Postdramatic Theater

Bu çalışma, kültürlerarası tiyatronun disiplinlerarası bir anlayış ile nasıl ele alındığı üzerine güncel bir model olan Co.LAB4’u merkezine alır. Bu model Tiyatro4’ün güncel kültür hareketi perspektifiyle tasarlanmış bir araştırma projesidir. Co.LAB4 modeli, kültür ve sanat alanında ortak işbirlikleri gerçekleştirme perspektifiyle tasarlanan ve ilk araştırma örneği olan Postdramatik Atölye ile araştırmalarına başlamıştır. Atölyede Hollanda’dan Theater Rast, Türkiye’den Tiyatrohane, Tiyatro Salt, Tiyatro Terminal, Tiyatro4 gruplarının katılımı ile birlikte postdramatik yöntemler araştırılmış ve sonuçları Belçikalı yazar Paul Pourveur’ın Arındırma metni üzerinden seyirci ile paylaşılmıştır. Bu çalışmada, Co.LAB4 modelinin kuramsal temelleri, çağdaş tiyatronun ritüellere dönüşten kültürlerarasılığa varan süreci içinde değerlendirilmiştir. Çalışmanın temeli olan tiyatroda kültürlerarası bir çalışma modeli sorusuna, Patrice Pavis’in Kum Saati özelinde cevap aranıp Co.LAB4’un kültürlerarası izleği analiz edilerek çalışma sonuçlandırılmıştır.

Yeni söz: Türkiye’de laboratuvar tiyatrosu yaklaşımının 30 yıllık bir geçmişi olsa da görünür hale gelmesi son yıllara tekabül etmektedir. Bu bağlamda Tiyatro4’ün son 7 yıldır üzerinde çalıştığı ve 2018 yazında ilk atölyesine başladığı Co.LAB4 örneği kültürlerarası tiyatroda yeni bir araştırma modeli olarak karşımıza çıkmaktadır.

Anahtar kelimeler: Kültürlerarası Tiyatro, Tiyatro4, Co.LAB4, Pavis’in Kum Saati, Paul Pourveur


This study focus to Co.LAB4 in which an actual model on how intercultural theater is handled with an interdisciplinary approach. This model is a research project designed with the perspective of actual culture movement of Tiyatro4. Co.LAB4 has began its research with the Postdramatic Workshop, which was designed with the perspective of carrying out joint collaborations in the field of culture and art. With the participation of groups from Netherlands Theater Rast, from Turkey Tiyatrohane, Tiyatro Salt, Tiyatro Terminal and Tiyatro4 researched methods postdramatik in the workshop. And the results were shared with the audience through the Belgian writer Paul Pourveur's Bodypeeling text. In this study, the theoretical basics of Co.LAB4 model have been evaluated in the process from rituals to interculturalism of contemporary theater. To the question of an intercultural study model in the theater, which is the basis of the study, was searched an answer based on Patrice Pavis's Hourglass and the study was completed by analyzing the intercultural theme of Co.LAB4.

New suggestion: Theater laboratory approach in Turkey is a 30-year history even though its visibility has increased in recent years. In this context, the example of Co.LAB4, which Theater4 has been working on for the last 7 years and started its first workshop in the summer of 2018, emerges as a new research model in the intercultural theater.

Keywords: Intercultural Theater, Tiyatro4, Co.LAB4, Pavis’s Hourglass, Paul Pourveur

Besedilo kot scenarij za odrski dogodek Zgodovina tega, kar so pozneje poimenovali politično gledališče osemdesetih let, se je začela leta 1975 s povezavo dveh generacij: Dominika Smoleta, predstavnika kritične generacije Odra 57, in Duša-na Jovanovića, predstavnika performativne revolucije Pupilije Ferkeverk. Združili sta se v Žrtvah mode bum-bum, predstavi, ki je postala prelomna za Mladinsko gledališče, hkrati pa tudi za slovensko sodobno gledališče nasploh. Po Jovanovićevih pomembnih režijskih akcentih v Gleju, predvsem Spomeniku G, ter hkratnih akcentih postdramskega v predstavah gledališča Pekarna (Zajčev Potohodec v režiji Lada Kralja, Svetinov Gilgameš, Ristićev Tako, tako) se je z Žrtvami tudi znotraj »repertoar-nega« gledališča uveljavil popolnoma nov princip dela: Jovanovićevo besedilo kot scenarij, neliterarna gradnja predstave.

Over the last 15 years, Michael Frayn's play Copenhagen has spawned in discussions across the world amongst scholars from various disciplines – History, Science and Theatre. Of particular interest is the use of Memory in interpreting history. It has also resulted in rekindling interest in history of science. This article attempts a broad survey of directions of these discussions and also identified potential areas for further research.

La presente investigación se centra en el campo de la docencia dramatúrgica aplicada a un contexto de creación teatral contemporáneo, a través de la observación de las propuestas de tres dramaturgos-pedagogos, -Joseph Danan, Jean-Pierre Sarrazac y José Sanchis Sinisterra- y el análisis de la posible relación entre sus prácticas pedagógicas y los principios teóricos derivados de la era de la fragmentación dramatúrgica.
Para realizar este estudio, se propone como punto de partida, la idea de un cambio de paradigma en la concepción del drama moderno y contemporáneo, a partir de la crisis del drama teorizada por Szondi. Esta transformación se sustenta en la rapsodización del drama y en el desarrollo de diversas teorías vinculadas al teatro posdramático. Dentro de este contexto, surgen diferentes maneras de intentar explicar y comprender las prácticas de creación actuales, basadas en el uso de conceptos específicos, -como montaje o collage, heterogeneidad, devenir rapsódico -, y que avalan desde distintas perspectivas, la noción de era de la fragmentación en la creación dramatúrgica contemporánea.
Los dramaturgos-pedagogos escogidos -que además han teorizado sobre el asunto- se enfrentan desde distintos puntos de vista a este cambio de paradigma, convirtiéndose en referentes clave a la hora de reflexionar sobre la posible existencia de vínculos entre los principios teóricos de la era de la fragmentación y las aplicaciones prácticas que caracterizan sus propuestas docentes.

Trabajo de final de máster 2017 - Profesor Guía: Carles Batlle i jordà - Universitat Autònoma de Barcelona / Institut del Teatre - Máster Universitario en Estudios Teatrales - [TFM no publicado]

In examining the notion of entelechy – defined by Aristotle as the ‘final cause’ in drama – Zornitsa Dimitrova shows that depictions of ‘unsavoury’ content are only justified insofar as they are part of larger networks of aesthetic codification. The unsavoury cannot be an end in itself; neither can it function as an aesthetic category in its own right. Rather, it is a means related to pathos, or suffering, in Greek tragedy and bībhatsa, the ‘odious sentiment’ of the Sanskrit drama. Within such networks of codification, the purpose of the unsavoury is to carry forward the drama to an emotionally uplifting end: katharsis in the Poetics and ananda in Nāṭyaśāstra. This purposiveness – already visible in the entelechial nature of the dramatic plot – relates to a concept of mimesis implicitly understood as a term actional and interactionist in character. But only with the emergence of postdramatic theatre and the dissolution of plot does the unsavoury begin to function as an aesthetic category in its own right.

This study examines how the notion ‘postdramatic theatre’, which gained importance after the publication of Hans-Thies Lehmann's book Postdramatic Theatre, is perceived within the context of twenty-first century theatre in the UK. Although the release of the English publication of the book was delayed compared to other languages, the term ‘postdramatic’ has been frequently applied to contemporary theatre practices in the UK. Lehmann's concept has faced criticism from British scholars. Many of them disapproved of the concept postdramatic theatre because Lehmann's position on theatre writing and playwrights was ambiguous, and he did not fully theorize the position of texts in postdramatic theatre. This study mainly considers criticism about postdramatic theatre, specifically the British contemporary theatre from the late 1990s to the early 2000s, when the issue of theatre texts was reconsidered among theatre academics and practitioners. Taking into account British playwrights such as Martin Crimp and Sara Kane, who are considered as representative postdramatic writers, we need a recalibration of writers as postdramatic. Moreover, this study points out that one of the biggest changes in twenty-first century British theatre has occurred in the relationship between the stage and audience. Again, Postdramatic Theatre does not clearly address this issue. Examining Tim Crouch's radical An Oak Tree as an example of the change in contemporary British theatre, this study concludes that we need to extend the concept of postdramatic to apprehend the spectrum of twenty-first century theatre in the UK.

În experiența mea ca actriță, am fost întodeauna curioasă să descopăr diferitele forme de expresie verbală în teatru, iar teatrul actual oferă o multitudine de variante de joc cu conținuturi ascunse în text și în cuvinte, iar posibilitatea mea de mă putea plimba prin universurile a două limbi materne, mi-a deschis orizonturi noi spre lumi teatrale noi, care pentru mine aduc la comun caracterul universal al teatrului, odată cu pătrunderea în limbajul său specific.
Teatrul contemporan, privit în dimensiunea sa spectacular, este un fenomen care fascinează lumea teatrală prin permanenta sa schimbare și reconstrucție. Cercetările literare și teatrale analizează și scot în evidență grija pentru un nou limbaj artistic, capabil de a redefini existența umană însăși, încercând să anticipeze direcția acestui nou val. Având în vedere tendințele comportamentale ale societății actuale, observăm cum comunicarea umană este pusă sub semnul îndoielii, fapt care încurajează experimentarea cu forme noi de text, dezvoltarea mai multor planuri de enunțare. Criza limbajului articulat a deschis scena autorilor curioși să examineze comunicarea umană, urmărind eliminarea factorilor considerați drept artificiali, inițiind astfel noi metode de scriere.
Acest aspect al metamorfozei textului de teatru m-a fascinat și m-a intrigat în aceeași măsură, odată cu descoperirea scenei teatrale austriece prin vizionarea spectacolelor după texte de Thomas Bernhard, Peter Handke și Elfriede Jelinek. Dintre autorii austrieci am rămas cu o acută curiozitate de a intra în lumea textelor scrise de autoarea Elfriede Jelinek, care, prin referințele ei și stilul subversive, fac din incursiunea în analiza textelor ei, aparent haotice și greu de deslușit, un labirint de înțelesuri și emoții, care, pentru un actor poate reprezenta încă o piesă de puzzle adăugată întregului din lumea teatrului. La baza cercetării mele stă, pe lângă încadrarea și analiza textelor scriitoarei Elfriede Jelinek în teatrul postdramatic, lucrarea Drama ca deranj (Drama als Störung) de Teresa Kovacs, de asemenea analiza și receptarea punerilor în scenă a pieselor scrise de Jelinek, din punct de vedere regizoral, dramaturgic și din perspectiva jocului actoricesc.

The aim of this paper is to do a political research (polis: the city, the
culture, the homeland) about the patterns and characteristics of the current postheatre in Spain (through its best-known playwrights) and compare them with the differentiating notes of the US post-dramatic television series. Along the way, it is described and also explored the origins of the Spanish post-drama from the Middle Ages through the Golden Age, and this in a way that this dawn of festive and popular
character (unlike the technique and intellectuality of Greece) creates an individualistic and libertarian atmosphere in the stage. Accordingly, the Spanish post-dramatic universe breaks with the classic conventions and connects with the post-series television drama of the USA, which thus separates itself from its Elizabethan, and therefore Saxon, tradition. As a result, paths are opened up in order to find ways for popular and commercial seduction and to ensure the future of the industry and dramatic art in the USA based on the cultural identity policy in the realm of the Spanish language.

TR
Batılı tiyatro konvansiyonu, tiyatro etkinliğini seyirlik bir sanat olarak tanımlar: tiyatroda eylemek oyuncuya, seyretmekse seyirciye aittir. Öte yandan tiyatronun birlikte oynamaya ve karşılıklı etkileşime dayalı bir özü vardır. Batılı konvansiyon, karşılıklı etkileşime dayalı bu özü seyirlik bir sanat olmak adına neredeyse unutmuştur.
Bu çalışmada, tiyatronun unuttuğu özünün dijital tiyatro aracılığıyla yeniden açığa çıktığı öne sürülecektir. 2020 Koronavirüs Pandemisi sırasında gerçekleştirilen Map to Utopia (Platform Tiyatro & Fringe-Ensemble) ve Altyazıları Yüksek Sesle Oku (Onur Karaoğlu) isimli dijital teatral girişimler, tiyatroya özgü mevcudiyet koşulu, karşılıklı etkileşim, canlılık gibi nosyonlara odaklanılarak incelenecek ve tiyatronun ontolojik yapısından doğduğu varsayılan konvansiyonel yanıtlar üzerine yeniden düşünülecektir.
EN
The Western theatre convention defines theatre as the art based on looking. In theatre, while acting belongs to the actor, watching belongs to the audience. On the other hand, the theatre has an essence based on playing together and mutual interaction. The Western convention has almost forgotten this essence based on mutual interaction for being an art of spectacle.
In this study, it will be argued that the theatre’s forgotten essence is revealed again through digitalized theatre. Map to Utopia (Platform Tiyatro & Fringe-Ensemble) and Read Subtitles Aloud (Onur Karaoğlu), the two digital theatrical attempts which took place during the 2020 Coronavirus Pandemic, will be examined by focusing on notions of presence, mutual interaction and liveness. In light of these examples, the conventional responses assumed to arise from the ontological structure of the theatre will be reconsidered.

Inka Wasi (La casa del hombre), texto de teatro posdramático. Editado por Ñaque. 2017. Inka Wasi es una obra del posteatro editada por Ñaque, en España, cuyo tema gira alrededor de una idea: la destrucción o, si lo prefieren, la caída de la casa del hombre y su sustitución por otra cuyo entorno no es el natural o el más satisfactorio para el ser humano. Llaman la atención sus arquitecturas constructivas que se corresponden con un lenguaje decididamente contemporáneo y al mismo tiempo tan connatural al tema que se aborda.

Corporeity can be shown as an important study element of the relations between individuals, indicating a singular modus for the development of cognitive-affective processes. The aim of this study was to develop a reflection, starting from the analysis of a creative process that involved the realization of a poetic-theatrical experiment, in order to investigate how the dynamics between the word and the subtext were processed, using corporeity as argument for the explanation of the signification process. The thesis that I defend is that corporeity is the element that propitiate the process of signification, and the subtext being the in-between-place of this communication, establishing this dynamic as a pedagogy of the theatrical event. The dramaturgy of corporeity proposes a working way, originating from an intense intimate dynamization between the sensorial, corporeal, affective, aesthetical, esthesical, volitional, synaesthesical and imagery perceptions developed at the moment of the actors’ creative process. The working procedure addressing the dramaturgy of corporeity would also be a methodological alternative for the actors to learn to understand themselves as artists-educators and on how to make their work a potentiator of the link between these two words. In this study, the poetic-theatrical experiment, based on the text Prometheus Chained, by Aeschylus, was carried out as fieldwork, in order to foster the reflexive motes necessary for understanding the moments of aesthetic living, essential to an understanding of how pedagogy of the theatrical event works. With this work, it was possible to elucidate a differentiated way of operating the cognitive-affective processes, which occurs through the relations of corporeity. This fact made it possible to establish a singular means of educational, cognitive-affective processes, detached from traditional meanings in the field of education which usually think of them when focused through cognitive cognitive-encephalic analyzes. Thus, it was possible to observe the experiential relationships that occur during the theatrical event as an important field in the area of education, which has not yet received an explanatory approach as developed in this research.

This article reevaluates Michael Fried’s antitheatrical aesthetics—expounded primarily in “Art and Objecthood” (1967) and Absorption and Theatricality (1980)—by constellating Fried’s work alongside Péter Szondi’s writings on modern drama and Paul de Man’s theories of allegory. This theoretical juxtaposition reveals, first, that the phenomenon Fried describes as “absorption” parallels a form of mimetic, bourgeois drama hegemonic in European theatre from the time of Diderot to Ibsen, and second, that Fried’s concept of “theatricality” corresponds significantly to the notion of 􏰀allegory􏰁 developed in de Man’s work. Fried’s writings thus advance a theory of modernity organized around the rise and fall of mimesis in performance, one in which mimetic drama comes programmatically to eclipse allegory and theatricality during the Enlightenment, only to then fall into crisis around the turn of the twentieth century with the rise of modernism, understood as a moment marked by the reemergence of allegory and theatricality in the arts. In this way, Fried’s views of theatricality overlap considerably with the origins of postdramatic theatre demonstrated influentially in theatre studies by Hans-Thies Lehmann, and these overlaps require our field to rethink now well-established positions on Fried and Lehmann alike. A new view of theatre history is required, one that accounts both for the emergence of supposedly postdramatic forms and for this general reappearance of theatricality and allegory in modern times.

Los cambios dramáticos (posdramáticos) que están teniendo lugar en los audiovisuales de ficción de los Estados Unidos sólo suceden cada muchos cientos de años. El propósito de esta investigación es poner de manifiesto las características del cambio dentro de la naturaleza organizativo dramática (posdramática) de los teleseriales citados. Discusión. El paso desde un modelo esencialmente dramático a una composición/parataxis de naturaleza posdramática nos obliga a analizar la nueva organización de los teleseriales estadounidenses y sus principales notas. Hallazgos. Los cambios fundamentales de esta nueva constelación son significativos en el segmento de la organización del (pos)drama; el sentido de la composición cede su preponderancia a la yuxtaposición; y ambos (composición y parataxis) tratan de aventurar el orden del caos a través de la importancia que se concede a la comunicación y a la tensión dramática. Método. Se trata de hacer un análisis comparativo entre el posdrama norteamericano actual y su deconstrucción conceptual a partir del modelo dramático (pasando por sus antecedentes en el barroco español).

The magnitude of the (post)dramatic changes that have been taking place in American audiovisual fiction only happen every several hundred years. The goal of this research work is to highlight the features of the change occurring within the organisational (post)dramatic realm of American serial television. Discussion: The transition from an essentially “dramatic” model to a postdramatic composition/parataxis urges us to analyse the new organisation of American television series and their main features. Results: The fundamental changes of this new constellation are significant in the organisational realm of (post)drama; the sense of the composition yields its preponderance to juxtaposition; and composition and parataxis try to venture the order of chaos by giving more importance to dramatic communication and tension. Methods: The study is based on the comparative analysis of contemporary American post-drama and its conceptual deconstruction based on the dramatic model (and its precedents in the Spanish Baroque).

Nach Hans-Thies Lehmann kann postdramatisches Theater als eine Konzeptualisierung von Kunst nicht als Repräsentation, sondern als Erfahrung des Realen (Zeit, Raum, Körper) verstanden werden (Lehmann: Postdramatisches Theater, 1999, S. 241ff). Außerdem weisen die Körperzentriertheit und die performativen Verflechtungen von Ritual-(Theater)Kunst-Realität in postdramatischen Formen stark auf ältere bzw. außereuropäische performative/rituelle Theaterformen hin. In diesem Zusammenhang schlägt Lehmann in Pia Janke / Teresa Kovacs (Hg.): „Postdramatik“. Reflexion und Revision eine „stärker transkulturell orientierte Betrachtungsweise“ vor. Er betont, dass „das dramatische Theater Europas eine Sonderentwicklung“ sei, weshalb ihm „die Relativierung des spezifisch europäischen Theatermodells durch transkulturell orientierte Forschung überaus wichtig“ erscheine (Janke / Kovacs, 2015, S. 45). Die Tagung eruiert die ästhetische und wissenschaftliche Reichweite dieser Sachlage.

The Nucleus of Arts, Languages and Subjectivities (NALS), located at
Education Faculty, in the Federal University from Pelotas (UFPEL), Southern Brazil, develops many activities in education, extension, and
research. The Project “Landless Daisies” consists in the production of a
theatre play with students from post-graduation and graduation together
with some artists in the city Pelotas/RS, Southern Brazil. The playwriting
tells about life histories and reports from women who are from the Landless Movement, in Brazil. The main focus of interest of this play shows the importance of women in this Movement and gender discussions in general society. The NALS develops its activities based on principles of Border Pedagogy and Aesthetic of Ginga. By doing works based on these principles, the members of the NALS can put on a practical level what is indicated in the theoretical presuppositions.

»Das Theater an der Ruhr war wie eine Explosion für mich. Vieles von dem, was ich heute als meins ausgebe, kommt daher.« Navid Kermani

1980 gründet Roberto Ciulli in Mülheim an der Ruhr gemeinsam mit dem Dramaturgen Helmut Schäfer und dem Bühnenbildner Gralf-Edzard Habben das Theater an der Ruhr – ein freies, aber staatlich subventioniertes Ensembletheater,  bei dem das Reisen und der Kulturaustausch zum Programm gehören. In über 35 Jahren besucht das Theater über 40 Länder und holt zugleich die Welt ins Ruhrgebiet, indem es Künstler aus u.a. Chile, Polen, Russland, Ex-Jugoslawien, Ägypten, Türkei, Iran und Irak nach Mülheim einlädt.

Die Monographie versammelt erstmals auf rund 1000 Seiten Material zu Roberto Ciullis Werdegang und Werk:

I. Von seinem Studium der Philosophie und seinem Mailänder Zelttheater Il Globo am Stadtrand, seiner Ankunft in Deutschland Mitte der 1960er-Jahre, seinen Weg vom Deutschen Theater Göttingen bei Hilpert und Fleckenstein über Köln in den 1970er-Jahren mit Hansgünther Heyme bis zu der Theatergründung in Mülheim an der Ruhr.

II. Gespräche zwischen Roberto Ciulli und dem Anthropologen Jonas Tinius: Sie sprechen über Theater als Mittel, um die Welt zu verändern, über Migration, Anthropologie und die Provinz, über eine universelle Sprache und das Clowneske, über eine selbstbestimmte Haltung zur Welt und einen fremden Blick auf sie.

III. Material (Texte, Gespräche, Dokumente) aus rund 40 Jahren internationaler Theaterarbeit im und mit dem Theater an der Ruhr.

Daneben gibt es Texte von Navid Kermani, Helmut Schäfer, Heinz-Norbert Jocks u.v.a., zahlreiche Kritiken, Reisefotos und einen Bildessay von Knut W. Maron.

https://www.alexander-verlag.com/programm/titel/430-der-fremde-blick-roberto-ciulli-und-das-theater-an-der-ruhr.html?fbclid=IwAR3UXVg6CmUuRQZQOUKKLjvWntizCsrzFkT99L-N1nhyEC04pm2ghPOvPQs

Der fremde Blick – Roberto Ciulli und das Theater an der Ruhr
Gespräche, Texte, Fotos, Material
Tinius, Jonas (Hrsg.)
Wewerka, Alexander (Hrsg.)

ersch. Mai 2020 / 1296 Seiten. 400 Abb.. 15,0 x 23,0 cm. Banderole. Fadenheftung. Hardcover. 2 Bände Mit zahlr. Abbildungen und einem Bildessay von Knut W. Maron
ISBN 978-3-89581-491-4
25,– €