Study on the Conceptual Possibilities of Post-Postdramatic Theatre in Creating Methods of Forced Entertainment (폴스트 엔터테인먼트(Forced Entertainment)의 작품 창작 방식에 드러난 ‘포스트-포스트드라마 연극’의 가능성)

Lee Ye Eun (이예은)

Study on the Conceptual Possibilities of Post-Postdramatic Theatre in Creating Methods of Forced Entertainment

Journal of Modern English Drama
Abbr : JMBARD
2016, 29(3), pp.99-121
Publisher : 한국현대영미드라마학회
Research Area : Humanities > English Language and Literature > English Literature > Contemporary English Drama

Lee Ye Eun ¹

¹호원대학교

Accredited

ABSTRACT

Study on the Conceptual Possibilities of Post-Postdramatic Theatre in Creating Methods of Forced Entertainment Abstract Lee,YeEun Forced Entertainment founded in the UK in 1984 has been evaluated as a representative postdramatic theatre group by Hans-Thies Lehmann but other English critics including Karen Jürs-Munby have estimated the works of FE couldn’t be explained at the bare suggestion of postdramatic theatre. Jürs-Munby has proposed the term ‘post-postdramatic theatre’ to FE’s works. I studied concrete post-postramatic qualities in the creating methods of FE. FE concentrates to find the possibility between the repetition and coincidence by manipulating words in writing scripts and accordingly to extend the territory between the meaning and not-meaning. This attempts continue to stage the territories between acting and not-acting in performing and to make points of contact between the conventional theatre and postdramatic theatre. FE doesn’t divide drama and ‘post-drama’, text and ‘performance-text’, conventional language and ‘surfaces of language’ (Sprachflächen) which has been divided by Lehmann. In exchange FE tries to create and expand the volume of betweenness, the territory between those two areas of conventional theatre and postdramatic theatre. And so the meaning and not-meaning can constantly traverse, stay and move around. FE displays the constant state of moving in and out of ‘theatre’ and ‘non-theatre’. Making theatre and postdramatic theatre negotiate, FE is able to reach the state of blurring between these two realms and further, makes the relationship between them interactively fluid. This aspect overcomes the exclusive limitations of postdramatic theatre differed from dramatic theatre and can be estimated to post-postdramatic theatre.

KEYWORDS

postdramatic theatre, post-postdramatic theatre, Forced Entertainment, Hans-Thies Lehmann, not-acting, site-specific

Citation status

* References for papers published after 2023 are currently being built.

[thesis] 이예은 / 2016 / 창안 공연(Devising Performance)의 이론적 토대와 실제-통합성과 유동성을 중심으로 / 박사 / 서울대학교

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[journal] Etchells, Tim / 2006 / Instructions for Forgetting / The Drama Review 50(3) : 108~130

[journal] Etchells, Ti / 2012 / In The Silences: A Text With Very Many Digressions And Forty-Three Footnotes Concerning The Process Of Making Performance / Performance Research 17(1) : 33~37

[journal] Etchells, Tim / 2015 / Live Forever / In fragments, to begin... / Performance Research 20(5) : 87~95

[book] Helmer, Judith / 2012 / Not Even a Game Anymore: The Theatre of Forced Entertainment / Alexander Verlag

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[book] Lehmann, Hans-Thies / 2006 / Postdramatic Theatre / Routledge

[journal] Tomlin, Liz / 1999 / Transgressing Boundaries / The Drama Review 43(2) : 136~147

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Journal of Modern English Drama 2023 KCI Impact Factor : 0.11