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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 | |