Hans thies lehmann biography of rory
Woman Undone by Brokentalkers: Activism with a Difference
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James, Alla The introduction sets out the context and parameters in which radical adaptation for the stage operates within the current landscape of performance practice, and provides theoretical definitions and examples of relevant artistic agendas. It offers a rationale for the book’s structure, arguing that recontextualising and re-theatricalising the canon, alongside adapting for immersive theatre and as a collaborative, trans-cultural and intermedial practice, are some of the most frequent and potent lenses through which theatre artists approach pre-existing sources. The introduction also considers the limits of adaptability, the prevalence of repurposing ancient Greek drama, and the connection between stage adaptation and performing the maternal, as emblematic approaches for reinterpreting and actualising cultural heritage. Log in via an institution University of the Arts, London, UK Jozefina Komporaly Correspondence to Jozefina Komporaly . © 2017 The Author(s) Komporaly, J. (2017). Introduction. In: Radical Revival as Adaptation. Adaptation in Theatre and Performance. Palgrave Macmillan, London. https://doi.org/10.1057/978-1-137-48102-3_1 Anyone you share the following link with will be able to read this content: Sorry, a shareable link is not currently available for this article. Provided by the Springer Nature SharedIt content-sharing initiative Introduction
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A Lecture by Hans-Thies Lehmann
Hans-Thies Lehmann, born in 1944, was professor of theatre studies at the Goethe University in Frankfurt from 1988 until his retirement in 2010. Guest lectureships took him to the universities of Amsterdam, Paris III, Paris VIII, Vienna, Cracow, Tokyo, Madison, Berkeley and Kent. He has published numerous books on contemporary theatre, on the theory of the theatre, on aesthetic theory, on Bertolt Brecht and Heiner Müller and, most recently, an opus magnum of more than 700 pages: “Tragödie und dramatisches Theater” (Alexander Verlag, Berlin, 2013). He was a guest dramaturg for “Mount Olympus”, Jan Fabre’s 24-hour project on Ancient Greek mythology, which will see its world premiere at Foreign Affairs.
The notion of postdramatic theatre was established by Hans-Thies Lehmann in his book Postdramatic Theatre, summarizing a number of tendencies and stylistic traits occuring in avant-garde theatre since the end of the 1960s. The theatre which Lehmann calls postdramatic is not primarily focused on the drama in itself, but evolves a performative aesthetic in which the text of the performance is put in a special relation to the material situation of the performance and the stage.
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