How Can We Interpret the 21st-Century (No Longer) Dramatic Texts and Theatre in Art and Theory? (original) (raw)
Related papers
2008
The first part of the book deals with nomadic journeys through drama and threatre of the second half of the last century, which trace rhizomatic structures and turning points, interruptions of intertexts as fabrics of citations. In tracing the mutual operation of texts it lingers over selected examples of Slovenian drama and theatre texts from around 1990 (Dane Zajc, Mirko Zupančič, Dušan Jovanović, Drago ¬Jančar, Ivo Svetina). The sites of intertextuality and maps of nomadic paths in the continuation are found within the dramatic works of Veno Taufer and Emil Filipčič and the dialogues between the dramatic and novelistic writings of Dane Zajc and Samuel Beckett. Thus it tracks the techniques and tactics of intertextual seduction and suspicion. The second part of the book covers the crossing over of the dramatic to the (no longer) dramatic, post-dramatic, and rhapsodic. Of interest are the processes and results of the rhapsodic emergence of the theatre, the intensive rhapsodization of theatrical texts: montages of forms, tones, deconstructions and reconstructions of theatrical, paratheatrical (especially the philosophical dialogue) and extra-theatrical (the novel, novella, essay, letters, diary, confession, etc.), as practiced by such different writers as Ivan Cankar, Bertolt Brecht, Samuel Beckett, Heiner Müller, Marguerite Duras, Gregor Strniša, Pier Paolo Pasolini, Thomas Berhnard, Elfriede Jelinek, Bernard Marie Koltès, Umberto Eco; and by directors in dialogues with writers, for example, Mile Korun with Dostoyevsky and Jančar, Dušan Jovanović with Dostoyevsky and Tolstoy, and Krystian Lupa with writers such as Alfred Kubin, Robert Musil, Thomas Bernhard, R. M. Rilke, Hermann Broch, F. M. Dostoyevsky, Mikhail Bulgakov, Friedrich Nietzsche, and Stanislaw Lem. The third part of the book explores the concept of subversiveness in theatre and staging practices of the second half of the 20th century in Slovenia, and along with it in the art of the second world during the period of socialism and post-socialism and finally in the art of the first, western world: Europe, the United States, and Canada.
Actors of becoming Towards a Neo-dramatic and Poetic Theatre
The postdramatic fans are ignorants! They ignore what Aristotle did say about drama, and the contemporary quest for a poetic theatre. On the same topic please see recent Gregory Scott's book! The concept of mimesis needs to be re-evaluated in every era. Nowadays, this task seems particularly urgent for at least three reasons: 1) it is now clear that the term " mimesis, " as it was used by the Greeks, has been systematically misunderstood and corrupted. Moreover, it has been simplified in order to fit the established models of cultural development that have dominated since then; 2) in late modernity, the greatly enriched repertoire of critical tools and languages with which we can approach mimesis offers the potential for creating a new and generative framework; 3) given the globalization of the (new-, late-, post-industrial) West, there is a real need to face and understand other traditions of art and thought, whether they be 'defeated' ancient civilizations or marginalized or geographically distant cultures in our present age.
Contemporary Drama and the Question of the Neo-avant-garde Legacy of the 1960s and 1970s
Amfiteater, 2023
To some extent, contemporary drama is the heir of the neo-avant-garde of the late 1960s and 1970s. This time was that of the so-called performative turn, which pulled theatre away from representation and towards presentation. The subsequent development can be designated by various labels, such as postdramatic theatre, the aesthetics of the performative and, in the case of dramatic texts, the no longer dramatic theatre text, "In-Yer-Face" theatre, etc. In Slovenia, a decisive turn from text to event took place towards the end of the 1960s. During this time, the first happenings and performance art pieces were taking place. In reviewing the performance Pupilija, papa Pupilo pa Pupilčki (Pupillja, Papa Pupilo and the Pupilceks), Veno Taufer went as far as to declare the death of literary theatre. At first glance, it would thus appear that contemporary playwriting is merely repeating earlier patterns. While contemporary playwriting may more radically formulate linguistic and aesthetic games, it deconstructs the dramatic form and thus radicalises the premises of the neo-avant-gardes; in the last two decades, we have been talking about a return to dramatic, post-postdramatic and dramatic drama, etc. Through a comparative analysis of two of the more radical texts from Blaž Lukan's anthology Generator:: za proizvodnjo poljubnega števila dramskih kompleksov (The Generator:: for Manufacturing Any Number of Drama Complexes), namely Dušan Jovanović's Sinopsis za happening Hlapci (Synopsis for The Happening of Lackeys) and Rastko Močnik's Generator, ki iz določenih enot in po preprostih pravilih proizvaja poljubno število dramskih kompleksov (A Generator that Produces Any Number of Drama Complexes from Given Units and According to Simple Rules) as well as Simona Semenič's mi, evropski mrliči (we, the european corpses) and Varja Hrvatin's Vse se je začelo z golažem iz zajčkov (It All Started with the Bunny Rabbit Goulash), the paper shows that the neo-avant-garde is more about the question of theatrical performances and the form of the dramatic text, while contemporary drama is more about the search for authenticity and dramatic effects.
Manifesto Poetico: Toward New Theatrical Languages
ASAP/journal, 2020
TOWARD NEW THEATRICAL LANGUAGES M ANIFESTO POETICO is an international theater research group and production company that proposes a theater "for and with the people." 1 Their work began twenty-two years ago after artistic leader and founder CARLOS GARCÍA ESTÉVEZ was provoked by his teacher, the renowned theater innovator JACQUES LECOQ, to delve more deeply into the tragic depth of Commedia dell'Arte and masked performance. After years of research and collaborations with such artists as DONATO SARTORI, DARIO FO, TAPA SUDANA, SIMON MCBURNEY, and MIQUEL BARCELÓ, CARLOS became a recognized authority on Contemporary Mask Performance. A contributor to the Routledge Companion to Commedia dell'Arte, 2 CARLOS has taught masked performance all over the world and presented at major conferences and festivals including at the American Academy of Dramatic Arts, the International Encounter of Theatre of the Oppressed, and the International Commedia dell'Arte Festival. In 2010-responding to a growing disassociation between the theater and more popular cultural forms-he was inspired to entirely reinvent his practice. What was necessary, he recognized, was not more or different forms of theater-that is, more or different depictions of human experience within a previously established representative mode-but new languages, new ways of communicating experience that could accommodate and employ the techniques and effects of our rapidly changing technologies, social realities, and points of view.
Contemporary Theatre Review, 2005
Much changed in Poland in the 1990s. In addition to economics and politics, the last years since 1990 have drastically altered the way Polish society views itself. But this new period in Poland’s history cannot be viewed as monolithic. The turbulent process of basic transformations subsided in the mid-1990s and what was once a debatable and highly contested future became a more or less stabilized reality. The same can also be said about Polish culture, and more particularly about Polish theatre, including the reorganization of its administration, financing, employment policies and repertoire. Even though this article gives an account of new Polish drama and its shifting contexts during these years, the dynamic nature of the last decade has to figure prominently in such an analysis.