Postdramatic Theatre and Postdramatic Performance

Carlson, Marvin

doi:10.1590/2237-266053731

Cited by 18 publications

(10 citation statements)

References 7 publications

(10 reference statements)

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“…In other words: unlike a typical cultural performance, this one cannot fail and thus contains no drama (Alexander, 2004). The birthday format might therefore be classified as a “postdramatic” ritual, that is, a ritual whose protocol deviates from the Aristotelian rules of the dramatic and lacks transformative power (e.g., Carlson, 2015; Lehmann, 2006; but see Alexander, 2014). The main point is that it honors objectified time, which will continue to pass, regardless of whether the ritual is performed or not .…”

Section: Rites Of Temporality Versus Rites Of Initiationmentioning

confidence: 99%

It is about time: Birthdays as modern rites of temporality

Shoham

2020

Time & Society

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What do birthdays mean? Why are they so obligatory for modern people? Based on neo-Durkheimian perspectives on ritual, this article suggests the anthropological history of the western birthday as a key to understand its meaning. The article points at the unique ritual system developed by modern industrial culture, such as birthdays, jubilees, and other anniversaries—designated here as Rites of Temporality—which latch on to the numerical milestones marking the passage of time to which the celebrant (individual, institution, settlement, state, and so forth) is subject. Comparing the birthday with classical rites of initiation then reveals how over and above individualism, consumer culture, state bureaucracy, and historical consciousness, the birthday honors time’s most noticeable markers since the industrial era—numbers—thus objectifying conventionalized time as a central meaning maker for modern people.

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Section: Rites Of Temporality Versus Rites Of Initiationmentioning

confidence: 99%

It is about time: Birthdays as modern rites of temporality

Shoham

2020

Time & Society

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“…"In order truly to approach the postdramatic, Lehman makes clear, the bıdy must be freed from the constraints of the mimetic character, traditionally derived from the dramatic text, and set free to register as purely performative." (Carlson, 2015).…”

Section: Postdramatic Filter Of the "Train "Stagementioning

confidence: 99%

Freehand-drawing as basic principle to success interior design project

Abdelaziz

Samanoudy

2020

jiae

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It will be seen in this article that the famous director Robert Wilson 's Einstein on the Beach production goes through the post dramatic filter of the Train scene by going deep into the post dramatic. The images, dancers, light and music of the scene, which will be examined through the breaking of the dramatic through the post dramatic elements, will also be examined. For this, it is necessary to first know the dramatic theater elements, then analyze how these elements are broken in the Postdramatic. Because in postdramatic theater, we see what the dramatic theater is rather than what it is. As Lehmann conveyed, we cannot describe the term postdramatic with the term "post-dramatic". We can describe the dramatic with perhaps imaginative or performative turn. We will see our efforts to find a solution to this problem through the relevant article. The corresponding production is a long opera that is not the subject of Einstein's emerging from a famous beach photo. Some important details, from Einstein's appearance to some of his theories, have been turned into a stage-by-show visual show. Summary information of the enrichment of the images, which is one of the most basic outcomes of post dramatic and the most known technique of Robert Wilson, with the performances of the dancers on the stage, the breaking of the game text, as well as bringing the audience to an illusion in a different dimension, will be explained under a single title.

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“…In this regard Cascajosa (2007), Sarrazac (2010), Cornago (2014), Alcántara Mejía (2015, Carlson (2015) and López-Antuñano (2017) are illustrative. These are, among others, the fundamental and first notes of the new postdramatic American model, whose most important changes will be analysed taking as an example episode 12 of the first season of Prison Break and many other important and famous American TV series.…”

Section: In Other Words This Section Analyses Fundamentally What Cmentioning

confidence: 99%