Post Dramatic Theatre

Today, dramaturgy is more than ever a vibrant artistic field, on the one hand constantly expanding and on the other, populated with various discourses and practices coming from other social and cultural spheres. Therefore, simultaneously with following how it spilled out of the drama play, theater stage, black box and even the performance in broadest artistic sense, we can follow how present day media, cinema, internet, management of labor, educational system, popular music, life styles, organization of perception and attention, as well as the financial crisis, protests, assemblies and self-organized communities that have appeared in Europe in the recent years have influenced dramaturgy. In this present article – whose scope doesn't allow me to analyze both processes in detail – I will focus on a point where these two streams intersect. There, where dramaturgy in performing arts reverberates with the surrounding context and by the same stroke invites us to think that context by observing performances, I see a tendency on contemporary European dance and performance scene(s) that I name 'landscape dramaturgy'.

. Trabajo final de graduacion para optar por el grado de licenciatrua en Artes Escenicas de la Unievrsidad Nacional de Costa Rica 2012. Investigacion performatica sobre el estado de trance desde una perspectiva del performance y el teatro postdramatico investigando procesos de cura intra e interpresonales del creador-interprete

The present study aims to understand the metamorphosis suffered in
theater from the perspective of The Power of Theatrical Madness of the
Belgian artist Jan Fabre. It’s the intention to introduce this artist and
use his work as a base for I can dismember the features of Jan Fabre’s
artwork. It’s a specific work, however this critical analysis turns out to
reveal Fabre’s modus operandi as a whole. Developing considerations in
the arts of the possibilities (or needs) of the theater beyond the classic
text (Aristotelic) and homogeneous separation of artistic languages as
already indicated Lehmann in his studies of post-dramatic theater.

Keywords: Post-Dramatic Theater; Jan Fabre; The Power of Theatrical
Madness; Body; Metamorphosis.

O presente trabalho vem contemplar em que medidas o conceito de Teatro Essencial, criado por Denise Stoklos, consegue se aproximar efetivamente das propostas originais da Arte Minimalista. Neste trabalho, deve-se compreender o Minimalismo em suas distintas expressões artísticas: cinema, teatro, literatura, pintura etc. Para isso, discutir-se-ão os pontos de encontro entre ambas as correntes artísticas com o objetivo de efetuar uma busca investigativa no horizonte de uma corrente pós-dramática brasileira, a qual hoje é objeto de estudo e exportação intelectual no exterior, como é o Teatro Essencial de Denise Stoklos. Assim, será possível compreender novas medidas investigativas nas perspectivas alternativas do teatro brasileiro contemporâneo.

This thesis argues that ontological terror is a burgeoning condition ingrained within our collective human psyche which can only be artistically represented through carefully chosen veils, two of which can be made explicit through an analysis of the aesthetic conventions of the liminal uncanny and the traumatic sublime. Artistic depiction of terror is realisable only through the reflections that are cast from it, the sum of which, make up these veils. The experience of terror is intimately aligned with the threat inherent within an experience of trauma or grief and the visual performance outcome of the Masters research Aviary, produced at the Living Museum of the West in 2006 is best understood as a representation of the mournful and desolate reflections that shimmered off a central moment of unspeakable terror.

Rögglas Frage ist essentiell: Was kann politisches Theater heute sein? Sie hofft auf »eine gesellschaftliche Veränderung«. Theater ist für sie »nicht reines Spiel, nicht reines Ereignis, kein kritikloses Dabeisein mit der Wirklichkeit«. Sie suche nach »Formen des Sprechens (…), die den Gewaltzusammenhang gesellschaftlicher Verhältnisse deutlicher hervortreten lassen und gleichzeitig unterlaufen«.

This paper focuses on the performative perspective of fear in the
contemporary theatrical experience, in order to propose a reading that can be framed according to the direction of Euripides’ Bacchae by the Master of the international scene Theodoros Terzopoulos. Using a short projection of the audiovisual material of the performance, we will try to identify the passage from the text to the theatrical performance. The video focus on the figure of Agave and her communicative models
when he recognizes the broken head of her son Pentheus, one of the most famous and touching scenes of ancient Greek tragedy. The path starts from the vision of the actress’s character on stage, from the performing of fear and its dual manifestation: the one of phonological character (voice) and the other of the prosopographic character
(face) that will allow us to highlight the aesthetic outcomes following the dramaturgical choices made by the director to underline the fear of the character as a linguistic act.

In: Berliner Debatte Initial, 3/2015, 26. Jg. (Schwerpunktheft "Heiner Müller. Macht, Geist & Katastrophengier", hrsg. v. Sebastian Huhnholz und Harald Bluhm; mit Beiträgen u.a. von Eva C. Huller, Steffen Dietzsch, Michael Ostheimer und einem Gespräch mit Alexander Kluge), S. 62-69.

If the verisimilitude of mimesis derives from the creative appropriation of the object, the Kantian judgment of free aesthetic beauty is agnostic to both the form of the object and the congruency of the object to an expected form. The judgment, Kant clearly states, is from the arising of the form, not the shape of the result. Even where the faculty of cognition predominates in the reception of an aesthetic idea, the subjective originality in the representation is dispositive for the judgment. Since the conceptual form of the object does not determine the judgment, an object (such as a mechanical butterfly) might perfectly resemble a natural object and still be subject to the reflective judgment of free aesthetic beauty.

Quite simply, beauty is in the eye of the beholder, not in the object. Post-dramatic theatre and other fine art and performance that seeks to reject forms of conventional beauty can then instead be read as sublime, and not only potentially still freely beautiful but perhaps as seemingly counter-purposive in its form from a desire to represent free beauty itself.

Este artigo busca investigar o procedimento não
dramático de Sarah Kane através da análise de seu
texto Crave, buscando relacioná-lo às discussões
recentes acerca do teatro pós-dramático, de forma
a compreender que características lhe dão este
aspecto. Visa-se com este trabalho, também,
entender o que no trabalho de Kane fez com
que passasse de enfant terrible do teatro inglês à
melhor dramaturga (o) inglesa da década de 1990.

This paper figures the new principle for post-dramatic theatre in the frame of ‘post-traumatic’ history which will free all repressed traumas of history and community that is neglected by them, and be taken back to them with inherent violence of their images. Mentioning reinterpretation of traumas after the mid-20th century, I focus on Judith Herman and Cathy Caruth’s surveys, as the members of PTSD (post-traumatic stress disorder) studies. This group has posed new definition for traumatic dreams and memories by devising the term ‘traumatic reenactment’. In this way, every moment of ‘now’ is the enactment of the moment of ‘past’. Curing these traumas, we both urgently demand historical experience. But how we could access to a traumatic history? Reinterpretation of new tragedy as a political theatre in the frame of post-dramatic theatre will be the answer. For this purpose, with an emphasis on ‘traumatic reenactment’ the principle of triple communication between victim, perpetrator and witness is renovated by essential tension between spectator and actor, and the inherent distance between them. So, the entire scene becomes traumatic reenactment of a singular traumatic event which has been fixed in the specific moment of past. By reenacting the past, each actor or spectator stays in the liminal state, as a ritual performance. This moment is the moment of pure consciousness. This will be happened by transgressing the boundaries between the Real and reality, as Jacque Lacan mentioned. In this level, they will be gotten the strength of talking about what they have repressed in the past. So, in this state of consciousness, both spectator/ actors will make their way to the ‘shared memory’.

In: Berliner Debatte Initial, 3/2015, 26. Jg. (Schwerpunktheft "Heiner Müller. Macht, Geist & Katastrophengier", hrsg. v. Sebastian Huhnholz und Harald Bluhm; mit Beiträgen u.a. von Eva C. Huller, Steffen Dietzsch, Michael Ostheimer und einem Gespräch mit Alexander Kluge), S. 27-43.

Yemeklik Sanata Karşı Brecht'in Epik Tiyatrosu ve Mezbahaların Kutsal Johanna'sı Oyununun Felsefi Bir Yorumu Öz Bu makale iki bölümden oluşmaktadır. İlk bölümde Brecht tarafından kurulup geliştirilen epik tiyatro kuramı açıklanır. Epik tiyatro kuramı Brecht'in Tiyatro İçin Küçük Organon adlı yazısının ayrıntılı bir yorumuyla ortaya konulmaya çalışılır. Brecht realizm, natüralizm ve özdeşleşmeye karşı yabancılaştırma etkisini geliştirir. İkinci bölümde Brecht'in Mezbahaların Kutsal Johanna'sı adlı oyununun epik tiyatronun temel kavramları bakımından bir çözümlemesi yapılır. İnanç sözcüsü Johanna'nın bir devrimciye dönüşüm süreci açıklanır. Abstract This article consists of two parts. In the first part theory of epic theatre established and developed by Bertolt Brecht is explained. In this section theory of epic theatre is clarified by a detailed interpretation of Brecht's work A Short Organum for the Theatre. Brecht suggests estrangement effect against realism, naturalism and identification. In the second part Brecht's theatre play Saint Joan of the Stockyards is analysed in terms of basic concepts of epic theatre. The process of Johanna's transformation from being a person of faith into a revolutionist is displayed.

Can “political theatre” exist in today’s political climate? In the last few decades, our understanding of politics and theatre has undermined the basis on which prior generations of artists conceived of both politics and theatre. Caryl Churchill’s Drunk Enough to Say I Love You? sits at the intersection of critiques of dramatic theatre and new forms of post-dramatic, non-representational performance. The play tells the story of a man, Guy, who falls in love with a country, Sam, and critics have largely seen the play as an allegory for the “special relationship” between Britain and the United States. But while the play riffs on that metaphor, it also includes aspects that work against a political reading. Churchill’s depiction of the relationship as a sincere gay love affair raises questions about what it means to say that politicians are “in bed together.” As the play develops, the political critique and the personal relationships seem to work against each other, and the play becomes an elliptical invitation to think political theatre anew.

RESUMO No imaginário contemporâneo, o futuro é prefigurado mais frequentemente como uma distopia – marcada por condições de opressão, vigilância, privação – do que nas formas utópicas que estimulavam a imaginação modernista. Aqui refletimos acerca da arte como dispositivo de resistência: quais táticas podem pôr em disputa os modos da vida em comum e modificá-los. Analisamos um acervo experimental de gestos estético-políticos (intervenções, instalações, performances site-specific) elaborados em grupo aberto de pesquisa artístico-acadêmica. Pode a arte destacar-se como ação de militância em nossas cidades-espetáculo saturadas por mídias normativas das condutas cotidianas? Como tais gestos podem deslocar as expectativas representacionais canônicas e inaugurar contra condutas na comunidade de espect-atores? Palavras-chave: cena expandida; novos regimes estéticos; função do espectador. ABSTRACT In the contemporary imagination, our common future is prefigured more often as a dystopia-life in extreme conditions of oppression, vigilance, deprivation-than in the utopian forms that stimulated the modernist imagination. Here, we discuss whether art may work as a device of resistance at this awful perspective. We think about artistic gestures that are capable of challenging our ways of life and modifying them: urban interventions, happenings, installations, site-specific acts and other aesthetic-political behaviours based on displacement that we designate under the sign of artivism. How art could stand out as an act of resistance, in our " societé du spectacle " saturated by media which are normative of our everyday conducts? How such experiences of urban art may displace the conventional actor-spectator expectations of in the representational system?

“Le théâtre  inventé pour amuser Luis XIV, aurait dû être enterré déjà à la Révolution. Pourtant nous avons continué à le faire. Toutefois nous vivons d’autres rapports sociaux et économiques, d’autres relations personnelles. Je ne peux pas penser de continuer à m’exprimer par le biais d’un théâtre, où il y a des gens assis qui regardent d’autres personnes, les seules à avoir le droit de s’exprimer, même s’ils le font de façon sensée, professionnelle et intelligente. J’ai décidé de sortir de ce type de théâtre ” (Arpad Shilling).
"Le post-moderne n’existe pas, il n’est que l’agonie du temps moderne. Il y a quelque chose qui meurt – la modernité – et quelque chose qui nait, mais nous ne savons pas qu’est-ce que c’est et comment ça sera. Elle se trouve dans l’arrière-plan, nous ne parvenons pas à la décrire, car si nous essayons de la cerner, elle nous échappe" (Rafael Spregelburd)

We shall discuss some theoretical assumptions concerning the return of embodiment as the scenes’s fundamental act, occurred in the performing arts at XX century. The theoretical framework is built from three main sources. Nietzsche, in his fundamental critic of rationalism and nihilism as characteristics of modernity, seeks to overcome it,
rescuing the body as source of all meaning, thus inaugurating the theoretical questioning
field we intend to approach. Artaud seeks to rescue a primordial concept of theatricality,
in which the body (as well as scream and breath) is the fundament of theatrical action.
He rejects the supremacy of the word (and of reason) to build a scene, thus helping us to
understand the relationship between overcoming of modernity and overcoming of
logocentrism also in theater. Finally, the consonances between the so-called crisis of
modernity and the crisis of drama will be discussed in light of Lehmann’s thought and
his concept of post-dramatic. The circularity and relevance of this question becomes
evident because, for Lehman (an author whose work is tensioned by questions long
rooted in German philosophy), Artaud’s project can be understood as anticipating and
announcing some of the changes that will be fundamental for the Performing arts crisis
in the XX century

Desta vez, a guerrilha micropolítica dos Praga veio carregada de munições pós-digitais, sob o disfarce de uma selva de Meinong, colocando em cena uma miríade de ontologias e fenomenologias alienígenas, bem como multitudes de agentes insurrectos que procuram em cada ficheiro ou hiperligação desmantelar um pouco da poderosa e transnacional Matrix em que vamos sobrevivendo.

This article brings into focus the historic and contemporary function of time as a compositional tool in the theatre medium to further the conceptualisation of developments in performance practice that counter and reflect upon underlying temporal dynamics of mediatisation. It ruminates upon the aesthetic and political significance of time based compositions of duration and repetition to the theatre medium. To exemplify this research, I focus on my creative project YowzaYowza Yowza, a durational performance that draws inspiration from the Dance Marathons of the 1930s.
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YENİ TİYATRO VE YENİ OYUN YAZMA BİÇİMLERİ: YEŞİM ÖZSOY VE
OYUN YAZARLIĞI
Özlem ERBEN*
Özet
Çağdaş tiyatroda yönetmenin doğuşu ve post-dramatik yapının ortaya çıkışı klasik dramatik üsluptan
kopuşu beraberinde getirmiş, bu durum dramaturgi, oyun yazarlığı ve reji yaklaşımlarını etkilemiştir.
Batı tiyatrosunun gelişimine paralel olarak Türk oyun yazarları da iki binli yıllardan itibaren değişen
anlatı estetiği içinde yeni kurgular ortaya koymuş, özünde dramatik olmayan figür, ışık, müzik, dil
gibi unsurları bir yaratım öğesi olarak kullanmışlardır. Dramatik olanı yapı bozuma uğratan bu yazma
biçimleri yeni bir tiyatro estetiğinin doğmasını sağlamıştır. Teknoloji/performans/müzik gibi farklı
disiplinleri bir arada kullanarak metinler üreten, çalışmalarını ‘yeni metin-yeni tiyatro’ formülü ile
teorize eden Yeşim Özsoy söz konusu yeni tiyatro estetiği içinde yer alan bir yazar olarak özellikle
dikkati çekmektedir.
Bu çalışmada Özsoy’un oyun yazarlığının öne çıkan farklılıklarına, dramatik yapı ve sahnelemeye
yönelik tasarladığı yeni biçim denemelerine ışık tutmak amacıyla “Aksak İstanbul Hikâyeleri” ve
“Son Dünya” adlı oyun metinleri ele alınmıştır. Çalışmanın kapsamı doğrultusunda öncelikle postdramatik tiyatro üzerine genel bir çerçeve çizilmiş; oyun metinleri “metin çözümlemeleri”, “zamanmekân tasarımı”, “dil ve anlatı ilişkisi” ve “sahnelemeye yönelik somut çözümler” olmak üzere dört
temel başlık altında incelenmiştir. Yazarın metinlerinde gözlemlenen yeni oyun yazma biçimlerine
ilişkin arayışlar ve disiplinlerarası metin üretme çabası tiyatro estetiğine katkı sağladığı için Türk
Tiyatrosu adına önem arz etmektedir.
Anahtar Kelimeler: Yeşim Özsoy, Yazar Tiyatrosu, Yeni Metin, Yeni Tiyatro, Postdramatik