Social Drama Research Articles

Evaluation of a newly developed measure of theory of mind: The virtual assessment of mentalising ability

This study examined the reliability and validity of the Virtual Assessment of Mentalising Ability (VAMA). The VAMA consists of 12 video clips depicting a social drama imposed within an interactive virtual environment with questions assessing the mental states of virtual friends. Response options capture the continuum of ability (i.e., impaired, reduced, accurate, and hypermentalising) within first- and second-order cognitive and affective theory of mind (ToM). Sixty-two healthy participants were administered the VAMA, three other ToM measures, and additional measures of neurocognitive abilities and social functioning. The VAMA had sound internal consistency and high test-retest reliability. Significant correlations between performance on the VAMA and other ToM measures provided preliminary evidence of convergent validity. Small to moderate correlations were observed between performance on the VAMA and neurocognitive tasks. Further, the VAMA was found to correlate significantly with indices of social functioning and was rated as more immersive, more reflective of everyday ToM processes, and was afforded a higher recommendation than an existing computer-based ToM task. These results provide potential evidence that the VAMA is an ecologically valid tool that is sensitive to the spread of ability that can occur in ToM subprocesses and may be a valuable addition to existing ToM measures. Future research should explore the validity and utility of the VAMA in larger, more diverse samples of healthy adult and clinical populations.

The repertoire, not the archive: The 1950 Life and Time coverage of the Korean War

Journalists plunge into a social drama in which they interact with other actors, witness an event, and translate their observations into sensible texts to communicate with audiences who are not ‘on location’. A journalist’s account is the partial representation of the very reality that he or she constructs at the moment of witnessing an event within a specific context. A journalistic text thus does not merely create the archive, but works as the repertoire that invites us to participate in a continuous meaning-making process during subsequent memory constructions. Based on media coverage of the Korean War in 1950 by Life and Time magazines, this article identifies five plausible scenarios of how US journalists performed acts of witnessing the unknown battlefield of Korea. This exploration prods readers to critically appreciate both the journalist’s role as memory agent and the journalistic text as the repertoire in our act of remembering.

On the Doorstep of Europe: Asylum and Citizenship in Greece by Heath Cabot (review)

Heath Cabot, On the Doorstep of Europe: Asylum and Citizenship in Greece. Philadelphia: University of Pennsylvania Press, 2014. 272 pp.On the Doorstep of Europe is an intelligently written, theoretically informed ethnography of an original and important subject: the process by which undocumented migrants apply for in Greece after what are often harrowing journeys from Africa, the Near East, and South Asia. Heath Cabot presents a perceptive analysis of the regime of political asylum in Greece, which draws on Victor Turner's (1980) concept of to explore how seekers, members of humanitarian NGOs, and government bureaucrats attempt to negotiate the moral and legal dilemmas confronting them as more and more refugees from around the world seek safe haven from poverty, discrimination, and war. The result is a wonderful example of interpretive anthropology at its best-making sense of the way other people make sense of the world.Cabot clearly sets out all the background information necessary for us to understand the detailed ethnographic analysis that follows. She points out that of all the countries in the European Union, Greece has the most illegal immigrants, the most cases of human trafficking, and the highest number of applicants. It also has staggeringly low refugee recognition rates (4), with the highest number of rejections and the highest number of backlogged cases. Cabot describes the impact of the 2003 Dublin II Regulation, according to which seekers are obligated to apply for protection in the country where they first enter the European Union and are subject to removal to that country if they are apprehended in another EU state. Cabot also notes that seekers who are apprehended by Greek officials on Aegean islands near the Turkish coast or along Greece's land border with Turkey in Thrace are sent to Athens.Athens, therefore, is one of the main focal points of the refugee crisis that currently faces the entire European Union.The book is well-organized; its structure clear and effective. It is divided into three acts: Governance, Judgment, and Citizenship. Chapter 1 presents an overview of the problem of in Greece and examines the country's failure to manage its borders in ways that meet EU standards. Chapter 2, Documenting Legal Limbo, examines the material culture of and citizenship, focusing on the written documents that play a central role in the social drama that is Greek bureaucracy. Grapheiokratia, the Greek term for bureaucracy, is a word whose etymology refers literally to the power of writing. Without written documents, seekers in Greece simply do not exist.Of all the documents involved in the process-application forms, case files, appeals records-the one that is most revealing is the pink card. It is a perfect symbol of the seekers' liminality, a term that is surprisingly absent from Cabot's analysis, especially in light of her use of Turner's work on dramas. The pink card, the first document seekers receive when they enter Greece, is actually a deportation order. It states that the bearer must leave Greece voluntarily within 30 days. Many seekers, however, view their pink card as a temporary residence permit that gives them permission to stay in Greece for a month. Some seekers, in fact, ask if they can renew their deportation order (47). The irony here is a delightful example of the unpredictability created by Greek bureaucracy, which results from misinterpretations that arise in the interplay of official and unofficial meanings. At times, it seems, this social drama approaches perilously close to theater of the absurd. Cabot's discussion of the Greek state's concern with documenting its citizens would have benefited from a brief mention of the files (fakeloi) that right wing Greek governments kept on citizens suspected of left wing sympathies from the Civil War (1946-1949), through the Greek military dictatorship (1967-1974), until they were destroyed in 1989. …

The Silver Tassie by Sean O’Casey (review)

Reviewed by: The Silver Tassie by Sean O’Casey Robert Hubbard The Silver Tassie. By Sean O’Casey. Directed by Howard Davies. Royal National Theatre, Lyttelton Theatre, London. 21 May 2014. William Butler Yeats did have a point: on the page, the stark and impenetrable expressionism of act 2 of Sean O’Casey’s The Silver Tassie harshly contrasted with the customary word-drunk realism of the other three acts. Of course, Yeats’s 1928 decision to reject O’Casey’s fourth submission to the Abbey Theatre deeply damaged the previously fertile relationship between Ireland’s premiere theatre and one of her favorite sons. In the conventional wisdom of many critics and historians, the relatively scarce production history of The Silver Tassie has since vindicated Yeats’s theatrical instincts. Eighty-six years later, however, the Royal National Theatre contributed a counterpoint to the historical argument regarding the stage-worthiness of The Silver Tassie. If Howard Davies’ stunning production at the Lyttelton Theatre failed to completely prove a theatrical injustice, it at least succeeded as compelling theatre. His staging achieved this dramaturgical redemption by creatively fusing the internal rift between O’Casey’s realistic social drama with his expressionistic liturgy of act 2. While messy and still a little odd, the production soared. Act 1 began conventionally enough, resembling the poetic naturalism of O’Casey’s Juno and the Paycock and The Plough and the Stars. A handful of colorful Dublin eccentrics wait in a dilapidated flat for most of the neighborhood men to return from a championship football game. The men finally arrive with the coveted victory cup (the Silver Tassie), led by their dynamic star, Harry Heegan, charismatically played by Ronan Raftery. They do not savor victory for long, however. A train soon departs to take the twenty conscripts to fight in the trenches of World War I. But before they board, the colorful group find time to debate the finer points of divine salvation, shrug off troubling examples of domestic abuse, sing melancholy ballads, and drink. Pure O’Casey. Convincing designs supported the realistic style of act 1. In a nod to the naturalist, the audience smelled, heard, and saw a small slab of blood-red beef sizzle and burn on a central stove. Vicki Mortimer’s scenery, faithfully illuminated by Neil Austin’s lighting, effectively captured the poverty of a tenement slum: the crumbling and water-stained walls vividly illustrated what happens to a low-rent flat in a city prone to rain. Supported by John Bright’s authentic costumes, everything appeared real and true in Dublin until . . . Act 2 exploded onto the scene, literally. A series of uncomfortably loud flash-bombs erupted so brightly that they lingered as blue spots in the audience’s vision. In full view, the environment impressively shifted from the Dublin flat into a shell-ripped urban jungle somewhere in war-ravaged Europe. The visual and auditory assault eventually ended to reveal a lone Irish soldier standing in the smoke and wreckage. With the ritual posture of a cantor in a cathedral, the soldier—identified in the program as the Croucher—chanted lyrically to the Lyttelton audience: “Can this exceeding great army become a valley of dry bones?” [End Page 122] Click for larger view View full resolution Judith Roddy (Susie Monican) and Ronan Raftery (Harry Heegan) in The Silver Tassie. (Photo: Catherine Ashmore.) Click for larger view View full resolution Ronan Raftery (Harry Heegan) and Josie Walker (Mrs. Heegan) in The Silver Tassie. (Photo: Catherine Ashmore.) [End Page 123] A procession of fellow soldiers eventually joined the Croucher in an antiphonal mass of ritualized anti-war rhetoric and stylized movement. While played by the same actors from the previous act, individual identities mostly slipped away into the machine-like collective of military service and suffering. Midway through the act actresses appeared in this masculine world, but also without clear identities. Davies’ staging brought the women in on stretchers as wounded soldiers, all visible skin of their writhing feminine forms wrapped in gauze; their alto and soprano voices added timbre to the ceremonial chanting. Over the course of act 2, a few characters from the previous act revealed themselves from within the...

Inviting the Breach: Confronting Homophobia in the Name of Social Justice

In 2008 California was divided over Proposition 8, a measure designed to prohibit same-sex marriage. In this article, we focus on a university classroom setting to explore how discussions about Proposition 8 and homophobia led to what Turner (1986) termed a social drama. Drawing on student personal narratives as they moved through the stages of social drama, we provide a poignant example of the conflict that may erupt when homophobia and heteronormativity are part of the curriculum. After documenting the social drama, we offer pedagogical strategies and note the strategic ways Christian, hegemonic discourse is utilized during discussions about homophobia.

Triangular Landscapes: Environment, Society, and the State in the Nile Delta under Roman Rule by Katherine Blouin

200 PHOENIX been given to the particular Roman understanding of jurisdiction and magistrate’s discretion . Another major theme of this chapter is the use of “‘signalling’ words” (151) to situate complaints within the legal system, which is central to an exemplary discussion of the development of a petition from draft to clear copy (P.Cair.Goodsp. 15). In Chapter Six he is concerned with the use of violence “to redefine and restructure . . . interpersonal relationships” (201), arguing that it was often used “in a symbolic, public, and communicative way” (176). Particular attention is paid to family relations, with a careful case study of the conflicts of Aurelia Taesis (P.Cair.Isid.). Bryen’s approach is influenced by Chris Wickham’s important study of Courts and Conflict in Twelfth-Century Tuscany (Oxford 2003), in which courts are conceived as “social drama” aimed at creating local consensus; another fruitful mediaevalist comparandum is now provided by the work of Hannah Skoda (Medieval Violence: Physical Brutality in Northern France 1270–1330 [Oxford 2013]) on “violence as communication.” The monograph is accompanied by two appendices. The first (209–212) is a brief but lucid introduction to papyrological practices for a lay person, aimed at emphasizing the uncertainties behind the printed text. The second (213–280) is a translation of 135 legal documents concerning violence, including all the extant petitions, and a few other related pieces, effectively a mini-sourcebook. It is arranged in roughly chronological order from BGU IV 1105 (11/10 b.c.) to SB VI 9239 (a.d. 548). This will no doubt be the part of the book most in use for the purposes of undergraduate teaching, and as far as this reviewer has been able to check, there are remarkably few slips; in 251, no. 83 (SB IV 7464), for Valerius Titianus read Valerius Titanianus, and the translation of \p’tropow with “procurator” seems misleading in English for a private estate manager. An important treatment of violence in the law of papyri by H.-A. Rupprecht (“Hybris: Anmerkungen zu einem Delikt in den Papyri der ptolemäischen und römischen Zeit,” in S. Buchholz et al. [eds.], Überlieferung, Bewahrung und Gestaltung in der rechtgeschichtlichen Forschung [Paderborn 1993] 269–275), and the analysis of SB XII 10929 (somewhat misleadingly discussed at 150–151) by A. Jördens (“Eine kaiserliche Konstitution zu den Rechtsprechungskompetenzen der Statthalter,” Chiron 41 [2011] 327–356) should have been added to the bibliography. General index and index locorum are lumped into one, with no great loss to convenience; less conveniently, it seems to exclude the papyri not in Appendix II (e.g., P.Lips. I 40, discussed on 136, where Keenan’s translation quoted misses “After he had been spared” at the beginning of the last sentence). Bryen has achieved an impressive combination of a sophisticated theoretical framework and close readings of the papyri. His book opens up a new field of study and it ought to be read and reflected upon by anyone who is interested in the place of law and justice in Roman social history. It is to be hoped that it will generate further fruitful debate. St John's College, Oxford Georgy Kantor Triangular Landscapes: Environment, Society, and the State in the Nile Delta under Roman Rule. By Katherine Blouin. Oxford: Oxford University Press (Oxford Studies on the Roman Economy). 2014. Pp. xxvi, 429. Although Egypt is the richest place in the ancient world for preserved papyri documents, papyri do not survive well in the damper conditions of the Nile Delta. An unusual concatenation of circumstances has resulted in the existence of ninety papyri for the city of Thmouis in the Mendesian nome (administrative district) of the eastern BOOK REVIEWS/COMPTES RENDUS 201 Delta, covering the third century b.c. to the fourth century a.d. Most remarkable is the Carbonised Archive of Thmouis (CAT) consisting of around seventy fragments, but there are also fifteen documents of the Zenon archives dealing with this area during the second century b.c., the Revenue Laws papyrus and P. Oxy. XLIV 3205, a land sowing register from the early fourth century a.d. concerning the nome. Using this rare archive, Katherine Blouin has been able to construct...

Algunas fuentes periodísticas para el estudio del teatro de Francisco de Viu = Some sources for the study of theatre Francisco Viu

By using sources that journalism provides, this article discusses features of the life and work of Francisco de Viu ―a playwright of pre-war social drama little known by critics, but admired and respected within the literary atmosphere of the time. Travelling through different cultural sections of the newspaper ABC, we came across an autobiographical text, an obituary, and numerous self-critical and dramatic criticisms. These, undoubtedly widen the information known about this famous author, and also allow us to value the extent of his success as a representative social drama playwright.

中国農村の「災害駆逐、平安回復」の祭祀:組織・儀礼・演劇

中国農村の「災害駆逐、平安回復」の祭祀:組織・儀礼・演劇

Home in the Dramatic World of the Father by August Strindberg

Strindberg’s The Father Home, within the dramatic world of the text in question, becomes a space which the characters, especially Laura inscribes rather than just inhabits. The metaphor of home is a popular metaphor in literature, especially in the postcolonial and social drama of Ibsen and Chekhov and other such playwrights of the modern era. House or home plays a significant role in plays like Hedda Gabler, Doll’s House, The Cherry Orchard and also in other plays by Strindberg (2006) like The Dance of Death and to an extent in Miss Julie too. In The Father however, it changes its connotations, especially with respect to Laura’s character as the plot develops. It becomes from a place of oppression to that of power for her and finally a Sibyl’s cave where she uses her sorcery and creativity in a somewhat twisted way to mould things according to her desire. This paper seeks to critically analyze the space which defines “home” in The Father, how it is used and consequently differed in meaning through the intervention of Laura. For this purpose it will draw upon “The Parables of the Cave” written by Sandra M.Gilbert and Susan Gubar. This essay talks about how the simile of the cave corresponds with womb and the female abode.

Re-escritura discursiva del terrorismo a través del cine español contemporáneo: Ocho apellidos vascos (2014) y La revolución de los ángeles (2014)

The year 2014 saw the release of two films on the topic of terrorism from a perspective not yet adopted in Spanish fictional works: the comedy Ocho apellidos vascos, by Emilio Martinez-Lazaro, and La revolucion de los angeles, the social drama depicting the terrorist as a social activist, by Javier Silvestre, Oriol Clavell and Marc Barbena. This article explores the ways in which both approaches move away from more traditional forms of representing terrorism, such as the thriller or the emotional tribute to the victims, and to what extent the success of both films is a result of their unique perspectives on the question of terrorism.

The Fall of a Charismatic but Destructive Leader

What are the condusive conditions for the fall of a charismatic but destructive leader? In this paper I borrow a framework from the field of anthropology to view the ‘legitimacy crisis’ as a relational crisis between the leader and his/her followers. Utilising the anthropologist Victor Turner’s social drama analysis (SDA) as my framework, I analyse the weakening relationship and identify the boundary conditions for the fall of this leader. I conceptualize the ground for the survival of the organisational unit and locate them to be in ‘generic communitas’. I highlight the opportunities for collective leadership for and after the fall of the destructive leader and argue for the subsequent emergence of a reform leader and explain the task ahead for the collective. Overall, I acknowledge the difficulties in achieving commonality in goals, aspirations and values and propose how the changes in leadership structures and priorities can occur .

Ecology Emerges: A Disciplinary Social Drama

Ecology Emerges: A Disciplinary Social Drama

Tweeting, Texting, and Facebook Postings: Stirring the Pot with Social Media to Make Drama - Case Study and Participant Observation

This study of adolescent social drama is located at the intersection of research on adolescent peer relationships, group behaviors, youth culture, and mediated communication. An emergent construct, drama has been conceptualized as social interactions characterized by overreaction, exaggeration, excessive emotionality, prolongation, inclusion of extraneous individuals, inflated importance, and temporary relevance. This case study and participant observation involve a 15-year-old, white, middle class female and her mother. The purpose was two-fold: To determine if the events described map on to existing understandings of drama and to develop emergent themes and hypotheses through grounded theory analysis and ethnographic observation that might expand knowledge of drama. Findings suggest that this case reflects current understandings of drama. Emergent themes suggest that drama may also involve highly emotional group experiences and that while drama may be temporary and short-lived, it may also create a backdrop for additional problematic events.

Morais do drama urbano: violência policial, discurso midiático e produção de contos morais

Este trabalho analisa a cobertura midiática do assassinato de Evandro João da Silva, um dos "líderes" do Grupo Cultural AfroReggae (GCAR), ocorrido no Centro do Rio de Janeiro, em outubro de 2009, em consequência de reação a um assalto. A análise baseia-se na interpretação de que as propostas de intervenção social do GCAR constituem um "projeto moral" ancorado na noção de responsabilidade para com o outro. Este projeto seria desenvolvido, no plano discursivo, através de pequenos "contos morais", que têm como protagonista o sobrevivente, cuja marca emocional é a esperança. Porém, a morte de Evandro insere um dado novo nestes contos: seu protagonista é um mártir, associado não à esperança, mas à utopia. Tomamos este escândalo de opinião pública como um drama social, um momento em que a "sociedade" (neste caso a carioca) discute a si mesma, ou, dito de outro modo, como um ritual, nos termos de Geertz (1978), uma "história que a sociedade conta sobre ela mesma para si mesma". Qual seria então a "moral" desta história que coloca o GCAR diante de um desafio: lidar com a emergência de um mártir em suas fileiras de sobreviventes? O material analisado é a cobertura do evento no jornal O Globo, no período de 19 a 24 de outubro de 2009. O foco da análise está nas representações da instituição policial presentes nas falas dos diversos atores sociais participantes do debate: autoridades, especialistas, membros do grupo e leitores do jornal.

The face of multiculturalism in Korea: Media ritual as framing in news coverage of Jasmine Lee

In 2012, Jasmine Lee, a minor media celebrity of Filipino origin, became the first non-Korean appointed to national office in the Republic of Korea. To understand the media’s framing of the meanings of this unprecedented event within the cultural context of South Korean race ideology, we analyzed all news and editorial coverage by the nation’s three largest English-language media outlets: The Korea Herald, the Korea JoongAng Daily, and The Korea Times. Using Victor Turner’s social drama theory as a methodology for this critical framing analysis, we focused on the use of on-line news sources by all three outlets. Explicating the framing process surrounding Jasmine Lee allowed us to understand the hegemonic role played by Korean journalism in the reproduction of the ongoing process of multiculturalism, as well as the media’s reproduction of its own powerful role in that cultural, ideological, economic, and legal process.

Heckling — A mimetic-interpersonal perspective

The present paper aims to model the interactional operation of heckling, which has received little attention in impoliteness and interaction studies, despite the fact that studying this phenomenon has various advantages for the analyst. In order to fill this knowledge gap, I approach heckling by combining Turner’s (1982) anthropological framework with my interaction-based relational ritual theory (e.g. Kádár 2012, 2013; Kádár and Bax 2013). Following Turner, I define heckling as a ‘social drama’, which is evaluated by its watchers as ‘judges’. In accordance with my relational ritual framework I argue that heckling is a mimetic ritualistic mini-performance, which is inherently interactional as it operates in the adjacent action pair of the heckler’s performance and the public speaker/performer’s counter-performance. Adopting Turner’s terminology, heckling is a ritualistic performance of ‘anti-structure’, i.e. it upsets the regular social — and consequently interactional — structure of a setting. Successful counter-performance is a ritual of ‘structure’, which restores the normal social structure of the event, as the public speaker/performer regains control over the interaction. Through the social actions of performance and counter-performance the heckled and the heckler aim to affiliate themselves with the audience, who are ‘metaparticipants’ of the ritualistic interaction, and with the watchers/listeners in the case of video/audio-recorded interactions, who can be defined as ‘lay observers’ (cf. Kádár and Haugh 2013). Approaching heckling as a theatrical type of relational ritual helps us capture various complexities of this phenomenon, such as its relationship with certain interactional settings and metaparticipant expectations/evaluations, and its interface with related phenomena such as impoliteness.

New Dimensions to Pastoralists-Famers Conflicts and Sustainable Agricultural Development in the Niger-Delta: Agadama-Uwheru Community, Delta State in Perspective

The Niger Delta in Nigeria is known for conflicts linked with control of oil related natural resources, and militancy but not with the pastoralists-farmers conflicts which has recently surfaced in this region. Agadama is a coastal agrarian community in Uhweru clan, Ughelli North Local Government Area of Delta State, Nigeria. Pastoralists are usually associated with their traditional arid environments but their recent presence in southern humid environments brought new dimensions to the age-long conflicts with their farming neighbours. The pastoralists-farmers conflicts have a long history in Nigeria as it is often linked to competition for natural resources like pasture and water. This is an ethnographic study which employed qualitative methods of data collection such as participant observation, in-depth and key informant interviews anchored on Victor Turner’s theory of social drama and Symbolic Interactionism as explanatory framework. Data analysis was done using ‘thick description’ of observed phenomenon ensuring objectives of the study were met. Study revealed that the recent invasion by pastoralists into the oil-rich Niger-Delta region of Nigeria has altered the once peaceful milieu of the agrarian community; thereby leading to a gradual collapse of Agadama subsistence base and impeding gradual growth of sustainable agricultural development in the community. New dimensions to the pastoralists-farmers conflicts in the Niger-Delta is the rape of female farmers and shooting on sighting anyone found spraying chemicals on grasses/weeds as they serves as pastures for cattle. It concludes that government intervention is often reactionary by sending police/military but recommends presumed more lasting solutions.

Resistance, Ritual Purification and Mediation: Tracing a Dayak Community's Sixteen-Year Search for Justice in East Kalimantan

In recent discussions on access to justice in Indonesia, little work has been done that illuminates the processes of conflict which inevitably arise in attempts to obtain justice based on informal actions and results, rather than on recourse to institutions. While many scholars and donor agencies tend to create the impression that non-institutional processes of justice-seeking are entirely unpredictable or ungoverned by regularities, in this article I seek to fill this gap by exploring patterns of conflict in East Kalimantan that are associated with Amartya Sen's realisation approach to justice-seeking. I will look into a conflict between a group of Dayak villagers and an oil palm company in East Kalimantan which started sixteen years ago with the establishment of three oil palm estates on customary land, causing complex changes to local people's lives as well as several injustices. The villagers pursued a variety of strategies to gain redress, which I describe as active resistance, ritual purification and mediation. In the analysis I draw upon Turner's concept of social dramas. I show that considering the long-lasting conflict in East Kalimantan as social drama helps to refine socio-legal approaches to conflict and access to justice as processual. The article will contribute to models of justice-seeking that can be associated with Amartya Sen's model of justice as realisational.

Performance as Evidence in Chronic Disease: Measuring health status and treatment outcomes through the quantification of performance

This paper is not about performance art. Nor is it about theatrical performances, rituals, festivals, social dramas or performances of the self. It is certainly not about speech acts. ‘[W]hich perf...

Anti-Mimetic Realism. Principles and Practice of the New Social Drama

La genese du « nouveau drame social » (F. Schosler) indique un interet croissant des theâtres allemands pour la realite sociale ; ce nouveau genre dramatique peut etre defini surtout comme une reaction directe des dramaturges qui combattent ainsi la « crise du theâtre » dont on parle depuis les annees 1990. Des lors, les auteurs, tenant compte des appels des professionnels du theâtre qui reclament un « nouveau realisme » (Th. Ostermeier), se consacrent de plus en plus aux questions sociales. Les caracteres qu’ils montrent sur scene sont souvent des gens qui souffrent de la transformation socio­economique recente et qui se trouvent abandonnes et marginalises, vivant hors de la societe comme des « exclus » ou meme des « superflus » (H. Bude). Toutefois, ils contournent systematiquement les effets d’illusion et les offres d’identification en soulignant le caractere artificiel de la representation dramatique. Pour arriver a ce but, ils integrent meme des elements du theâtre postdramatique dans leurs pieces. Finalement, un tel « realisme anti-mimetique » rompt avec l’idee d’une simple representation et prend une dimension politique en ce qu’il oblige les createurs de theâtre aussi bien que le public a reconsiderer la facon dont on percoit et construit la realite. L’article va illustrer cette nouvelle approche en prenant comme exemples les textes suivants : Das letzte Feuer (2008) de Dea Loher, Das blaue, blaue Meer (2009) de Nis-Momme Stockmann et tier. man wird doch bitte unterschicht (2010) de Ewald Palmetshofer.