Postdramatic theatre

This study aims to examine the transformative potential of postdramatic theatre in relation to its representations of the female body, gender identity, and resistance, through Sarah Kane's 4.48 Psychosis and Mark Ravenhill's Shopping and F***ing. The primary objective is to reveal how postdramatic theatre questions gender norms, redefines the female body, and functions as a space of feminist resistance. Methodologically, the study adopts a qualitative framework based on textual analysis and theoretical reading. Accordingly, the plays are analyzed in the light of Judith Butler's theory of performativity, and the representations of the female body and processes of identity construction within the texts are addressed comparatively. In postdramatic theatre, the body is not merely the carrier of narrative but appears on stage as a political and performative subject. In this regard, the female body becomes a medium through which patriarchal norms are challenged and identity is reconstructed. While Kane's play brings the voice of the subject to the stage through a poetic and fragmented structure that foregrounds women's psychological vulnerabilities and social invisibility, Ravenhill critiques the commodification of the female body and the construction of sexual

The article explores connections and differences between the musical work TURBA / Theories of Mass Society (2003) by composer Trond Reinholdtsen, and elements from theatre scholar Hans-Thies Lehmann's concept of postdramatic theatre. The two occur at a time when digital technology changes writing as a creative, performative and theorizing tool in the performing arts. Both also appear in art forms where one element, to borrow Lehmann's term, has over time been given a prioritized, organizing function – in theatre: verbal language; in music, wordless sound – and both challenge this priority in their respective art form. TURBA could as well be said to compose with theory. Inspired by its attempt, this article aims to read artistic practices in TURBA through aspects of Lehmann's postdramatic theory, as well as the other way around.

Der Aufsatz konturiert einen affirmativen Entfremdungsbegriff als kritischen Horizont für ein Theater des 21. Jahrhunderts. Über die Rekonstruktion von Rahel Jaeggis Relektüre des Entfremdungsbegriffs fragt er nach Unterschieden zwischen den postdramatischen ‚Entfremdungsgewinnen' bei René Pollesch und den restlos entfremdeten Figuren Susanne Kennedys. Ziel des Beitrags ist es, einige Anhaltspunkte für ein neues ästhetisches Kritikmodell zu liefern, das sich als Entfremdungsgestaltung diskursivieren lässt.

Eine neue Theaterästhetik entsteht nicht aus bloßer Vorliebe für innovation. Wirkliche ästhetische Umwälzungen folgen nicht dem Geschmack einzelner Künstler, sondern tiefgreifenden Veränderungen in der Struktur menschlicher Erfahrung selbst. Die geschichte der Kunst ist daher nicht primär die geschichte von Stilen, sondern die Geschichte wechselnder Formen des Bewusstseins.
In diesem Sinne offenbart das Theater der Gegenwart Erschöpfung.

Bu çalışma, postdramatik tiyatronun kadın bedeni, cinsiyet kimliği ve direniş temsilleri
bağlamında sunduğu dönüşümcü potansiyeli, Sarah Kane’in Psikoz 4.48 ve Mark Raven
hill’in Alışveriş ve S***ş adlı oyunları üzerinden incelemeyi amaçlamaktadır. Çalışmanın
temel amacı, postdramatik tiyatronun toplumsal cinsiyet normlarını nasıl sorguladığını,
kadın bedenini nasıl yeniden tanımladığını ve feminist bir direniş alanı olarak nasıl iş
lev gördüğünü ortaya koymaktır. Yöntem olarak, niteliksel bir çerçevede metin analizi ve
kuramsal okuma yaklaşımı benimsenmiştir. Bu doğrultuda, oyunlar Judith Butler’ın “per
formatiflik” kuramı ışığında çözümlenmiş, metinlerdeki kadın bedeni temsilleri ile kimlik
inşası süreçleri karşılaştırmalı bir biçimde ele alınmıştır. Postdramatik tiyatroda beden yal
nızca anlatının taşıyıcısı değil, politik ve performatif bir özne olarak sahnede yer alır. Bu
bağlamda kadın bedeni, ataerkil normların sorgulandığı ve kimliğin yeniden inşa edildiği
bir araç hâline gelir. Kane’in oyunu, kadının psikolojik kırılganlıkları ve toplumsal görün
mezliği üzerinden öznenin sesini şiirsel ve parçalı bir yapı ile sahneye taşırken; Ravenhill,
kadın bedeninin metalaşması ve cinsel kimliğin tüketim kültürü içerisindeki inşasını eleş
tirir. Her iki oyun da geleneksel anlatı yapısını bozarak kadın kimliğini yeniden kurar ve
sahnede feminist bir direniş alanı yaratır. Sonuç olarak çalışma, postdramatik tiyatronun
toplumsal cinsiyet normlarını sorgulayan ve dönüştüren bir estetik biçim sunduğunu ileri
sürmektedir.

Over the years, generations face employability challenges that highlight the incompetence of learners on the one hand and reveal the failure of the educational systems in their schools on the other hand. In the context of English Language Acquisition and use, several aspects lead to a deep questioning. Learners take long periods of training for professional purposes unfortunately the realities do not match with the expectations. This fact leads to questioning and discussing the educational philosophies related to the acquisition of the English language. So, the fundamental question that needs to be asked is: what appropriate educational philosophies should be used in the process of English language acquisition in order to meet the professional challenges of today? The aim of this research work is to analyse the philosophies that exist and to shed light on those which can lead to good results. Based on Behaviourism, Nativism and Interactionism, the work concludes that every teacher should apply Progressivism and Constructivism in their teaching system.

Keywords: English language acquisition, Nativism, Interactionism, Progressivism.

Incorporating playwriting into teaching merges creative practice with
pedagogy, balancing artistic skills and educational goals. This balance
can be challenging, especially with large groups and subjective standards for creative outcomes. There is a notable research gap in analytical practices within Sri Lankan higher education, despite theoretical
discussions on creative writing pedagogy in general. This study primarily explores strategies to overcome the challenges encountered during
playwriting within course modules of a higher degree program. •This
research seeks to conduct a reflective analysis of the process involved
in developing a devised play text, Devadoota Sangramaya, for identifying the challenges and strategies associated with teaching, learning,
and assessment in higher education. This research employs an inductive
approach to observe phenomena and convey pedagogical knowledge
for identifying and testing effective strategies over two months. This
predominantly qualitative research focuses on the performance writing
projects of final-year students enrolled in Acting and Playwriting-Directing degree programs at the Department of Theatre, Ballet, and Modern Dance at the University of the Visual and Performing Arts, Colombo.
The playwriting process was documented using reflective journaling. The
journals of two target groups—lecturers and students (n=10)—were analyzed thematically. Factors such as students’ lack of commitment, time
and peer pressure, creative abilities, along with poor communication
and pedagogical strategies, have contributed to persistent challenges in
the educational process. Empowering students through the pedagogical
framework has been discussed with theoretical suggestions

Fase 2 de la investigación del Ministerio de las Artes, las Culturas y los Saberes en Colombia. Esta vez, desde la historia reciente y la investigación basada en artes, realizamos entrevistas, grupos focales y observación participante, para documentar experiencias en educación artística, volviendo a considerar experiencias de diversa naturaleza, más allá del ámbito escolar. A la pregunta por las maestras de la fase 1, ahora se suma la pregunta por los aprendices, los contenidos y los contextos en los que realizan las diversas educaciones artísticas

This article presents an original comparative hermeneutic study of selected dramatic works by Karol Wojtyła and the theatrical practices of Jerzy Grotowski, interpreted through the prism of allegory and allegoresis. The novelty of the proposed approach lies in demonstrating that allegory in both artistic universes does not merely function as a rhetorical ornament, but constitutes a generative “pattern of thought” and a condenser of meaning, opening the way toward what Paul Ricoeur defined as the “Sacred universum.”

The article proposes a holistic method of theatrical exegesis that combines literary hermeneutics, phenomenological interpretation, and ritual analysis, thereby revealing deep structural affinities between Wojtyła’s dramaturgy and Grotowski’s performative laboratory. An analysis of Wojtyła’s plays The Jeweler’s Shop and Brother of Our God, alongside Grotowski’s productions of The Constant Prince and Apocalypsis cum figuris, leads to the reconstruction of an archetypal symbolic grammar founded upon vertical and horizontal models of allegorical interpretation.

Particular emphasis is placed on uncovering hidden continuities between modern theatrical forms and ancient initiatory rites, especially Dionysian and Eleusinian mysteries, showing how Grotowski reactivates archaic ritual structures within contemporary performance. This perspective also enables a provocative exegetical reading of Catholic liturgy, revealing within Eucharistic gestures and liturgical formulae transformed traces of primordial hierophanies and sacrificial practices (for example, the host as an allegorical figure of the hymenal membrane, the chalice as a phallic symbol, and related ritual correspondences).

By situating Wojtyła’s sacramental drama and Grotowski’s “poor theatre” within a shared horizon of ritual revelation, the article argues that both projects constitute complementary attempts to restore theatre as a privileged site of epiphany, spiritual transformation, and metaphysical disclosure—one that transcends purely aesthetic experience.

Tiyatro tarihinde yönetmenlik kavramı, Antik Yunan'dan itibaren sahneleme süreçlerinde çeşitli figürler tarafından üstlenilen görevlerle şekillenmiş, ancak bağımsız bir sanat pratiği olarak 19. yüzyılda belirginleşmiştir. Bu kavram bugünkü biçimine gelene kadar, Orta Çağ ve Rönesans dönemlerinde bu görevi genellikle oyuncular, yazarlar ve sahne düzenleyicileri üstlenmiştir. 19. Yüzyılın ikinci yarısında Avrupa'da sahnelenen oyunların gerçekliğinin kazandığı önemle beraber sahneleme sürecinin bütüncül bir yaklaşımla ele alınmasının gerekliliği ortaya çıkmıştır. Saxe-Meiningen Dükü, André Antoine ve Konstantin Stanislavski gibi isimlerin katkılarıyla yönetmen, yalnızca sahne düzenleyicisi değil, aynı zamanda sanatsal ve dramaturjik bir yorumcu haline gelmiştir. Antoine'ın doğallık temeline dayandırdığı sahneleme anlayışı, Stanislavski'nin psikolojik gerçekliğe dayanan sistemi modern tiyatrodaki yönetmen anlayışının temelini oluşturmuştur. 20. yüzyılda yönetmen, tiyatronun estetik bütünlüğünü sağlayan, oyunculuk tekniklerini yönlendiren ve sahneleme sürecini biçimlendiren merkezi bir figür olarak konumlanmıştır. Günümüzde postdramatik tiyatro, deneysel sahneleme teknikleri ve disiplinler arası yaklaşımlar ile yönetmenlik anlayışı daha da çeşitlenmiş ve tiyatronun en dinamik unsurlarından biri haline gelmiştir. Bu çalışma, yönetmenlik kavramının tarihsel gelişimini inceleyerek, tiyatro pratiğindeki dönüşümünü analiz etmeyi amaçlamaktadır.

Por VINÍCIUS DE OLIVEIRA PRUSCH* Ensinar literatura é, sob a luz adorniana, um ato de resistência. Resistência à semiformação, à lógica da troca e à barbárie, através da valorização do estranho, do complexo e da autonomia da forma estética que, mediando as contradições do mundo, oferece um vislumbre de emancipação Começo sendo franco: Theodor Adorno não falou diretamente sobre como ensinar literatura. Um título mais próprio para este texto talvez fosse "Lições que desenvolvi a partir dos textos de Theodor Adorno para a aula de literatura". Mas soa muito mal, então fiquemos com o que está. Pensei também em enumerar as lições: "Dez lições de Theodor Adorno para a aula de literatura". Venderia mais, talvez, mas seria certamente menos adorniano. Fiquemos, então, com nove lições, que foi o número a que cheguei sem forçar a mão, e sem mencionar o número no título. Há que se valorizar a estranheza dos objetos É bastante comum, nas discussões sobre ensino, defender-se que se deve atender às "demandas" dos alunos. O termo entre aspas aqui já deverá causar arrepios. É claro que é importante dialogar com a realidade do estudante. Paulo Freire nos ensina isso muito bem. Mas lidar com os limites disso é um jogo complexo. Além disso, talvez tão importante quanto dialogar com a realidade do estudante seja tirar proveito de aspectos dos textos que lhe causem surpresa ou que ele não entenda de saída. Não só porque teremos sua curiosidade atiçada, mas especialmente porque o estranho abre espaço para o contato com o diferente, com o outro, com uma coisa diversa da mesmice capitalista. Não à toa, movimentos totalitários tendem a censurar e destruir obras "estranhas" e a alimentar obras que sigam padrões muito bem determinados. Algo nessas formas deve apontar para a liberdade, afinal. Pensar é criar conceitos. Não há como nem por que fugir disso na filosofia e na crítica literária. O mesmo se passa na aula de literatura. Teremos em mente tanto noções mais gerais, referentes a escolas literárias, como realismo e modernismo, quanto ideias mais específicas, como dialética da malandragem (Antonio Candido) ou ideias fora do lugar (Roberto Schwarz). A grande questão é que é fundamental, se quisermos ser verdadeiramente dialéticos, não aplicar conceitos do alto. "Para o

Este artículo analiza la concepción de la escucha en el Tratado de los objetos musicales de Pierre Schaeffer a partir de sus presupuestos antropocéntricos y especistas. Si bien la teoría schaefferiana desplaza el fundamento de la música hacia la materialidad sonora y la experiencia de la escucha, su clasificación de los modos de oír, escuchar, entender y comprender conserva una jerarquía moderna que subordina lo animal a lo humano. A través de la oposición entre escucha natural y escucha cultural, Schaeffer asigna al animal una relación meramente indicial, pasiva y causal con el sonido, reservando para el sujeto humano la capacidad de producir sentido, abstracción y lenguaje musical. En diálogo con Aristóteles, Heidegger, Agamben, Derrida, Latour, Nancy y Morton, el ensayo cuestiona esa distribución ontológica entre naturaleza y cultura, sonido y sentido, reacción y respuesta. Finalmente, propone pensar una escucha descentrada, capaz de reconocer formas no humanas de expresión, significación y agencia sonora, más allá del excepcionalismo racionalista del sujeto moderno.

This pre-publication text explores the multifaceted relationship between History and Theatre, examining how historical reality is transformed into artistic creation. The author analyzes the inherent subjectivity in recording the past, arguing that theatre does not objectively reconstruct history but rather transcribes it through the creator's subjective consciousness. Through stage illusion, historical events and figures acquire a secondary form aimed at evoking emotional and intellectual responses from the audience. By broadening the definition of history to include social and ideological conflicts, the text suggests that drama serves as a vital medium for preserving historical memory. Ultimately, researching History in World Theatre is presented as a study of the History of Civilization itself, as perceived and reinscribed in the spectator's memory.

O objetivo deste texto é refletir sobre como a categoria “mundo”, aplicada ao cinema, se traduz no ambiente acadêmico e audiovisual brasileiro no século XXI, a partir de uma visão geral das principais teorias e conceitos relacionados à ideia de “cinema mundial/world cinema” no debate acadêmico em língua inglesa. Em termos gerais, a categoria “cinema mundial”, entendida como um rótulo de conveniência para designar filmes não produzidos nos EUA e na Europa, vem sendo rejeitada e ressignificada sob uma
perspectiva positiva e policêntrica, por meio de uma abordagem democrática e inclusiva, que rejeita a divisão binária entre centro e periferia (Nagib, 2006). Mais recentemente, esse debate se estendeu ao lugar do Brasil nas cartografias do cinema mundial, como visto, por exemplo, no XVI Encontro da Sociedade Brasileira de Estudos de Cinema e Audiovisual (Socine), organizado em São Paulo em 2012. O argumento a favor do policentrismo, que desempenhou um papel importante nos debates europeus e norte-americanos, entrou em contato, no Brasil, com uma longa e bem estabelecida tradição de crítica literária, iniciada com o trabalho de Antonio Candido na Universidade de São Paulo e levada adiante por Roberto Schwarz (2012), cujas influentes ideias se baseiam em um esquema binário no qual o Brasil está firmemente posicionado “na periferia do capitalismo”. Seria possível, então, abraçar uma abordagem policêntrica e a ideia de “cinema mundial” no Brasil hoje? E, mais precisamente, quais são as implicações políticas de abandonarmos nosso status periférico, libertando assim nossa compreensão das artes da referência constante e obrigatória às restrições do sistema econômico mundial?

The Hamburg-based Kollektiv All Das is a fluid, postmigrant theatre ensemble whose work grows out of close collaboration among artists with diverse biographies, creating performances that challenge fixed notions of identity while foregrounding art as a shared social process. In cooperation with the Thalia Theater, one of Germany’s leading repertory stages, the collective has moved between institutional and independent contexts, staging productions both within the theatre and in urban public spaces. At its artistic core there stood the urgent idea of fostering a collaborative practice that centers questions of art, language and  migration.
Kollektiv All Das has consistently been driven by an almost obsessive urge to interrogate the nature of art itself, and theatre in particular, treating each project as an open-ended inquiry rather than a finished product. Their works emerged from a persistent questioning of what theatre actually is about. This restless exploration was not merely aesthetic but deeply intentional: every production was shaped by a sincere commitment to redefining theatre as a space of exploration, sincere encounter with others and with oneself, negotiation, and transformation, where new forms of creating can reflect the complexities of contemporary life.
Through sustained experimentation and a constant questioning of dramatic conventions, the ensemble gradually shifted its focus away from text as the primary carrier of meaning, allowing images, bodies, sound, and spatial relations to take precedence. Out of this process emerged a distinctive aesthetic of post-textual theatre, in which language is not present as a carier of meaning, but rather as devoided messenger.

The introspection brought about by the long and dreary period of lock-down confinement in most parts of the world has inevitably affected our artistic work, our critical gaze, the way in which we as spectators respond to live and digital performance. It has also highly influenced our demands for revised forms of expression that will reflect and refract the complexities of our recent experiences on and off the stage and for a person, an agency or a collective force that will take responsibility for such change.

What kind of art will be able to address the great social, cultural and ontological crises of our times? What types of theatre or theatre-based “instances” are we now excited about, what leaves us indifferent and what makes us angry? Where shall we look for a new “theatrical mind” to bridge the gap between form and content, intellect and emotion, technique and imagination, aesthetic pleasure and a mature engagement with the dire realities of the global community?

Seeking to explore ways in which the essence and joy of artistic creation meet at the core of the spectating experience, this brief manifesto is written from the point-of-view of the viewer who has perennially longed for a sense of transformation or enlightenment but who is often disoriented and disillusioned in the muddy waters of the irrelevant, the borrowed or the superficial. If anything, it is a personal set of ten (humble) commandments, a plea to the theatre maker of the present –one who has learned from the past but who is also stretching out a hand to the future— to continue to search for and share meaning with boldness, to inspire and to involve, in fact, to rethink and add to the landscape of making and perceiving theatre.

This article analyzes the structural logic by which political antagonism transforms the enemy into expendable life, drawing on Georg Wilhelm Friedrich Hegel, Giorgio Agamben, and Friedrich Nietzsche. Focusing on contemporary Iranian discourse, it argues that the shift from ideals of reconciliation toward calls for unity conceals a deeper condition of incommensurability—where no shared معيار (measure) remains for judgment.

Within this fractured field, each side constitutes the other as homo sacer: a life stripped of equal value and exposed to violence without recognition. Hegel’s concept of bestimmte Negation reveals that this process is not mere exclusion but a structural incorporation—what is negated returns in transformed form, producing a mirroring dynamic in which opposing sides increasingly resemble one another. Violence thus operates not only materially but perceptually, reshaping affect, empathy, and the very conditions of recognition.

The article traces how this logic extends into language and representation, where symbolic acts—such as reducing an enemy to a consumable image (e.g., the “kotlet” metaphor)—mark the extreme point of dehumanization: the enemy is not only killed but semiotically digested. This transformation signals a deeper crisis in which mourning, value, and humanity become selectively distributed.

Against the illusion that unity can restore coherence, the text insists that the central problem is the collapse of a shared horizon of judgment. The persistence of conflict is tied to a recursive mechanism: each side reproduces the conditions that justify its own violence. The only fragile counter-possibility lies in the reappearance of the Other as fully human—a recognition that interrupts the cycle without resolving its structural tension.

During the dark days of communism, theatre in Poland was the only medium that could potentially elude censorship. A wink of the eye, a skillfully accented word or a sentence communicated with the audience more than the text itself. Theatre was a subversive affair; the audience and the actors, united in their common understanding of the country's political predicament, exercised the only possible form of resistance: intellectual distance from the oppressive ideology. Peter Sloterdijk called it 'Kynicism', 'a rejection of the offi cial culture by means of irony and sarcasm'. 1 For more than four decades, the 'kynical' language established the lines of communication between the actors and their audience. People went to the theatre to see the wink, the smile, the small gestures that told them they were not alone in their contempt for the regime. In 1989, the Berlin Wall fell and, along with it, the censorship that had been an integral part of the Polish theatrical experience. Suddenly, one could say anything to anyone out loud, and there was no longer any reason to go to the theatre. The unexpected onslaught of political freedom, ironically, deprived the theatrical experience of what for forty years had been essential to it: its political subtext. Since along with communism the government's fi nancial support of the arts also collapsed, Polish theatres were suddenly left in an ideological and economic vacuum. It was at that liminal moment in Polish history, around 1990, that Bogusław Schaeffer became the number one playwright of the Polish stage. Schaeffer had been secretly writing plays since the early 1950s, and some of them have been consistently staged across Poland since the mid-1950s in various Polish venues. (Scenario for a Non-Existing, But Possible Instrumental Actor as performed by a leading Polish actor, Jan Peszek, has been off and on the stage since 1976 performed over fi fteen hundred times.) Recently, Peszek handed over the performance to French actor André Erlen. Erlen performed it in the US in April 2008 at Princeton Lewis Center for the Arts). However, it wasn't until the 1990s that Schaeffer's plays became must-see events for the remnants of the Polish theatre-going audiences. In fact, Schaeffer became so popular that various cities started organizing so-called 'Shaefferiads' marathons of his plays, performed by various theatres in the space of a few days. The secret behind Schaeffer's sudden popularity was simple: his plays avoided politics and

Literature has seen its fabric alter in every age, making the aligning genres go through the necessary mutations. Drama or theatre, one of the primary genres of literature, has seen a similar trajectory down the ages, and in the twenty-first century, it has revolutionised itself. With the advent of technology and the latest developments in the field, theatre has reconceptualised itself and made an entry into the digital sphere. This paper attempts to draw a schematic history of the emergence and subsequent development of digital theatre, looking at the 2020-21 pandemic as a necessary signpost that helped digital theatre reach its pinnacle, worldwide. The paper presents a concise history of the form in broad strokes as well as composes a repository of the works under digital theatre with the aim of providing a starting point to any potential research in the field, a form that has burgeoning capabilities.

Το έργο του Heiner Müller είναι ένα γκροτέσκο κείμενο που λειτουργεί υποδόρια σε πολλά επίπεδα και βάζει τον αναγνώστη, τον θεατή, τον σκηνοθέτη, τον ηθοποιό σε σκέψεις από την πρώτη στιγμή που θα συνδιαλλαγεί με αυτό. Θα μπορούσε επίσης να διαβαστεί ως ένα φιλοσοφικό δοκίμιο σχετικά α. με τη σκέψη (σκέφτεται τελικά ο σύγχρονος άνθρωπος, μπορεί; θέλει; και αν ναι σκέφτεται τελικά τον συν-άνθρωπο;), β. με την ύπαρξη και τη σημαντικότητα της, γ. την πράξη ή απραξία του ανθρώπου πνευματική και μη, μπροστά σε κάθε είδους καταστροφή.

[...] Και υπάρχει μια αμυδρή ελπίδα ότι αν επιτεθείς αρκετά στο κοινό, αυτό θα αντισταθεί. Αυτή είναι η μόνη ελπίδα. (Heiner Müller)

The book is a valuable contribution to understanding the development of theatre as a reflection of contemporary society, politics, and culture. It focuses on the analysis of contemporary performance practices and their political implications, with the author exploring the broader phenomenon of the repoliticization of theatre. Special emphasis is placed on critical performance practices, ranging from the neo-avant-garde to the political post-postdramatic theatre of the 21st century. Through case studies, Toporišič demonstrates how theatre becomes a space for questioning social norms, political beliefs, and identities—particularly within the context of engaged and transgressive practices that often challenge established boundaries. The book represents an important contribution to understanding contemporary theatre and its relationship to politics, culture, and social change. Drawing on a wide theoretical spectrum that includes thinkers such as Raymond Williams, Guy Debord, Zygmunt Bauman, Slavoj Žižek, and others, Toporišič explores how theatre in the modern world is not merely an artistic practice, but a key part of social and political discourse.

Mehmet Hüseyin Arslan tarafından kaleme alınan bu eser, modern eğitim sistemini ekonomik bir illüzyon ve devasa bir sektör olarak eleştirel bir süzgeçten geçirmektedir. Yazar, "muharrik-i efkar" felsefi ilkesiyle okuyucuyu dogmatik kabullerden uzaklaştırıp düşünmeye sevk etmeyi amaçlayan kurgusal bir diyalog formunu kullanmaktadır. Metinde, milyonlarca gencin istihdam umuduyla en verimli yıllarını feda ettiği, ancak sistemin merkezindeki bu özne grubunun sürekli kaybettiği bir sömürü düzeni betimlenmektedir. Eğitim kurumlarının bilgi aktarmaktan ziyade işsizliği perdeleyen ve çeşitli iş kollarına kazanç sağlayan bir mekanizmaya dönüştüğü savunulmaktadır. Çözüm arayışı kapsamında hibrit eğitim modelleri, teknolojinin imkanları ve yaşam boyu öğrenme gibi alternatifler tartışmaya açılmaktadır. Nihayetinde eser, eğitimin kutsallaştırılmış vaatleri ile piyasa gerçekleri arasındaki derin çelişkiyi sorgulayan felsefi bir diyalog niteliği taşımaktadır.

Eine Würdigung der langjährigen Fotografin am Berliner Ensemble Vera Tenschert. Ina Voigt erinnert in ihrer Trauerrede an ihre Freundin und Mitarbeiterin. In einem längeren Gespräch, das Noah Willumsen 2025 mit Vera Tenschert führte, erzählt sie über ihre Karriere, ihre Arbeitsweise und ihre Zeit mit Helene Weigel. Die beispielhaft ausgewählten Fotos unterstreichen ihre Bedeutung.

Batı tiyatrosunda dramatik ve kültürel hafıza, metinlerarasılık yoluyla süreklilik içinde korunup dönüştürülürken; Türkiye tiyatrosunda bu tür bir metinlerarası hafıza aktarımının zayıf kalması dikkat çekicidir. Bu metin, Batı geleneğinde mitlerden modern metinlere uzanan güçlü bir yazım ve temsil sürekliliği varken, Türkiye tiyatrosunda geleneksel halk tiyatrosu ile modern Batılı model arasında oluşan kopukluğun; Tanzimat’tan itibaren modernleşme ve uluslaşma politikaları, kültürel çeşitliliğin bastırılması ve siyasal kırılmalarla ilişkisini ele almaktadır. Yerli metinler arasında dikkate değer ölçüde metinlerarası ilişkilerin gelişmemiş olması ve daha çok Batı metinleriyle kurulan ilişkilerin öne çıkması, metnin odaklandığı temel sorunlardan biridir. Metin, Türkiye tiyatrosunun özgün ve güçlü bir dramatik hafıza oluşturabilmesi için geleneksel ile modern arasında köprü kuran, çoğulcu ve kapsayıcı bir kültürel yaklaşım geliştirmesi gerektiğini vurgular.

ESSE ARTIGO BUSCA ANALISAR O ESPETÁCULO TEATRAL CEARENSE VAGABUNDOS, DIRIGIDO POR ANDRÉIA PIRES A LUZ DO CONCEITO DE MULTIDÃO DE ANTÔNIO NEGRI. A PARTIR DA CRISE DA REPRESENTAÇÃO E DA ECLOSÃO DO MOVIMENTO DE JUNHO DE 2013 NO BRASIL, A PEÇA PARECE ARTICULAR UMA FORMA DE REPRESENTAÇÃO DO NOSSO CONTEXTO POLÍTICO E SOCIAL FUGINDO DA IDÉIA DE POVO COMO MASSA AMORFA. A APOSTA NA DISSONÂNCIA DE UMA ESPÉCIE DE CORO CONTEMPORÂNEO FAZ ECOAR OS ANTIGOS, AO MESMO TEMPO EM QUE APOSTA NAS POTÊNCIAS DE UMA CENA EXPANDIDA CONTEMPORÂNEA.

Apresentado no seminário Uso Impróprio, do PPGECA - UFF.

When studying the reception of classical themes in the literature of any given nation, scholars first seek out passages where ancient historical figures, places, or characters from ancient Greek and Roman mythology are explicitly mentioned. In such cases, the link between the modern and the classical texts -whether direct or indirect -is undeniable. Yet it remains essential to consider what deeper significance the writer's invocation of classical material conveys. Far more intriguing -and more challenging -is uncovering subtler resemblances that surface in a particular poetic image, a narrative detail, or even a single epithet echoing the motifs of classical literature. True, in these instances the author does not name ancient Greek or Roman characters or locales, but the more striking the parallel to classical forms or tropes, the more justified it becomes. Revealing these parallels allows us to read not only the new work with fresh insight but also to rediscover the ancient source itself from a renewed perspective. In this light, Giovanni Pascoli's oeuvre is especially revealing, for Pascoli was, by training and profession, a classicist. He not only taught Greek and Latin grammar and Roman literature at the universities of Bologna, Messina, and Pisa at various times, but also was a prolific translator of classical texts. His first symbolist poetry collectionwhich he continued to enrich with new poems throughout his life, just as Petrarch kept augmenting his Book of Songs -holds a singular place in Italian verse. The poet deliberately chose the Latin word "myricae" rather

El libro plantea el pensamiento transformacional como una herramienta para reconfigurar la educación desde una perspectiva humanista, ética y social .
Subraya que el lenguaje no solo comunica, sino que construye identidades y relaciones sociales, alineándose con la idea de identidad discursiva .
Destaca la narración como forma de organizar la experiencia y generar sentido, clave en la construcción de la identidad personal y colectiva .
Incorpora la educación inclusiva como eje central, entendida como reconocimiento de la diversidad cultural, lingüística y funcional.
Se insiste en la necesidad de metodologías pedagógicas que integren emoción, ética y aprendizaje significativo.
El libro conecta memoria, cultura y narración como elementos fundamentales para preservar identidades colectivas.
Aborda la resiliencia y la salud mental desde estrategias educativas basadas en el relato y el sentido personal .
Propone una educación que no solo transmite conocimientos, sino que transforma la realidad social mediante la construcción de sentido .
Defiende un enfoque interdisciplinar donde educación, lenguaje y cultura se articulan de forma inseparable.
En conjunto, refuerza la idea central de DINE: que la identidad se construye narrativamente y la educación debe favorecer ese proceso para generar sujetos críticos, resilientes e inclusivos.

The approach to theatre-making observed an aesthetic and philosophical shift in the late 20 th century. Hans-Thies Lehmann, in his book Postdramatic Theatre (1999), states that unlike the drama of modern times, the postdramatic theatre centres on a human being for whom drama arising from conflicts is not a real possibility. Postdramatic theatre, hence, is freed from the traditional rules of drama, as it breaks away from creating an illusion and instead focuses on providing a direct, real-time experience for the audience. Nobel Prize-winning Norwegian author, poet, and playwright Jon Fosse is one of the most renowned postdramatic playwrights. His plays are characterised by a rejection of conventional narrative methods, a disruption of linear storytelling, and a prioritisation of fragmented dialogue and paralinguistic language. These elements together create a meditative space in which language and action become secondary, giving centre stage to emotional and existential questions on life, death, and all that may or may not lie in between. This paper attempts to present a reading of Jon Fosse's play Dream of Autumn as a postdramatic play. The play's postdramatic treatment of language, characterisation, time, and life shall be studied to further the understanding of what truly qualifies as a postdramatic play.

This study offers a semiotic analysis of The Coat, a short play by Athol Fugard written in the context of South African apartheid. Focusing on a single object, a coat given to the wife of a political prisoner, the study highlights the central role of nonverbal signs in theatrical meaning-making. The coat emerges as a polysemic sign, simultaneously representing absence, serving as a medium of collective memory, and functioning as a structural element of the play's dramaturgy. Through a semiotic approach that emphasizes the interplay between materiality and symbolism, the analysis demonstrates how this stage object, far from being insignificant, structures the narrative, sustains dramatic tension, and conveys a message of resistance and solidarity within a minimal yet profoundly expressive theatrical form.

Wydaje się, że myślenie służy dialogowi, a dialogujemy poszukując tego, co nas z drugim człowiekiem łączy. Czy rzeczywiście tak jest? Dokonajmy kilku rozróżnień. Pierwsza sytuacja dotyczy dialogu, jaki ma miejsce w świecie. To nasz dialog "codzienny". To dialog, który dzieje się między ludźmi, którzy żyją przede wszystkim wspólnym światem. Świat jest tu czymś oczywistym, danym, wspólnym tłem -językiem, kulturą, interesami, ciałami, historią, potrzebami, lękami. Celem tego dialogu jest zbudowanie lub utrzymanie wspólnego gruntu. Rozmawiamy po to, żeby: zrozumieć się nawzajem, dogadać się, rozwiązać problem, poczuć się mniej samotnym, osiągnąć coś razem, potwierdzić, że "jesteśmy tacy sami" albo "możemy się porozumieć". To jest dialog analogowy -szukamy podobieństw, punktów zaczepienia, mostów. Rozumiem cię", "wiesz, co mam na myśli", "też tak miałem", "zgadzamy się co do tego", "zróbmy tak". Nawet gdy się kłócimy, kłócimy się o wspólny grunt -o to, czyja wersja świata jest prawdziwsza, lepsza, bardziej słuszna. Ale w tym dialogu osoba nie jest jeszcze w pełni sobą. Jest przede wszystkim funkcją świata -matką, partnerem, pracownikiem, Polakiem, katolikiem, lewicowcem, kibicem. Jest jednostką ludzką, człowiekiem z krwi i kości. Jej inność jest ograniczona, uśredniona, funkcjonalna. Dialog codzienny nie pogłębia inności i indywidualności -on ją oswaja, redukując do tego, co wspólne albo negocjowalne. To jest dialog dla przetrwania. I jest piękny na swój sposób. Bez niego nie byłoby społeczeństwa, miłości rodzinnej, przyjaźni, pracy, kultury. Ten wątek dialogu wewnątrzświatowego można zresztą pogłębić o pewne intuicje ontologiczne i aksjologiczne. Świat można traktować w domyśle jako pewną całość, w obrębie której realizujemy wszystkie swoje potrzeby i pragnienia. Sami również stanowimy element tej całości. Przekształcamy jej wnętrze, mając na uwadze własne, indywidualne hierarchie wartości, ale również odmienne od naszych, zhierarchizowane wartości innych ludzi, grup, społeczności. Oczywiście, nie zawsze jest nam z nimi "po drodze", ale generalnie lepsze efekty daje konsensus i współpraca niż konflikt. Dialog służyłby więc przede wszystkim do porozumiewania się w kwestiach aksjologicznych, wtórnie zaś w kwestiach pragmatycznych. Warunkiem takiego dialogu jest operowanie przez jego uczestników pewnymi całościowymi wizjami świata (światopoglądy) i strategiami jego przekształcania (ideologie). Wizje te nie są precyzyjne, ostateczne ich zarysy pozostają rozmyte -wszak żadne ujęcie świata jako całości nie jest możliwe z perspektywy jego wnętrza. Możliwe jest

Anhand dreier Seminarprojekte entwickle ich im Rahmen meines Beitrags Walter Benjamins (1892–1940) Geschichtsphilosophie als Lehrkonzept. Das Argument gliedert sich in sieben Sektionen, die ein solches Konzept konstellativ erfassen. Den theoretischen Rahmen skizziere ich in den ersten beiden, in den Fallstudien entwickle ich die methodischen Details.

Herausgegeben von Hannah Baumann, Pina Bergemann, Henrike Commichau, Leon Pfannenmüller, Lizzy Timmers (Theaterhaus Jena) und Anna Volkland.
Das Theaterhaus Jena arbeitet seit 1991 an neuen Formen des Theaters und entwickelt mit wechselnden künstlerischen Leitungsteams die eigene Organisations- und Produktionsstruktur mit flachen Hierarchien immer wieder neu. Zuletzt entstand 2021 anlässlich eines erneuten Leitungswechsels die Idee, die Mitglieder des kleinen festen Ensembles von Schauspieler:innen noch stärker in die künstlerischen Leitungsaufgaben des Theaters einzubeziehen und dieses Modell zu formalisieren. Bevor nun ab der Spielzeit 2024/25 ein neues Künstlerisches Leitungsteam nach Jena kommt, konnte das semi-kollektive Modell eines Ensemblerats zwei äußerst produktive und erfolgreiche Spielzeiten lang (u. a. Theaterpreis des Bundes 2023, Einladung zum Berliner Theatertreffen 2024) erprobt werden.
Das dabei gewonnene Erfahrungswissen, die hiermit verbundenen organisatorischen, kommunikativen und künstlerischen Praktiken, die Vorteile und Herausforderungen eines Ensemblerat-Modells wurden von März bis Juni 2024 ausschnitthaft dokumentiert und mitten im laufenden Betrieb besprochen - zwischen Proben und Premieren, Gastspielen und Vorbereitungen für die neue Spielzeit. Die im Selbstverlag herausgegebene Publikation bietet allen Interessierten ehrliche Einblicke in die künstlerisch mitbestimmte Arbeit an einem kleineren Theater, vor allem aus Perspektive der Künstler:innen, die sich als Macher:innen verstehen, aber auch aus Perspektive der nicht-künstlerischen Mitarbeiter:innen, die mit ihnen an der Realisierung des gesamten Programms arbeiten. Was von dem, das in Jena erprobt wurde, könnte auch an anderen Theatern versucht werden? Was ist noch zu lernen?
Das 130 Seiten umfassende Buch enthält neben zwei längeren Gesprächen mit zehn der an den regelmäßigen Ensemblerat-Sitzungen Teilnehmenden und einem ausführlicheren Gespräch mit fünf Mitarbeiter:innen des Hauses ausgewählte, kurz kommentierte Materialien der bisherigen Geschichte des Ensemblerats, Fotos sowie einen Essay, der die besondere Struktur und Programmatik des Theaterhauses Jena in seiner Entstehungsgeschichte skizziert. Ein Vor- und Nachwort runden das Buch ab, das online kostenlos als PDF (Open Access) erhältlich ist, aber auch zum Selbstkostenpreis in gedruckter Form erworben werden kann (https://buchshop.bod.de/how-to-ensemblerato-9783759758729).
HOW TO ENSEMBLERAT? möchte eine Grundlage für weitere Gespräche, Fragen und Erprobungen bieten und anregen, öffentlich finanzierte Theaterproduktionsstrukturen grundsätzlich vielfältiger, selbstbestimmter und gemeinschaftlicher zu gestalten.

This article examines the theoretical genealogy of postdramatic theatre, highlighting the foundational contributions of Keir Elam and Hans-Thies Lehmann. Elam’s "The Semiotics of Theatre and Drama" (1980) distinguishes between the semiotics of drama and the semiotics of performance, showing that dramatic text and stage realization operate as two coexisting, sometimes competing, semiotic systems. This framework anticipates the postdramatic logic by emphasizing the negotiable relationship between text and performance.
Lehmann, writing nearly two decades later, codifies "Postdramatic theatre" as a historical-artistic reality, marking the shift from drama-centered representation to performance-centered presence.

«Καλείσαι να καταπολεμήσεις ή να υπερασπιστείς την αλαζονεία της τέχνης. Ένα πείραμα υπέρβασης του εγώ, με συναρπαστικές ανατροπές»

ΘΕΑΤΡΙΚΟΣ ΟΡΓΑΝΙΣΜΟΣ ΚΥΠΡΟΥ
«Η Ανάθεση» της Ευρυδίκης Περικλέους-Παπαδοπούλου,
Σκην. Αύρα Σιδηροπούλου
2026

THE COMMISSION – Cyprus Theatre Organisation
Text: Evridiki Perikleous-Papadopoulou, Direction: Avra Sidiropoulou

The Commission, Evridiki Perikleous-Papadopoulou’s new play, directed by Avra Sidiropoulou at the Experimental Stage of the Cyprus Theatre Organisation and, brings together four distinguished artists—a photographer, a painter, a poet, and a musician—who are chosen as the select few destined, through their work, to serve the good of humanity. In a secluded artists’ residency where they are gathered, a place where control and coercion shape every aspect of existence, the dark side of power penetrates the limits of human endurance, imposing the absurdity of its force. Within this hazy landscape, the dead ends of existence are magnified through labyrinthine passions—desire, hatred, cowardice, rivalry, arrogance, intolerance, revenge—woven into a canvas of extreme inner and outer conflict.

The production engages with a contemporary allegory set in a futuristic, dystopian universe. The minimalist aesthetic of the visual, musical, and sonic environment transports us from the present into an undefined future, highlighting the perpetual conflict between power and the nature and identity of the artist. The gradual transition from human to machine, and the suggestion of a post-human condition, inscribe themselves in the viewer’s imagination, who is invited not merely to observe but to experience a journey that challenges the limits of freedom, creation, and life itself. In the age of Artificial Intelligence—when the machine begins to claim the place of the human—the performance illuminates the fragile line between power and resistance, personal responsibility, the creator, and the creation.

The Tbilisi Movement Theatre is one of
the most original, distinctive, and accom-
plished theatres in Georgia. It resembles
no one — nor could it. No one can rep-
licate it; any attempt would result in a
hollow imitation, a pale copy.
Everything that takes place in this the-
atre was conceived, created, and brought
to life primarily by Kakha Bakuradze — an
actor, choreographer, director, and mime.
Even the building itself was shaped into
a theatre space by the hands of Kakha
Bakuradze, Ioseb Bakuradze, Eka Baku-
radze, and their like-minded collabora-
tors — from its overall structure down to
every last screw and detail.

The introduction of digital technologies into the field of theatre marks a qualitative rupture distinct from previous technical transformations. Digital theatre necessitates not only the adoption of new tools on stage but also a fundamental reconsideration of theatre’s core concepts. Today, texts generated by artificial intelligence, virtual performers, and digital design-based practices have become increasingly common. But how do theatre scholars perceive this evolutionary transformation? This study focuses on the scholar perspective on digitalization in theatre and aims to construct a “map of opinions.” To this end, a field study was conducted with the participation of 114 scholars from 37 countries, using a 20-item questionnaire. In the study, where the dependent variable was defined as “digital orientations” and the independent variable as “theatre scholars,” a five-point Likert scale was employed. The study was structured around four main sections: Beliefs, Expectations, Concerns, and Transformations. All sections were designed to unpack contemporary issues related to digital theatre, including artificial intelligence, liveness, and archiving. In the Beliefs section, the effects of the current digital framework were examined; in Expectations, future possibilities were considered; in Concerns, potential risks were addressed; and in Transformations, the practical changes that digital theatre has produced or is expected to produce were analyzed.

Presenting a groundbreaking account of an audacious theatrical undertaking: Created by the Norwegian/German duo of Vegard Vinge and Ida Müller, the Ibsen-Saga (2006-present) is a six-hundred-year project to restage Henrik Ibsen's entire oeuvre. Andrew Friedman presents a groundbreaking historical narrative of this project's development and dramaturgy, through the theories and practices of modernism's most influential and controversial artists, including Henrik Ibsen, Richard Wagner, F. T. Marinetti, Erwin Piscator, and Jackson Pollock. Vinge and Müller treat Ibsen's plays as the urtexts of a mythical struggle between artistic vision and material limits, which they explore through analogous narratives ranging from Hamlet to World Cup soccer matches, all unified by a singular aesthetic that juxtaposes totalizing fiction and extreme reality. As Friedman shows, they mythologize Ibsen's themes of artistic ambition to resurrect and test modernism's fantasies of artistic autonomy, totality, creative license, and provocation. By reading Vinge and Müller's project through its modernist inspirations, Friedman demonstrates the material and ethical limits of modernist ideals in current theatrical practice, providing new perspectives on the legacy of these pioneering figures. Ibsen Apocalypse is a bold, cross-disciplinary reappraisal of the persistent power of modernity in contemporary performance.

This article examines the music theatre collective CLAP (1973–1977), a student-led writing and performance group based at the University of York. Comprised of composers, actors, singers, and instrumentalists, CLAP developed and staged original works across Yorkshire and at major national platforms including the Camden Festival and the Edinburgh Fringe Festival. Dedicated to experimenting with the intersections of music and theatre, the group sought to challenge the conventions of British and Italian classical concert practice by creating interdisciplinary performances that expanded the aesthetic and structural possibilities of music theatre in the 1970s.

Rather than revisiting or speculating upon existing narratives, this study synthesises published scholarship, archival sources, and personal blog posts to construct a more comprehensive understanding of CLAP’s activity and artistic aims. While not intended as a definitive history, the article offers a critical consolidation of available materials in order to demonstrate the group’s innovative methodologies and collaborative ethos. In doing so, it positions CLAP as a significant contributor to British music theatre production during the period, and highlights the cultural and musical impact of their experimental practice within the broader landscape of twentieth-century performance.

This paper examines the theoretical tension between representation and repetition in contemporary theatre through the philosophy of Gilles Deleuze. Drawing primarily on "Difference and Repetition" (1968), it argues that repetition, for Deleuze, is not the reproduction of the same but the production of difference and the manifestation of forces that precede language and stable identity. In contrast to the metaphysics of representation—where performance stages a pre-existing text, character, or meaning—repetition produces presence as event.
The discussion situates Deleuze in dialogue with Søren Kierkegaard, Friedrich Nietzsche, and Antonin Artaud, highlighting convergences around immediacy, becoming, and the primacy of the present. At the same time, the paper questions the potentially utopian dimension of both Deleuze’s “pure” repetition and Artaud’s Theatre of Cruelty, especially in the context of text-based dramatic theatre.
As a critical response, it introduces the concept of “(re)presentation,” proposed in earlier work (Giannopoulos 2005), to describe the dynamic co-articulation of repetition and representation within performance. The argument is exemplified through the 1998 "Hamlet" directed by Michail Marmarinos, where the dramatic text functions as a spectral trace and the encounter between Hamlet and Gertrude unfolds as an event of embodied intensity rather than discursive exchange. The paper concludes that contemporary (postdramatic) theatre does not abolish representation but destabilizes it, allowing repetition—as the production of presence—to emerge within and against it.

Los conceptos de percepción y corporalidad en la obra de Maurice Merleau-Ponty han influido los estudios sobre filosofía del teatro. La idea de la conciencia encarnada es relevante para comprender la experiencia corporal y expresiva en el contexto teatral, especialmente, para indagar en la relación que se presenta entre el espectador y la obra. Así, el obejtivo de este artículo es evidenciar cómo se configura el campo fenomenal en una obra teatral en dos momentos: primero, la

Body language or motion language, sign language is the revelation of character's inner feeling through expression, posture or the combination of both of them containing certain meaning. Every scene in the theater performance, Kamar Mandi Kita is colored more by actors' body language by using several properties. Through those actors' body language, the director tries to show phenomena that often happen nowadays in which the public more often publicize their private activities via social media. The spatial performance means that the work of those actors has fulfilled the standard of artwork worthiness. Technically, that thing has three main elements namely bringing clarity, showing a development, and referring to a unity. During the performance, all actors in the theater performance, Kamar Mandi Kita, were utilizing their body language and setproperty more as the media of delivering that opus message.

This paper examines the theatrical space and audience and the demonstration of the performative presence in the context of virtual theatre and Richard Nelson's What Do We Need to Talk About? (2020). The world's catastrophic situation with COVID-19 caused the performing arts industries to turn to digital faster than ever before, and traditional dramaturgical practice needs to be reexamined. In a qualitative case study based on the work of Nelson, this research examines how the medium of Zoom performance reconstitutes spatiality, liveness, and audience experience. Based on digital dramaturgy, media theory, and the performance concept, this paper demonstrates that virtual theatre does not offer a straightforward alternative to physical theatre, but rather can be regarded as a new aesthetic form that strikes a balance between presence and intimacy through digital interfaces. The study demonstrates that Nelson's play is a poignant example of the phenomenon known as networked liveness and distributed space, which creates a demand for new storytelling and spectatorship in response to current social and technological conditions.