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Postdramatic Theatre
Hans-Thies Lehmann"s groundbreaking study of the new theatre forms that have developed since the late 1960s has become a key reference point in inter- national discussions of contemporary theatre. Postdramatic Theatrerefers to theatre after drama. Despite their diversity, the new forms and aesthetics that have evolved have one essential quality in common: they no longer focus on th e dra- matic text. Lehmann offers a historical survey combined with a unique theoretical approach, illustrated by a wealth of practical examples, to guide the re ader through this new theatre landscape. He considers these developments in r ela- tion to dramatic theory and theatre history, and as an inventive response to the emergence of new technologies and a historical shift from a text-based c ulture to a new media age of image and sound. Engaging with theoreticians of drama and theatre from Aristotle, Hegel, Szondi and Brecht to Barthes, Lyotard and Schechner, the book analyses the work of recent experimental theatre practi- tioners such as Robert Wilson, Tadeusz Kantor, Heiner Müller, The Wooster
Group, Needcompany and Societas Raffaello Sanzio.
This excellent translation is newly adapted for the Anglophone reader, including an introduction by Karen Jürs-Munby which provides useful theoret- ical and artistic contexts for the book. Hans-Thies Lehmannis Professor of Theatre Studies at the Johann Wolfgang includeTheater und Mythos(1991) on the constitution of the subject in ancient Greek tragedy, Writing the Political(2002) and, with Patrick Primavesi, Heiner Müller
Handbuch(2004).
Karen Jürs-Munbyis Senior Lecturer in Drama, Theatre and Performance at the University of Huddersfield.
Postdramatic Theatre
Hans-Thies Lehmann
Translated and with an Introduction by
Karen Jürs-Munby
For Eleni Varopoulou
First published 2006 by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
Simultaneously published in the USA and Canada by Routledge
270 Madison Ave, New York, NY 10016
Routledge is an imprint of the Taylor & Francis Group German edition © Verlag der Autoren, D-Frankfurt am Main 1999;
English edition © Routledge 2006
The publication of this work was supported by a grant from the Goethe-Institut. All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers
British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication Data
Lehmann, Hans-Thies.
[Postdramatisches Theater. English] Postdramatic theatre / Hans-Thies Lehmann; translated and with an introduction by Karen Jürs-Munby. p. cm.
Includes bibliographical references and index.
1. Theater-Germany-History-20th century. 2. Experimental
theater-Germany-History-20th century. 3. German drama-
20th century-History and criticism. I. Title.
PN2654.L35 2006
792.02"23"09430904-dc22
ISBN10: 0-415-26812-5 (hbk)
ISBN10: 0-415-26813-3 (pbk)
ISBN13: 9-78-0-415-26812-7 (hbk)
ISBN13: 9-78-0-415-26813-4 (pbk)
This edition published in the Taylor & Francis e-Library, 2006. "To purchase your own copy of this or any of Taylor & Francis or Routledge's collection of thousands of eBooks please go to www.eBookstore.tandf.co.u k."
Contents
Preface to the English edition ix
Introduction 1
What"s in the 'post"? 1
(Post)dramatic theory 'post" Szondi and Hegel 2
The turn to performance 4
Post-1960s institutional context, memory, history and palimpsest 7 Theatre and world in the age of media: are we post-postdrama? 9
Postmodern and postdramatic theory 13
Note on the translation and acknowledgement 15
Prologue 16
The stakes 16
Intentions 18
Trade secrets of dramatic theatre 21
Caesura of the media society 22
Names 23
Paradigm 24
Postmodern and postdramatic 25
Choice of term 26
Tradition and the postdramatic talent 27
Drama 29
Drama and theatre 29
'Epicization" - Peter Szondi, Roland Barthes 29
The estrangement of theatre and drama 30
'Dramatic discourse" 31
Theatre after Brecht 32
Suspended suspense 33
'What a drama!" 35 'Formalist theatre" and imitation 36
Mimesis of action 36
'Energetic theatre" 37
Drama and dialectic 39
Drama, history, meaning 39
Aristotle: the ideal of surveyability (synopton) 40
Hegel 1: the exclusion of the real 42
Hegel 2: the performance 44
Prehistories 46
Towards a prehistory of postdramatic theatre 46
Theatre and text 46
The twentieth century 48
First stage: 'pure" and 'impure" drama 48
Second stage: crisis of drama, theatre goes its own way(s) 49
Autonomization, retheatricalization 50
Third stage: 'neo-avant-garde" 52
A short look back at the historical avant-gardes 57
Lyrical drama, Symbolism 57
Stasis, ghosts 58
Stage poetry 59
Acts, actions 61
Speed, numbers 61
Landscape Play 62
'Pure form" 64
Expressionism 65
Surrealism 66
Panorama of postdramatic theatre 68
Beyond dramatic action: ceremony, voices in space, landscape 68
Kantor or the ceremony 71
Grüber or the reverberation of the voice in space 74
Wilson or the landscape 77
Postdramatic theatrical signs 82
Retreat of synthesis 82
Dream images 83viContents
Synaesthesia 84
Performance text 85
1 Parataxis/non-hierarchy 86
2 Simultaneity 87
3 Play with the density of signs 89
4 Plethora 90
5 Musicalization 91
6 Scenography, visual dramaturgy 93
7 Warmth and coldness 95
8 Physicality 95
9 'Concrete theatre" 98
10 Irruption of the real 99
11 Event/situation 104
Examples 107
1 An evening with Jan and his friends107
2 Narrations 109
3 Scenic poem 110
4 Between the arts 111
5 Scenic essay 112
6 'Cinematographic theatre" 114
7 Hypernaturalism 115
8 Cool Fun 118
9 Theatre of 'shared" space 122
10 Theatre solos, monologies 125
11 Choral theatre/theatre of the chorus 129
12 Theatre of heterogeneity 132
Performance 134
Theatre and performance 134
A field in between 134
The positing (Setzung) of performance 135
Self-transformation 137
Aggression, responsibility 139
The present of performance 141
Aspects: text - space - time - body - media 145
Text 145
Chora-graphy, the body-text 145
Textscape, theatre of voices 148Contentsvii
Space 150
Dramatic and postdramatic space 150
Time 153
Postdramatic aesthetics of time 153
The unity of time 158
Body 162
Postdramatic images of the body 162
Pain, catharsis 165
Media 167
Media in postdramatic theatre 167
Electronic images as a relief 170
'Representability", fate 171
Epilogue 175
The political 175
Intercultural theatre 176
Representation, measure and transgression 177
Afformance art? 179
Drama and society 180
Theatre and the 'Society of the Spectacle" 183
Politics of perception, aesthetics of responsibility 184
Aesthetics of risk 186
Notes 188
Bibliography 200
Index 208viiiContents
Preface to the English edition
In presenting this study to the Anglophone readership (with a certain delay due to adverse circumstances), I would like to express my gratitude to Karen Jürs- Munby who carried out the translation not only in an impressively short time but with admirable precision and competence. In addition, she contributed many a valuable reference. Her introduction will facilitate the access for the interested Anglophone readership and offer the possibility to relate the analyses and theses of the book to other theatre works especially in Britain and the USA. Wherever possible I have placed importance on discussing only perfor- mances I have been able to see myself. Consequently, the occasional imbalance has been unavoidable due to my personal reception or the accidental nature of circumstances. Otherwise, there would have been more of an emphasis, for example, on British fringe theatre and performance. The American avant-garde has left deep marks on international theatre and thus it comes as no surprise that a number of American artists and companies are acknowledged and dis- cussed in the present study (Wilson, Foreman, Schechner, Jesurun, The Living Theatre and The Wooster Group to name but a few). The case is objectively somewhat different with respect to British theatre and here the introduction by
Karen Jürs-Munby will add to the picture.
It should be mentioned that a (roughly speaking) neo-realist wave in the new German theatre of the 1990s has frequently been considered as having been inspired by the British 'movement" of 'in-yer-face" theatre. Indeed the 'attack" on the spectator in such plays is a trait that would have to be theorized as a tension between dramatic and postdramatic theatre; and 4.48 Psychosisby Sarah Kane would almost have to be invented as one of the great texts in analogy to postdramatic theatre if it did not already exist. But as is explained in the book, it is not the text but the theatrical means that are the focus of this study. The investigation is aimed at theatre, in as much as it problematizes the constitution of a dramatic fiction and world in general and with it also an immediate refer- ence to social reality. The book intends to give prominence to an aesthetic logic within the develop- ment of theatre towards the postdramatic. The analyses do not aim at a compre- hensive review of the discussed productions and artists but are rather designed for the reader to transfer and translate mutatis mutandiswhat is developed here to other work in the theatre. The international resonance of the book makes me hopeful that this will also be the case for Anglophone theoreticians, students and practitioners of theatre.
Hans-Thies Lehmann
Frankfurt am Main, January 2005xPreface to the English edition
Introduction
Karen Jürs-Munby
What"s in the 'post"?
Due to the delayed English translation of this book (published in German in
1999 and already translated into several other languages
1 ), we are faced with the curious situation that, ahead of its publication in English, Postdramatic Theatrehas already become a key reference point in international discussions of contem- porary theatre. An increasing number of English publications engage with the concept in their own studies of new theatre texts and productions. 2
Hans-Thies
Lehmann"s study has obviously answered a vital need for a comprehensive and accessible theory articulating the relationship between drama and the 'no longer dramatic" forms of theatre that have emerged since the 1970s. This relationship has often been neglected, or at least under-explored, by approaches that have preferred to call these new theatre forms 'postmodern" or more neutrally 'contemporary experimental" or 'contemporary alternative". A notable exception is Elinor Fuchs" The Death of Character(1996), which focuses on the deconstruc- tion of dramatic character in contemporary American theatre in relation to postmodern theories of subjectivity and which in this context also examines new work in its relation to the breakdown of dramatic conventions. Like Fuchs and other critics who relate theatre and performance to postmodernism, Lehmann sets out to find a language for the new theatre forms but does so by systemati- cally considering their relation to dramatic theory and theatre history, including their resonances with (and divergences from) the historical theatre avant-gardes. Unlike Fuchs, he systematically considers the new theatre aesthetics in terms of their aesthetics of space, time and the body, as well as their use of text. Throughout, he also explores theatre"s relationship to the changing media con- stellation in the twentieth century, in particular the historical shift out of a textual culture and into a 'mediatized" image and sound culture. His approach here draws on a wide range of media analyses and aesthetic theories from Benjamin and Adorno to Barthes, Kittler and McLuhan, as well as perhaps less familiar thinkers, such as film theorist Vivian Sobchak and image theorist Gottfried Boehm. The middle chapters, 'Panorama of postdramatic theatre", 'Performance", and 'Aspects: text - space - time - body - media", develop posi- tive analytical categories for a description of the new theatre aesthetics. The focus on the relationship between drama and new theatre and performance leads Lehmann to consider a wide range of international examples from hetero- geneous theatre and performance 'genres" that are often treated separately under different names: 'devised" experimental performance work, physical theatre and dance, multimedia theatre, performance art and 'new writing", as well as innovative stagings of classical drama that push this drama into the post- dramatic (by directors such as Einar Schleef, Robert Wilson and Klaus-Michael
Grüber).
In the following, I would like to indicate some of the critical, artistic and institutional contexts that inform this book. I shall contextualize Lehmann"squotesdbs_dbs4.pdfusesText_7