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Virtually every contemporary theatre artist and group of international note is here identified as a practitioner of the postdramatic." [ 22 ] Fuchs goes on to point out that Lehmann attempts to show the range of the postdramatic "by showing that it can contain all moods and modes, hieratic and profane, hermetic and popular, abstract and ...
While fact-based drama has been traced back to ancient Greece and Phrynichus' production of The Capture of Miletus in 492 BC, [2] contemporary documentary theatre is rooted in theatrical practices developed in Eastern Europe during the 1920s and 1930s.
There is a movement away from linearity to multiplicity (to inter-related webs of stories), where acts and scenes give way to a series of peripatetic dramatic moments. Characters are fragmented, forming a collection of contrasting and parallel shards stemming from a central idea, theme or traditional character.
Drama is the specific mode of fiction represented in performance: a play, opera, mime, ballet, etc., performed in a theatre, or on radio or television. [1] Considered as a genre of poetry in general, the dramatic mode has been contrasted with the epic and the lyrical modes ever since Aristotle's Poetics (c. 335 BC)—the earliest work of dramatic theory.
In this broader sense, drama is a mode distinct from novels, short stories, and narrative poetry or songs. [3] In the modern era, before the birth of cinema or television, "drama" within theatre was a type of play that was neither a comedy nor a tragedy. It is this narrower sense that the film and television industries, along with film studies ...
American Drama between the Wars (1991) online; Palmer, David, ed. Visions of Tragedy in Modern American Drama (Bloomsbury, 2018). Richardson, Gary A. American Drama through World War I (1997) online; Roudane, Matthew C. American Drama Since 1960: A Critical History (1996) online; Shiach, Don. American Drama 1900–1990 (2000) Vacha, John.
Immersive theater differentiates itself from traditional theater by removing the stage and immersing audiences within the performance itself. Often, this is accomplished by using a specific location (site-specific), allowing audiences to converse with the actors and interact with their surroundings (interactive), thereby breaking the fourth wall.
The history of collaboratively devised performance is as old as the theatre: we see prototypes of contemporary devising practice in ancient and modern mime, in circus arts and clowning, in commedia dell'arte; some cultural traditions, indeed, have always created performance through predominantly collectivist methods (theatre scholar and performance maker Nia Witherspoon, for instance, has ...