Results 51 to 60 of about 168 (108)
Seeing the Seeing the Seeing: Understanding the Spectatorship of Forced Entertainment
The present paper aims to explore the crucial role of the audience in the artistic strategies of Forced Entertainment, a leading contemporary British experimental theatre troupe. The paper attempts to highlight the shift of the role of audience towards
Jan Suk
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Postdramatic Tendencies in Martin Crimp’s Fewer Emergencies
Martin Crimp has been one of the most prominent playwrights on the British stage since his first appearance. Although his oeuvre consists of absurdist and postdramatic plays, he translated classic texts such as Cyrano De Bergerac, Rhinoceros, The Seagull
Çağlayan Doğan
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Postdramatic Theatre and Political Theatre
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The Tempest at the Sea-Marge: Not-Acting on Nantucket
This essay examines an experimental, site-specific performance of The Tempest conducted over a three-day immersive trip to Nantucket, where undergraduate students and faculty collaboratively engage in a practice of “not-acting” Shakespeare’s play ...
Scott Maisano, Matthew Brown
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Translating Death to Think About Art: notes on the postdramatic scene
This article focuses on the (impossible) scenic presentation of death, raising new practical and theoretical challenges for contemporary performing arts. With this aim, we will consider some examples of the Argentine theatre in recent years: Los muertos (
Beatriz Trastoy
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This essay explores the potential mutual influences between educational/applied theatre and contemporary theatre in terms of convention, questioning the current disconnection between them in reality.
Shiu Hei Larry Ng
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Design Participation As Postdramatic Theatre
In our struggle to better understand and facilitate design participation we have turned our attention to the novel genre of Postdramatic Theatre (Lehmann 2006). In particular, this paper explores the intersections between Postdramatic Theatre and Participatory Innovation (Buur & Mathews 2008).
Ryöppy, Merja +2 more
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“Postdramatic Theatre”, a Decade Later
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The plurality of the theatrical text in a postdramatic tone will be evidenced from the comparison of a selection of texts by Rodrigo García and Sergio Blanco following the incomplete inductive method.
Eduardo Manuel Bravo Tena
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