Lear , Soho Rep, New York. Photo: Blaine Davis. Interview with Young Jean Lee. Photo: Frank Aymami. Courtesy of Creative Time.

Andrea Fraser, Projection , Still from a 2-channel HD video projection installation. Courtesy of the artist and Galerie Nagel Draxler. David Levine, Bystanders , Performer: William Ellis. Photo: Guntar Kravis. Courtesy of Alexandro Segade. Richard Maxwell, Neutral Hero , The Kitchen, New York. Mac Wellman, Muazzez , Performer: Steve Mellor. Photo: Brian Rogers. Janine Antoni, Yours Truly , Courtesy of the artist and Luhring Augustine, New York.

The Getty Research Institute. Susan Foster! Photo: Jorge Cousineau. Brown improvises movements across a large piece of paper on the Medtronic Gallery floor, holding charcoal and pastel between her fingers and toes, drawing extemporarily. Mixed-media installation with live performance and pre-recorded sound track, dimensions variable.

Courtesy of Lisson Gallery. Courtesy of the artist. Siobhan Davies and Helka Kaski, Manual , Courtesy of Glasgow Life. Photo: Michal Ramus. Steve Paxton, Intravenous Lecture , Performed by Stephen Petronio with Nicholas Sciscione. Photo: Josh Brasted. Photo: Andrew Lichtenstein. Courtesy of the photographer and Pick Up Performance Co s. Performers: Eleanor Hullihan and Nicole Mannarino.

Archival print from original film. Photo: Lydia Grey. Iannis Xenakis, Terretektorh, Distribution of Musicians , Collection famille Xenakis. Courtesy of the Iannis Xenakis Archives. Lisa Bielawa, Chance Encounter , premiered Co-conceived with Susan Narucki. Photo: Corey Brennan, , Rome. Headlands Center for the Arts. Photo: Maarten Vanden Abeele. Christian Marclay, Chalkboard , , paint and chalk, x 1, inches. Photo: Christian Marclay. Photo: Cheung Chi Wai.

Photo: Chad Kleitsch. David Levine, Habit , Installation view, Luminato Festival, Toronto, Photo: David Levine. Meredith Monk, Shards —73 , Berlin, Bonanza , A documentary project focusing on Bonanza, Colorado, population 7. The Builders Association, Elements of Oz , Photo: Gennadi Novash.

Ain Gordon, A Disaster Begins , Veanne Cox. Here Arts Center, New York. Photo: Jason Gardner. Hopscotch , Directed by Yuval Sharon. Produced by The Industry, Los Angeles. Photo: Dana Ross. Directed by Elizabeth LeCompte. Photo: Walter Kitundu. Photo: Akiko Ota. Photo: James Block. Ethyl Eichelberger as Minnie the Maid, Photo: Peter Hujar. The Peter Hujar Archive. Color HD video, minutes. Baryshnikov Arts Center, New York, Photo: Julieta Cervantes.

Philadelphia Live Arts Festival, Photo: Kevin Monko. Marcel Duchamp, Bicycle Wheel , replica of original.

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Post-dramatic theatre

Hans-Thies Lehmann, a renowned theater scholar currently teaching at the University of Kent, UK, is the author of Postdramatic Theatre , a groundbreaking study of posts forms and aesthetics. The resonance of my book Postdramatic Theatre surprised me. I am glad to have contributed a little to opening new ideas in theater in such different theater cultures as those of Brazil, Japan, or Russia. Ideas, concepts, and terms, however, often quickly take on a life of their own.

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Books: Postdramatic Theatre (Hans-Thies Lehmann)

To take each in turn: representation is, by definition, selective and subjective. Playwrights have to choose what they include in their dramas and this choice is necessarily made through the blinkers of their own perspectives. In the early twentieth century drama started to signal its dissatisfaction with its defining processes. It is not surprising, then, that by the s, more sustained and fundamental attacks were visited upon dramatic theatre. By the s, British playwrights revealed their own interest in what would soon be understood as postdramatic forms of writing. Yet each scene carries no character attribution, just a dash to indicate a different speaker, and so the very question of what or who is being represented is left radically open.

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