Newly adapted for the Anglophone reader, this is an excellent translation of Hans-Thies Lehmann's groundbreaking study of the new theatre forms that have developed since the late 1960s, which has become a key reference point in international discussions of contemporary theatre. In looking at the developments since the late 1960s, Lehmann considers them in relation to dramatic t...
Newly adapted for the Anglophone reader, this is an excellent translation of Hans-Thies Lehmann's groundbreaking study of the new theatre forms that have developed since the late 1960s, which has become a key reference point in international discussions of contemporary theatre. In looking at the developments since the late 1960s, Lehmann considers them in relation to dramatic theory and theatre history, as an inventive response to the emergence of new technologies, and as an historical shift from a text-based culture to a new media age of image and sound. Engaging with theoreticians of 'drama' from Aristotle and Brecht, to Barthes and Schechner, the book analyzes the work of recent experimental theatre practitioners such as Robert Wilson, Tadeusz Kantor, Heiner Muller, the Wooster Group, Needcompany and Societas Raffaello Sanzio. Illustrated by a wealth of practical examples, and with an introduction by Karen Jurs-Munby providing useful theoretical and artistic contexts for the book, Postdramatic Theatre is an historical survey expertly combined with a unique theoretical approach which guides the reader through this new theatre landscape.
譯者序：
i. Theater（觀看之場所）與Drama（去做）之辯
ii.
1）“觀看”成為當代戲劇的本質（可以沒有劇本、舞臺、佈景、燈光、道具、服裝、演員）
2）戲劇三階段：1. 前戲劇劇場時期（包括古希臘戲劇以及各民族“原始”的戲劇形式）；2. 戲劇劇場時期（古希臘戲劇之後，尤其是中世紀戲劇之後以劇本為中心的戲劇形式）；3. 後戲劇劇場時期（萌芽於20世紀初，在20世紀70年代后蓬勃發展，直到今天）——意義：戲劇史與文學史脫離
3）在後戲劇劇場中，文本只是整個戲劇統一體的一個組成部份，與音樂舞蹈動作美術等其他戲劇手段平起平坐。
iii.
1）20世紀前半期，實驗戲劇反對模仿（格特路德·恩斯特、阿爾托）
2）布萊希特，演員與觀眾直接交流，後戲劇劇場也可稱為“后布萊希特劇場”
3）薩繆·貝克特、彼德·漢德克、博托·斯特勞斯、海納·穆勒
4）電子與媒體社會：羅伯特·威爾森、楊·法佈雷、阿西姆·弗萊婭、皮娜·鮑什、邁瑞迪克·蒙克、理查德·福爾曼、理查德·謝克納，所謂“後現代藝術”
*Sprache als Theatralik - E. Jelinek "die Sprachflächen" 三維-二維
iv.
後現代戲劇特點：
1）文本和情節：文本紆貴，與動作、音樂、視覺等藝術手段平等
2）舞臺與空間：等級化戲劇空間（焦點效果）被取消，觀眾的自主性加強，他們可以自己決定把目光投向哪裡。
3）時間：強調真實時間，打破舞臺時間的虛構性（傳統劇現實時間與劇情時間分開-布萊希特敘事劇以真實時間反思巨長時間-后劇場戲劇強調真實時間）
v.
中國素以“唱念作打”為戲劇核心，受“易卜生主義”影響轉向“劇本中心主義”。而雷曼觀點相仿中國傳統戲劇。
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