Postdramatic Theater Research Articles

Reflections on some defining aspects of the dramatic monologue

The monologue was often perceived as an obstacle to drama. This „conflict” has been the subject of many reflections, of multiple and successive qualifications, which deal with the problem of the monologue starting with the 18th century. Here we are referring, first of all, to bourgeois drama, romantic drama, or symbolist drama, secondly – to modern drama, and more recently - to the post-dramatic theater, the new drama etc. The definition of the dramatic monologue also seems to obey a recurring pattern of successive oppositions, being approached only through approximations and various confrontations. In other words, it seems easier to say what a monologue isn’t than what it is: it is not a dialogue or a tirade, nor a soliloquy, although we do not know exactly how to distinguish the monologue from the soliloquy, if we stick to the current canons in force. Finally, in order to demonstrate the hybrid character of this problematic discursive form, we will emphasize the presence of the audience and try to highlight its role, which proves to be an essential factor in the process of supporting and hearing a monologue. The article examines the successive oppositions and attempts to determine the current defining aspects of the dramatic monologue.

Bilinmeyen Karakterler ve Yitik Bütünlük: Martin Crimp’ın Whole Blue Sky Oyunundaki Postdramatic Yansımalar

This study aims to reveal the postdramatic theatricalities in Martin Crimp's Whole Blue Sky (2005). Martin Crimp has been one of the most prolific, controversial and satirical playwrights since his plays were first staged in British theatres in the late 1980s. While his early plays evoke the absurdist tradition, his later plays emphasize innovative theatrical elements labelled in-yer-face, postdramatic and New Writing. Considering Crimp's wideranging body of work, his distinctive theatrical style is clearly recognizable. Although postdramatic theater is usually associated with theater movements that emerged after the 1990s, it dates back to the theater of Bertold Brecht. For this reason, postdramatic debates are briefly discussed in the Introduction. Whole Blue Sky (2005), which is the field of application of this study, is a short play in the collection of Fewer Emergencies (2005) and Face to the Wall (2005). Moreover, the text in question is completely anonymous and consists of three characters numbered 1, 2 and 3. It is known that character 1 is the only female character in the text. In addition, it is seen that the plot and other traditional principles of theatre evaporate in the play. This study presents an evaluation of Crimp's Whole Blue Sky (2005) in terms of postdramatic theatrical features.

PRAKTIK TEATER POSTDRAMATIK DI INDONESIA

An article entitled “Practice of Postdramatic Theater in Indonesia” is an examination of postdramatic theater practices in Indonesia in the 1990s to 2000s in Jakarta, Bandung, Yogyakarta, and even West Sumatra. This practice spawned generations that continue to grow and develop through aesthetics based on performance texts instead of conventional drama texts we are more familiar with. Each theater community, postdramatic or otherwise, typically carries out an in-depth exploration and elaboration of all possible bodies of texts and artistic works used as the main materials for performances. This study uses the qualitative method and two sets of theory: historical theory and postdramatic theater theory. Composition process, structure, and texture of postdramatic theater developed by Hans-Thies Lehmann are centered on the elements of text, space, time, body, and media depicted in the works of SAE Theatre, Grave Theater, Black-and-White Payung Theatre, Garage Theatre, and Black-White Art Community.

Постгуманистические тенденции в современной театральной сценографии: от визуализации образов к материальным становлениям объектов

Posthumanistic tendencies in the modern stage design are viewed as a result of the transition from traditional theater to the postdramatic theater paradigm. Posthumanism entails rethinking of traditional principles of performing arts; it deconstructs humanistic values and challenges rational, self-sufficient subject and linear narration. Based on Karen Barad’s concept of intra-actions and the philosophical theory of New Materialism, the article analyzes such strategies in contemporary theatrical practice as the creation of stage assemblage bodies, the return of the “thing-power,” and the procedurality of actions and relationships. The directors stage non-linear, continuously unfolding and evolving events occurring between the various materials within the stage space, objects, actors, dancers, musicians, light, sound, text, etc., all masterfully equalized. The examples of the performances of Heiner Goebbels, Tadeusz Kantor, Kris Verdonck, and Kristina Zvykova help to study the spaces of distributed forces making the emphasis on the exploration of the potential, in which the human will is dispersed, relevant; however, the human presence and their ability to interact remain quite essential factors for the development and renewal of the artwork’s forms. Postdramatic theater and expanded scenography open up new possibilities for expressing the non-linearity, the dynamism of the world around, for comprehending and experiencing the involvement of human beings and non-human objects in the processes of co-construction of environments, spaces, and events.

Politisches Theater oder Theater politisch machen? Brecht im deutschsprachigen Theater der Gegenwart

A diverse range of aesthetic and dramatic forms characterizes contemporary German-language theater. The vast majority of them are directors’ theaters, which can be traced back to Brecht’s aesthetics, theory, and theatrical work. For many years, Brecht’s influence went unnoticed, but that has changed since the millennium’s turn, with 9/11, the financial crisis, and the threat of climate change. In addition to providing a current overview of advanced forms of contemporary German-language theater, this study shows that today, seemingly opposing aesthetics, such as dramatic-social realism on the one hand and post-dramatic theater on the other hand, see themselves as heirs to Brecht. Making political theater or making theater political, the reference to Brecht’s “Schaustücke” or Brecht’s “Lehrstücke” establishes different priorities, which influence the acting style of contemporary theater in general. Even if it is aesthetically different in each case, the dialectic difference between role and actor is more common in Germanspeaking state-of-the-art theater. Younger theater-makers are also increasingly discovering the revolutionary Brecht, as evidenced by the theater’s commitment to combating increasing injustice and climate change. 

A SEMIOLOGICAL ANALYSING PRACTICE ON THE PARIS EPISODE OF ROMEO CASTELLUCCI’S TRAGEDY ENDOGENIDIA

20. Yüzyılda tanımlanan postmodernizm, moderniteyi sorgulayan bir bakış açısı geliştirmiştir.
 Buna göre; modernizme ait olan kesin tanımlar ve tanımlanan türler yapıbozumuna uğramış, deneysellik,
 türlerarasılık, parçalılık gibi kavramlar ön plana çıkmaya başlamıştır. Tiyatro sanatında ise bu bakış açısı,
 yeni bir öz ve biçim sorgusu ile teatral olanın peşinden postdramatik tiyatro kavramını doğurmuştur.
 Postdramatik tiyatro ise Castelluci gibi başka sanat dallarında eğitim görmüş uygulayıcıların elinde kendi
 görsel dilini yaratmıştır. İtalyan sanatçı, 2000’li yıllardan itibaren disiplinlerarası performatif çalışmalarla
 dikkat çeken bir yönetmendir. Bu makale, Romeo Castellucci’nin Endojen Tragedya performansının
 Paris epizodunun göstergebilimsel açıdan incelenmesini merkezinde bulundurmaktadır. Castellucci, bu
 yapımında, kendi yıkımını yaratan insan türünün yeryüzündeki yolculuğunu kurgulanmış göstergeler
 aracılığıyla tarif etmektedir. Bu epizotta arkaik çağlardan başlayarak postmodernizme dek uzanan soy yıkım
 yolculuğu göstergelerin yıkılıp yeniden oluşturulmasıyla aktarılmaktadır. Bu araştırma ise yönetmenin “Paris”
 epizodunu göstergebilimsel açıdan çözümleyerek yönetmenin gösterge seçimlerinin içerdiği özü bulgulamayı
 amaçlamaktadır. Böylelikle Endojen Tragedya örneği sayesinde tiyatral olan bir gösterimde postdramatik
 tiyatronun bileşenlerinin, göstergelerinin ne olduğuna ve yapı ile ilişkisinin neler olabileceğine ilişkin bir
 yaklaşımı da ortaya çıkarması hedeflenmektedir.

Postdramatik Bir Okuma: Simon Stephens’ın Üç Krallık Oyununda Mizojini

In Poetics, Aristotle explains the first known framework of dramatic theatre in history, basing it on certain principles. The restrictive structure of these principles makes playwrights apply an understanding that prioritizes performance, and seek a theatrical aesthetic shaped according to the mentality of the present. In this sense, Postdramatic Theater (2006), which Lehmann puts forward, shows the realities of postmodern society and highlights the performance text created with active participation of audience and reader. Contemporary British playwright Simon Stephens, who presents the lives of postmodern individuals in his plays, draws attention as a leading playwright of the Postdramatic theatre. Stephens’s play Three Kingdoms, which was staged in three different countries and in three different languages, stands out as it contains the postdramatic elements put forth by Lehmann. The aim of this article is to examine the play Three Kingdoms by Simon Stephens, focusing on Postdramatic theater principles determined by Lehmann.

Contemporary French and Francophone Narratology

Contemporary French and Francophone Narratology

Romeo Castellucci – an apologist for postdramatic theater

The purpose of the article. To analyze the early performances directed by R. Castellucci, to explore the main features of his directing method, and on the basis of the analysis to identify the characteristics of post-dramatic theater in his work. The methodology applies a textual method for the elaboration of the conceptual apparatus of post-dramatic theater. The apply a hermeneutic method and the method of stylistic analysis allow to study the performances that represent the main artistic trends in the directing of R. Castellucci of the late ХХ century. The scientific novelty lies in understanding the creative pursuits of R. Castellucci, in the aesthetics of post-dramatic theater. For the first time, his performances are analyzed and their affiliation to the post-dramatic theater is classified based on the conceptual and categorical apparatus formed by scientists. Conclusions. R. Castellucci's early directorial works are characterized by performativity, imagery, visuality, distancing from text-centrism, which dominates in dramatic theater and rethinking the meaning of the word as a vestige of dramatic performance. These features of the director's method give the right to define him as an exponent of ideas of post-dramatic theater.
 Keywords: Romeo Castellucci, post-dramatic theater, performance, visuality.

Directing concept as a way to create a figurative system of performance

Purpose of the Article. Publication of new approaches in the mode of work on literary texts to create concepts for future performances. The methodology is used in the application of analytical, empirical, art history, formal-analytical and system-analytical methods in the analysis of theoretical works and established features of artistic phenomena. The scientific novelty of the study is an attempt to use the term "concept of performance" to denote a specific transition from the analysis of literary texts to the search for the parameters of the idea, which ends with the creation of a new version of the play by adapting or updating. This is a conditional boundary between the pre-rehearsal and rehearsal periods when the director proceeds to test the concepts in practice during rehearsals. Identifying the influence of post-dramatic aesthetics on the modern theatrical process of Ukraine in the use of documentary texts to create a figurative system of performance, outlining the characteristics of post-dramatic theater in modern stage readings. Conclusions. The director's work on the idea of ​​the future play is a unique process that is constantly in the spotlight of researchers of performing arts. From the beginning of the XXI century. we can observe a gradual change of the classical theatrical paradigm and the influence of the aesthetics of post-dramatic theater on the theatrical process in Ukraine. Gone are the days when the drama was considered the unalterable basis of a future play, and the theater was only an illustrator of literature. Today, the director is a full-fledged author of the play, embodies on stage his very subjective understanding of dramatic texts, given their relevance to the problems of modern life. The article attempts to identify and outline new trends in the approach to creating the concept of performance is based on analysis and creative rethinking of literary texts, to return this term to the theatrical lexicon for the most meaningful transfer of the specifics of the process of birth and finding ways to implement it with the team theater.

Specificity of the actor's skill in the context of post-dramatic theater productions

The purpose of the article is to identify the features and determine a promising theoretical and practical approach to acting in the context of the specifics of post-dramatic theater. Methodology. An analytical method was applied to identify domestic and foreign scientific works on the theory of post-dramatic theater; the method of systems analysis and synthesis, thanks to which the approaches and methods of actor's mastery developed by K. Stanislavsky are considered in the context of dramatic and post-dramatic theater, with their inherent originality; the method of historical and cultural analysis and the comparative method, on the basis of which the differences in acting in the performances of dramatic and post-dramatic theater are revealed. Scientific novelty. The skill of the actor of the post-dramatic theater was investigated; the features of acting perception and practice of playing in performative practice are revealed; a promising theoretical and practical approach to acting, corresponding to the specifics of post-dramatic theater, is proposed; the expediency of using certain principles of the Stanislavsky system in search of new methods of acting by an actor in post-dramatic theater has been proved. Conclusions. A wide range of types of theatrical practices at the present stage of the development of the performing arts has led to the transformation of acting perception and acting. The post-dramatic theater offers the viewer not only the image of the hero but also the special existence of the actor, which is defined as “presence” and is the result of work on the material, the theme of the performance. In the context of the specifics of post-dramatic theater, in our opinion, a proactive approach is appropriate, providing for the rejection of prejudices and adherence to a single system, discourse or practice and cultivates a critical awareness of acting as a multiple and variable. This approach will contribute to the implementation of a certain set of actions - historically and procedurally considered and comprehended by the actor "absolute" while being part of the plurality. For example, the study showed that for the development of the actor's skill in certain types of post-dramatic theater, it is extremely useful to use certain aspects of the Stanislavsky system, in particular, the development of an actor's inner creative state of body and mind becomes extremely important.

Dychotomy of the phenomenal and semiotic bodies of the performer in the context of a theater without an actor

modern theatrical art and to reveal the features of the phenomenal and semiotic body of the performer in theater performances without an actor. Research methodology. A synergetic method is applied, due to which the essence of the dichotomy of the phenomenal and semiotic body of the performer and the mechanism of its transformation in the process of transition from traditional theater to the theater without an actor is considered; a systemic method for analyzing the phenomenal and semiotic body of the performer as a manifestation of integrity in the unity of all connections and relationships; the method of comparative analysis, which contributed to the comparison of the ways of perception and understanding by the spectator of the semantic content of the stage performance in the traditional, puppet theater and theater without an actor, etc. Scientific novelty. The problems of theater without an actor are considered in the context of the theory of body dichotomy by B.S. Turner and the model of the alternation of the phenomenal and semiotic body of the performer in the post-dramatic theater E. Fischer-Lichte; the absence of actors as traditional components of the stage production of the play is theoretically substantiated; it was found that, despite the absence of performers, a theater without an actor is a unique phenomenon of modern theatrical art, realized due to the dichotomy of the phenomenal-semiotic nature of the actor's corporeality. Conclusions. The study revealed that the dichotomy of the phenomenal and semiotic body of an actor is a meaningful tool for studying the interpretation of various types of modern theater. Based on the analysis of theater performances without an actor ("Feng Shui in a theater without an actor" B. Bulatovic, A. Mustar and J. Šimenc, Slovenia, Ljubljana, Cultural Center "Španski borci", 2011, etc.) it was found that in the absence of the phenomenal body of the actor in the stage action, scenography and props become the material vehicle of the semiotic body. Destroying traditions and moving away from the "actor - spectator" attitude, depriving the viewer of an actor of a person, theatrical figures strive for contemplation, open new horizons for the theater, which can cause unusual sensations and feelings.

Wu Hsing‐kuo’s Metamorphosis as postdramatic intercultural theater

AbstractWu Hsing‐kuo and his Contemporary Legend Theater adapted Kafka’s seminal novella The Metamorphosis into an intercultural play named Metamorphosis in 2013. In light of the connections between Hans‐Thies Lehmann’s theory of postdramatic theater and new interculturalism in theater, where both emphasize rhizomatic structures to break down imperialist transcultural synthesis, this article explores an experimental mode of intercultural theater exemplified by Wu’s Metamorphosis. It argues that the play builds on the framework of postdramatic theater an intercultural rhizome embodying various routes of East–West interconnection embedded in concrete material conditions, which meets the demands of new interculturalism. Specifically, this article finds that the play’s postdramatic form benefits the intersections both inside and beyond theater among Eastern traditional art and philosophy, Western individualism and industrialized modernity, against the backdrop of Taiwan’s social and cultural circumstances. The postdramatic intercultural mode of performance in Metamorphosis points towards a possible direction for the future development of contemporary intercultural theater.

On Carr’s Eleven-Dimensional Dramaturgy

Contemporary Irish playwright Marina Carr integrates eleven-dimension theory into her post dramatic art creation, forming a unique eleven-dimensional dramaturgy. This unique eleven-dimensional dramaturgy runs through Carr's whole drama creation career, and has different focuses in different periods: in her early drama, Carr concentrated on the expression of the concept of “non-linear time”. In the mid-land drama, she focuses on the creation of “high dimensional space”, while in the later drama of death and fantasy, she focuses on the presentation of “multidimensional worlds”. Finally, with the connection of the eleven-dimensional dramaturgy, Carr created a “non-linear”, “high dimensional” and “multi-dimensional” dynamic post-dramatic theater, and conveyed the eleven-dimensional philosophy of life beyond time and space.

Gaismu dramaturģija 21. gadsimta teātrī. Latvijas Nacionālā teātra izrādes „Asins kāzas” piemērs

The article is devoted to contemporary theatre’s aesthetic strategies, specifically researching the increase of the principle of visuality in the message of the performance. Both the theory of postdramatic theater introduced by the German theatre scholar Hans Thies Lehmann and the researches of various leading theatre semioticians emphasise the growing importance of visual elements (scenography, costume, actor’s body, etc.) in the structure of the production. The theatrical lighting score is relatively one of the least studied components of 21st-century theatre. In the semiotic sign system of the performance, the stage light can be perceived as an integral part of the space, introducing the dramaturgy of light as an important element of the performance message. The aim of the research is to define the meaning of light dramaturgy in 21st-century Latvian theatre. The object of the research is the new generation outstanding lighting artist Oskars Pauliņš (b. 1989) and his light score for Vladislav Nastavšev’s production “The Blood Wedding” (2016) at the Latvian National Theatre. The article tackles the main principles of light dramaturgy in the performance, based on the four parameters of stage lighting (intensity, colour, mode of distribution, movement/dynamics) as defined by the light artist and theorist Richard Pillbrow. The analysis of the light score proves that the stage light created by Pauliņš becomes an artistically sufficient element of the stage production that participates in the formation of the performance message.

Sie werden nur entsorgt!: gender options of aging in Sibille Berg``` s play "Ladies are waiting"

This work continues the initiative launched in the study "Anti-Utopia Konstanz Dennig" Extasy Rave ": Representations of old age." In the light of literary gerontology, the article analyzes the manifestations of stereotyping of characters of pre-retirement age, aging processes, manifestations of ageism and misogyny with political coloration and problematic and semantic aspects of corporality and tolerance in Sibylle Berg's play "Ladies Are Waiting" (2012). The sarcastic dialogues present in the play demonstrate the stereotypical thought patterns inherent in modern society regarding the social roles of older women. They portray aging as a physical and moral decline and a burden on society. Discriminatory practices against women over the age of 50 are not only verbal but also physical (forced relocation to the dungeons), which echoes K. Dennig's drama. Age discourse is manifested through the coverage of aspects of corporeality with a misogynistic and sexist coloration. In the images of the female geronto group, Sibille Berg exposes the stigma of late maturity in negative stereotypes associated with female attractiveness, aging, gender. Attention is also paid to the current trends of German-language theater, which plays an important role in covering social issues such as ageism, stereotyping, misogyny. The analysis of theatrical productions and challenges, realized by the author herself, allows to attribute her work to the post-dramatic theater, which, according to Lehmann, is aimed at maintaining the internal unity of society. Conclusions are made about the possibilities of the author's restructuring of discriminatory stereotypes of aging and prejudice against women. In the final act of the work, Sibylle Berg reveals the unexpectedly negative consequences that ageism and self-stereotyping can lead to in the aging process, which threaten to maintain the moral and ethical qualities of modern German society, which focuses on tolerance in its political and cultural directions.

Post-dramatic theater by Jana Fabrе

The purpose of the article is to reveal the specifics of J. Fabre's theatrical productions in the context of the development of post-dramatic art. Methodology. A set of methods of contemporary art criticism was applied, aimed at understanding Jan Fabre's theatrical activity in the context of the evolution of post-dramatic art: a biographical method (aimed at illuminating features of the artist's creative path); typological (to determine the features of J. Fabre's directorial vocabulary); method of image-stylistic and artistic-compositional analysis of the performance (to identify and theoretically substantiate the specifics of the production of the Belgian director), etc. Scientific novelty. The creative activity of the Belgian theater director, visual artist, choreographer, and playwright Jan Fabre in the context of the peculiarities of the development of post-dramatic art has been investigated; on the basis of the art analysis of stage productions "The power of theatrical madness," "This is a theater," "Theater Recorded with K." (1987–1993), "I Blood" (2001), "The History of Tears" (2005), "The King of Plagiarism" (2005), "Requiem for Metamorphosis" (2007), " The Orgy of Tolerance” (2009) and “Mount Olympus” (2015) revealed the peculiarities of the author's approach in theoretical understanding and practical implementation of the concept of post-dramatic theater; Methods of the director's activity and artistic and aesthetic views of J. Fabre are considered and analyzed. Conclusions. The study found that, according to the concept of the J. Fabre Theater, the human body is in the spotlight - he is experimenting and watching how the actor's body reacts in different situations. For example, patterns typical of his plays are patterns (schematics acting as a narrative or sensual concept, through which the patterns of their existence in nature and society are revealed in the process of simultaneous perception and thought), which are repeated. Typical of J. Fabre's theatrical productions is the use of constantly repeated movements, the creation of unpleasant and/or painful sensations that affect both the actors and the audience, as well as the violation of the storyline and cooperation with non-professional actors and dancers. The dominance of the physical and visual model of the practice of J. Fabre's post-dramatic theater reflects the specifics of the artist's author approach, which is inspired above all by the biology of the stage acting process, and at the same time seeks to avoid biological determinism, concentrating on the potential of the performers in the context of transformations and metamorphoses.

The innovation of visual-plastic imagery in the productions of A. Zholdak

The purpose of the article is to identify the features of the visual-plastic imagery of theatrical productions of A. Zholdak through the prism of specific changes in the aesthetics of plastic directing of the late XX - early XXI century. The methodology is determined by the nature of the tasks and includes the following set of methods: a systematic and comparative typological method (for identifying common models used in the evolution of plastic directing in post-dramatic theater, analyzing the development of visual-plastic imagery in Ukrainian theater art); cognitive method (to justify the specifics of visual-plastic imagery in the productions of A. Zholdak); a method of art history and figurative-stylistic analysis (to identify theatrical methods and compositional techniques) and other. Scientific novelty. The artistic and aesthetic features of the plastic directing of the beginning of the XXI century are considered on the example of the productions of A. Zholdak; an art historical analysis of the director’s theatrical methods was carried out; The main artistic methods and methods for creating visual-plastic imagery in the performances “The Month of Love,” “Wojcieck” and “Zholdak Dreams: Captivators of Senses” in the context of the specifics of the stage existence of the actor, the peculiarities of the interaction of visual and verbal dramaturgy are defined and characterized. Conclusions. In the process of creating a visual-plastic image, A. Zholdak focuses on two main aspects of his presentation - the subject environment and space. The study revealed that the director’s visual poetic language of productions is a complex game with visual meanings, which shifts attention from technical and constructive techniques to semantic space - A. Zholdak seeks to switch the viewer's perception from the direct meaning of the subject to metonymic (one value is replaced by another, provided a certain dependence, for example, temporal or spatial) and metaphorical (figurative, based on similarity, comparison, analogy). The artist modulates and constructs a new reality in accordance with the peculiarities of the inner world in the style of the poetical and theatrical direction, gravitates to maximum conventionality and provides for the creation of “artificial” reality. Theatrical performance is a reflection of his worldview, fantasies, dreams and ideas, since the inner space of the subjective-emotional world is translated into the stage space, determining its open conditionality.

Lógicas sensibles en Campo minado y Teatro de guerra de Lola Arias

Into the postdramatic theater the mimetic funtion of the body tends to be displaced towards transmedial resources thus favoring the producction of a metatheatre. The Lola Arias’s work stands out precisely because of putting in tension the role of the acting body on stage producing, through transmedial resources, a representational crisis that questions traditional forms of drama. The present article aims to establish the aesthetic strategies used by this playwright and director to problematize the place of the body in her theatral work Campo Minado (2016) and her documentary Teatro de Guerra (2018).

포스트드라마 연극텍스트(Postdramatik)의 무대화 특징- 엘프리데 옐리네크(Elfriede Jelinek) 작 《겨울 나그네》번역 공연을 중심으로

The purpose of the study was to investigate the relationships between postdramatic play text, in other word ‘postdramati’c and postdramatic theater performance in Winterreise[Winter Journey] written by an Austrian playwright, Elfriede Jelinek. One of the important features of Jelinek’s playtext is non-reproducibility. Text created by intertextuality consists of segmental and fragmentary preceding text, like a collage. In the text, specific characters and stories are not reproduced clearly. Regardless of what character says, his (her) long lasting text strongly reflects the non-reproducibility. The postdramatic intertextuality of Jelinek’s playtext makes the characters and objects unclear, causing non-reproducibility. The director utilizes the text as a source material to complete his own postdramatic performance. Discussing how the characteristics of postdramatic text affect the postdramatic theatrical performance, this study considers Korean adaptation of Winterreise, as an example of postdramatic performance. One of the features of postdramatic performance is reproducibility of non-reproducibility. In Jelinek’s postdramatic performance, character’s words and actions rarely match one another. The existence of non-representative language created by Jelinek''s playtexts clashes with the reproduction of the character’s behavior. In this process, non-representation of the playtext draws an image that audiences may stimulate unique associations in his (her) mind. The other feature is polyphony that exists in the Jelinek’s postdramatic playtexts and it makes a hybrid form of monologue and chorus in the scene. The polyphony of playtexts derived from intertextuality can diversify the directions of the postdramatic performance with the director’s choice. The important significance of this study was to examine the basic tendencies of postdramatic playtext and get a glimpse of its impact on the relationship with its postdramatic performance. In particular, this study can dedicate to enhancing the practical development of postdramatic performances and expanding the theoretical horizon to the theater study in Korea by utilizing Korean adaptation of the postdramatic playtext abroad.