КНИГИ О ПОСТДРАМАТИЧЕСКОМ ТЕАТРЕ

Abstract

The review considers three books on post-dramatic theatre (in various studies it is also called anti-mimetic, radical, post-modern theatre, metatheatre, etc.). Different concepts of post-dramatic theatre are brought together by what may be considered as experiments per se, overcoming or problematizing genre and media boundaries, neutralizing binary oppositions, such as subject – object, playwright – director, platform – hall, actor – character, etc. I analyze the concept of H.-T. Lehmann (“Postdramatic theatre: 1999), who argues concerning the main feature of the “radical theatre” in weakening the connection with the text of the play, “re-theatricalization”, and rejection of the mimesis. For E. Fischer-Lichte (“Ästhetik des Performativen”, 2004 / “The Transformative Power of Performance: A New Aesthetics”, 2008), the main feature of the newest theatre is “performativity” – the production of aesthetic meaning within the event of a performance, and not in the perception of an artifact by an observing subject. The criteria for the so called “performative turn” in drama and theatre, which, according to Fischer-Lichte, are self-reference, materiality, bodily contact, the liminality of aesthetic experience, and the transformation of the spectator. The neoconservative point of view of G. Stadelmaier (“Director’s Theatre. On the Scenes of the Spirit of the Times”, 2016), which expresses nostalgia for the tradition, is considered as polemic in respect to the innovations of the post-drama