Teatro Pós-dramático, doze anos depois

Lehmann, Hans-Thies

doi:10.1590/2237-266039703

RESUMO

Este texto faz um balanço dos doze anos de emergência da prática e do termo Pós-dramático e alguns de seus desdobramentos e questões para as artes cênicas. Discutem-se as mudanças pelas quais a cena contemporânea foi protagonista desde 1999 e, em consequência, as mudanças que devemos considerar ao ler e analisar o pós-dramático; entre elas, a ênfase no trabalho colaborativo; as novas relações entre teatro e sociedade; os usos do coro; a atenção à dança; o retorno da palavra. Por fim, o texto coloca a questão de saber se o termo pós-dramático precisaria ou não ser revisto.

Palavras-chave:
Teatro Pós-dramático; Hans-Thies Lehmann; Espetáculo; Cena Contemporânea; Artes Cênicas

ABSTRACT

This text takes stock of the twelve years of emergence of the practice and term Postdramatic and some of its developments and issues in the performing arts. It discusses the changes through which the contemporary scene has gone since 1999 and consequently the changes we should consider when reading and analysing the concept of postdramatic; among them, the focus on collaborative work; new relations between theatre and society; the focus on dance; and the return of words. Finally, the text raises the question of whether or not the term postdramatic should be reconsidered.

Keywords:
Postdramatic Theatre; Hans-Thies Lehmann; Spectacle; Contemporary Scene; Performing Arts

RÉSUMÉ

Ce texte dresse un bilan de la pratique et du terme postdramatique, depuis son émergence il y a douze ans, et de certains de ses développements appliqués aux arts du spectacle. Il propose une réflexion sur les bouleversements qu'a connu la scène contemporaine depuis 1999 et sur l'évolution du mode de lecture et d'analyse du postdramatique qui en découle. L'accent est mis sur le travail collectif; les nouvelles relations entre le théâtre et la société; les usages du cœur; l'attention portée à la danse; le retour du mot. Pour finir, le texte s'interroge sur éventuelle remise en question du terme postdramatique.

Mots-clés:
Théâtre Postdramatique; Hans-Thies Lehmann; Spectacle; Scène Contemporaine; Arts du Spectacle

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Referências

AUGÉ, Marc. Non-Lieux. Introduction à une Anthropologie de la Surmodernité. Paris: Seuil, 1992.
BOURRIAUD, Nicolas. Relational Aesthetics. Dijon: Les presses du réel, 2002.
BUTLER, Judith. Gender Trouble. New York: Routledge, 1990.
CERTEAU, Michel. L'Invention du Quotidien. Paris: Arts de Faire, 1980.
FRIED, Michael {1967}. Art and Objecthood. Essays and Reviews. London: Chicago University Press, 1998.
KERKHOVEN, Marianne. European Dramaturgy in the 21st Century. Performance Research: a Journal of the Performing Arts, London, v. 14, n. 3, 2009.
LEHMANN, Hans-Thies. Teatro Pós-dramático. São Paulo: Cosac Naify, 2007.
MARANCA, Bonnie; DASGUPTA, Gautam. Interview. In: ENGELHARDT, Barbara; IRMER, Thomas. So wie es bleibt, ist es nicht Gautam Dasgupta und Bonnie Marranca werfen einen amerikanischen Blick aufs deutsche Theater von Barbara Engelhardt, Thomas Irmer, Bonnie Marranca, Gautam Dasgupta. Theater der Zeit, Berlin, n. 2, p. 38-41, 2000.
MCKENZIE, Jon. Perform or Else. From discipline to Performance. London: Routledge, 2001.
MÜLLER, Heiner. Herzstück. Berlin: Rotbuchverlag, 1983.
PAVIS, Patrice. Languages of the Stage: essays in the semiology of theatre. New York: Performing Arts Journal Press, 1982.
PERFORMING LITERATURES. PERFORMING LITERATURES Special Issue of Performance Research: a Journal of the Performing Arts, London, v. 14, n. 1, 2009.
SARRAZAC, Jean-Pierre. Poétique du Drame Moderne. Paris: Seuil, 2012.
SCHECHNER, Richard. Perfomance Studies: the broad sprectum approach. National Forum 70, {s.l.}, n. 3, p. 15-16, 1990.
TACKELS, Bruno. An der Bruchstelle zwischen Text und Performance, Momentaufnahmen im französischen Theater. Theater der Zeit, Berlin, n. 9, p. 3-8, 2005.

1
NR.: veja a edição em língua portuguesa do livro em Lehmann (2007).

Datas de Publicação

Publicação nesta coleção
Dez 2013

Histórico

Recebido
06 Maio 2013
Aceito
07 Jun 2013

Este é um artigo publicado em acesso aberto sob uma licença Creative Commons

[1] AUGÉ, Marc. Non-Lieux. Introduction à une Anthropologie de la Surmodernité. Paris: Seuil, 1992.

[2] BOURRIAUD, Nicolas. Relational Aesthetics. Dijon: Les presses du réel, 2002.

[3] BUTLER, Judith. Gender Trouble. New York: Routledge, 1990.

[4] CERTEAU, Michel. L'Invention du Quotidien. Paris: Arts de Faire, 1980.

[5] FRIED, Michael {1967}. Art and Objecthood. Essays and Reviews. London: Chicago University Press, 1998.

[6] KERKHOVEN, Marianne. European Dramaturgy in the 21st Century. Performance Research: a Journal of the Performing Arts, London, v. 14, n. 3, 2009.

[7] LEHMANN, Hans-Thies. Teatro Pós-dramático. São Paulo: Cosac Naify, 2007.

[8] MARANCA, Bonnie; DASGUPTA, Gautam. Interview. In: ENGELHARDT, Barbara; IRMER, Thomas. So wie es bleibt, ist es nicht Gautam Dasgupta und Bonnie Marranca werfen einen amerikanischen Blick aufs deutsche Theater von Barbara Engelhardt, Thomas Irmer, Bonnie Marranca, Gautam Dasgupta. Theater der Zeit, Berlin, n. 2, p. 38-41, 2000.

[9] MCKENZIE, Jon. Perform or Else. From discipline to Performance. London: Routledge, 2001.

[10] MÜLLER, Heiner. Herzstück. Berlin: Rotbuchverlag, 1983.

[11] PAVIS, Patrice. Languages of the Stage: essays in the semiology of theatre. New York: Performing Arts Journal Press, 1982.

[12] PERFORMING LITERATURES. PERFORMING LITERATURES Special Issue of Performance Research: a Journal of the Performing Arts, London, v. 14, n. 1, 2009.

[13] SARRAZAC, Jean-Pierre. Poétique du Drame Moderne. Paris: Seuil, 2012.

[14] SCHECHNER, Richard. Perfomance Studies: the broad sprectum approach. National Forum 70, {s.l.}, n. 3, p. 15-16, 1990.

[15] TACKELS, Bruno. An der Bruchstelle zwischen Text und Performance, Momentaufnahmen im französischen Theater. Theater der Zeit, Berlin, n. 9, p. 3-8, 2005.

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