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| Preface to the English edition | |
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| Introduction | |
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| What's in the 'post'? | |
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| (Post)dramatic theory 'post' Szondi and Hegel | |
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| The turn to performance | |
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| Post-1960s institutional context, memory, history and palimpsest | |
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| Theatre and world in the age of media: are we post-postdrama? | |
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| Postmodern and postdramatic theory | |
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| Note on the translation and acknowledgement | |
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| Prologue | |
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| The stakes | |
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| Intentions | |
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| Trade secrets of dramatic theatre | |
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| Caesura of the media society | |
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| Names | |
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| Paradigm | |
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| Postmodern and postdramatic | |
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| Choice of term | |
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| Tradition and the postdramatic talent | |
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| Drama | |
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| Drama and theatre | |
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| 'Epicization'- Peter Szondi, Roland Barthes | |
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| The estrangement of theatre and drama | |
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| 'Dramatic discourse' | |
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| Theatre after Brecht | |
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| Suspended suspense | |
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| 'What a drama!' | |
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| 'Formalist theatre' and imitation | |
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| Mimesis of action | |
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| 'Energetic theatre' | |
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| Drama and dialectic | |
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| Drama, history, meaning | |
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| Aristotle: the ideal of surveyability (synopton) | |
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| The exclusion of the real | |
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| The performance | |
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| Prehistories | |
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| Towards a prehistory of postdramatic theatre | |
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| Theatre and text | |
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| The twentieth century | |
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| First stage: 'pure' and 'impure' drama | |
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| Second stage: crisis of drama, theatre goes its own way(s) | |
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| Autonomization, retheatricalization | |
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| Third stage: 'neo-avant-garde' | |
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| A short look back at the historical avant-gardes | |
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| Lyrical drama, Symbolism | |
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| Stasis, ghosts | |
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| Stage poetry | |
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| Acts, actions | |
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| Speed, numbers | |
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| Landscape Play | |
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| 'Pure form' | |
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| Expressionism | |
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| Surrealism | |
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| Panorama of postdramatic theatre | |
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| Beyond dramatic action: ceremony, voices in space, landscape | |
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| Kantor or the ceremony | |
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| Gruber or the reverberation of the voice in space | |
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| Wilson or the landscape | |
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| Postdramatic theatrical signs | |
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| Retreat of synthesis | |
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| Dream images | |
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| Synaesthesia | |
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| Performance text | |
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| Parataxis/non-hierarchy | |
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| Simultaneity | |
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| Play with the density of signs | |
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| Plethora | |
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| Musicalization | |
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| Scenography, visual dramaturgy | |
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| Warmth and coldness | |
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| Physicality | |
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| 'Concrete theatre' | |
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| Irruption of the real | |
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| Event/situation | |
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| Examples | |
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| An evening with Jan and his friends | |
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| Narrations | |
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| Scenic poem | |
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| Between the arts | |
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| Scenic essay | |
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| 'Cinematographic theatre' | |
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| Hypernaturalism | |
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| Cool Fun | |
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| Theatre of 'shared' space | |
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| Theatre solos, monologies | |
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| Choral theatre/ theatre of the chorus | |
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| Theatre of heterogeneity | |
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| Performance | |
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| Theatre and performance | |
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| A field in between | |
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| The positing (Setzung) of performance | |
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| Self transformation | |
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| Aggression, responsibility | |
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| The present of performance | |
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| Aspects: text - space - time - body - media | |
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| Text | |
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| Chora-graphy, the body-text | |
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| Textscape, theatre of voices | |
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| Space | |
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| Dramatic and postdramatic space | |
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| Time | |
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| Postdramatic aesthetics of time | |
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| The unity of time | |
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| Body | |
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| Postdramatic images of the body | |
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| Pain, catharsis | |
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| Media | |
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| Media in postdramatic theatre | |
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| Electronic images as a relief | |
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| 'Representability', fate | |
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| Epilogue | |
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| The political | |
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| Intercultural theatre | |
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| Representation, measure and transgression | |
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| Afformance art? | |
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| Drama and society | |
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| Theatre and the 'Society of the Spectacle' | |
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| Politics of perception, aesthetics of responsibility | |
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| Aesthetics of risk | |
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| Notes | |
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| Bibliography | |
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| Index | |