Abstract
Lehmann's paradigm of postdramatic theater has mainly been criticized on two levels: its flexibility and its alleged putting to death of drama. The paper highlights to what extent flexible paradigms like the postdramatic one are necessary to study the numerous performances which are characterized by their in-between-ness between dramatic and postdramatic codes. The study of postdramatic jazz musicality that we observe in Jaz by Koffi Kwahule or in Isabella's Room by Jan Lauwers demonstrates the need for such flexibility. Lehmann's notion of independent auditory semiotics is developed in the paper to study the exploitation of text as music (and not only in music): the end of the convergences between arts, the performance as a musical score, voice as sound vs. voice as discourse, disintegration of the dramatic character in favor of the jazz body of the performer.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
