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Stage of destruction: Performing vi...

University of Minnesota.

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Stage of destruction: Performing violence in postdramatic theater.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Stage of destruction: Performing violence in postdramatic theater./
作者:	Beuker, Brechtje Cornelia Maria.
面頁冊數:	162 p.
附註:	Source: Dissertation Abstracts International, Volume: 68-12, Section: A, page: 5079.
Contained By:	Dissertation Abstracts International68-12A.
標題:	Literature, Germanic. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoeng/servlet/advanced?query=3292938
ISBN:	9780549367314

Stage of destruction: Performing violence in postdramatic theater.
Beuker, Brechtje Cornelia Maria.

Stage of destruction: Performing violence in postdramatic theater. - 162 p.

Source: Dissertation Abstracts International, Volume: 68-12, Section: A, page: 5079.

Thesis (Ph.D.)--University of Minnesota, 2007.

This dissertation examines how the postdramatic genre that gained popularity in the late 20th and beginning 21st century addresses physical and structural violence. In particular after 9/11 and the beginning of the "war on terror," intellectuals and artists have participated in debates about the relationship between violence and media, fiction and reality. Drawing on---among others---Baudrillard and Zizek, I engage in these debates by analyzing the relationship between violence and theater/theatricality as a specific medium. Thus, although dealing foremost with German and Austrian texts and performances, my project also serves as part of a larger discourse.

ISBN: 9780549367314Subjects--Topical Terms:

1019072
Literature, Germanic.

Stage of destruction: Performing violence in postdramatic theater.
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502 $a Thesis (Ph.D.)--University of Minnesota, 2007.
520 $a This dissertation examines how the postdramatic genre that gained popularity in the late 20th and beginning 21st century addresses physical and structural violence. In particular after 9/11 and the beginning of the "war on terror," intellectuals and artists have participated in debates about the relationship between violence and media, fiction and reality. Drawing on---among others---Baudrillard and Zizek, I engage in these debates by analyzing the relationship between violence and theater/theatricality as a specific medium. Thus, although dealing foremost with German and Austrian texts and performances, my project also serves as part of a larger discourse.
520 $a Focusing my analysis on texts by Elfriede Jelinek and Heiner Muller as well as theatrical productions by Rene Pollesch, Einar Schleef and Christoph Schlingensief, I argue that theatrical violence is often characterized by the equation of content and form. Artists make use of what I call performative violence, i.e., a form of violence that is both theatrical and real (in the sense of actually coming into being at the moment of its staging). Performative violence becomes visible in the destruction of the traditional drama and in the aggressive employment of theater's material and social dimension. Building on recent scholarship on a performative aesthetics and an aesthetics of presence, I explain this violent aesthetic method as an attempt at offering the reader/spectator a visceral and affective rather than a cognitive understanding of empirical violence.
520 $a Furthermore, I argue that for the aforementioned artists the destruction of the drama is part of their political agenda and their critique of violence. Invoking Benjamin's critique of the conceptualization of violence as a means to an end, I demonstrate how the Aristotelian drama serves a dominant order that seeks to legitimize its use of violence. Consequently, a theater that seeks to challenge general perceptions of violence and existing power relations has to question its own institutional function and destabilize its dominant model. For Jelinek, Muller, Pollesch, and Schlingensief, this includes a self-reflexive assessment of the role of the artist in the production and perpetuation of violent ideologies. They all problematize their position as (moral) authority.
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