Teaching Postdramatic Theatre / Progress in Mathematics (PDF)
Anxieties, Aporias and Disclosures
(Sprache: Englisch)
This book explores the concept and vocabulary of postdramatic theatre from a pedagogical perspective. It identifies some of the major anxieties and paradoxes generated by teaching postdramatic theatre through practice, with reference to the aesthetic,...
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This book explores the concept and vocabulary of postdramatic theatre from a pedagogical perspective. It identifies some of the major anxieties and paradoxes generated by teaching postdramatic theatre through practice, with reference to the aesthetic, cultural and institutional pressures that shape teaching practices. It also presents a series of case studies that identify the pedagogical fault lines that expose the power-relations inherent in teaching (with a focus on the higher education sector as opposed to actor training institutions). It uses auto-ethnography, performance analysis and critical theory to assist university teachers involved in directing theatre productions to deepen their understanding of the concept of postdramatic theatre.
Autoren-Porträt von Glenn D'Cruz
Glenn D'Cruz teaches Drama and Cultural Studies at Deakin University, Australia. He is the author of Sarah Kane's 4.48 Psychosis and the editor of Class Act: Melbourne Workers Theatre 1987-2007. He is also the co-editor of Contemporary Publics: Shifting Boundaries in New Media, Technology and Culture (Palgrave, 2016).
Bibliographische Angaben
- Autor: Glenn D'Cruz
- 2018, 1st ed. 2018, 205 Seiten, Englisch
- Verlag: Springer-Verlag GmbH
- ISBN-10: 3319716859
- ISBN-13: 9783319716855
- Erscheinungsdatum: 06.04.2018
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- Dateiformat: PDF
- Grösse: 2.87 MB
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Sprache:
Englisch
Pressezitat
“Glenn D’Cruz’s book engages with Hans-Thies Lehmann’s concept of postdramatic theatre, or one of the ‘most widely used (and abused) terms in the fields of theatre, drama and performance studies in recent times’, to cite the author. … D’Cruz’s book makes a significant contribution to debate concerning the propensity of postdramatic theatre to ‘reinforce the hegemony of a narrow, Eurocentric account of modern drama’.” (Australasian Drama Studies, Vol. 73, October, 2019)
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