Books by Karen Jürs-Munby
Is postdramatic theatre political and if so how? How does it relate to Brecht's ideas of politica... more Is postdramatic theatre political and if so how? How does it relate to Brecht's ideas of political theatre, for example? How can we account for the relationship between aesthetics and politics in new forms of theatre, playwriting, and performance?
The chapters in this book discuss crucial aspects of the issues raised by the postdramatic turn in theatre in the late twentieth and early twenty-first century: the status of the audience and modes of spectatorship in postdramatic theatre; the political claims of postdramatic theatre; postdramatic theatre's ongoing relationship with the dramatic tradition; its dialectical qualities, or its eschewing of the dialectic; questions of representation and the real in theatre; the role of bodies, perception, appearance and theatricality in postdramatic theatre; as well as subjectivity and agency in postdramatic theatre, dance and performance.
Offering analyses of a wide range of international performance examples, scholars in this volume engage with Hans-Thies Lehmann's theoretical positions both affirmatively and critically, relating them to other approaches by thinkers ranging from early theorists such as Brecht, Adorno and Benjamin, to contemporary thinkers such as Fischer-Lichte, Rancière and others.
CONTENTS
Introduction (Jerome Carroll (University of Nottingham, UK; Steve Giles, Emeritus, University of Nottingham, UK; Karen Jürs-Munby, Lancaster University, UK)
1. Performing Dialectics in an Age of Uncertainty, or: Why Post-Brechtian Does Not Mean Postdramatic (David Barnett, University of Sussex, UK)
2. Spectres of Subjectivity: On the Fetish of Identity in (Post-)Postdramatic Choreography (Peter M Boenisch, University of Surrey, UK)
3. Political Fictions and Fictionalisations: History as Material for Postdramatic Theatre (Mateusz Borowski, Jagiellonian University, Poland, and Malgorzata Sugiera, Jagiellonian University, Poland)
4. Phenomenology and the Postdramatic: A Case Study of three plays by Ewald Palmetshofer (Jerome Carroll, University of Nottingham, UK)
5. Christoph Schlingensief's 'Rocky Dutschke, '68': A reassessment of activism in theatre (Antje Dietze, University of Leipzig, Germany)
6. Postdramatic Reality Theatre and Productive Insecurity: Destabilizing Encounters with the Unfamiliar in Theatre from Sydney and Berlin (Ulrike Garde, Macquarie University, Australia, and Meg Mumford, University of New South Wales, Australia)
7. Parasitic Politics: Elfriede Jelinek's 'Secondary Dramas' and their staging (Karen Jürs-Munby, Lancaster University, UK)
8. A future for Tragedy? Remarks on the Political and the Postdramatic (Hans-Thies Lehmann, Visiting Professor at University of Kent, UK)
9. Acting, disabled: Back to Back Theatre and the politics of appearance (Theron Schmidt, King's College London, UK)
10. Performing the Collective: Heiner Müller's 'Alone with these Bodies' ('Allein mit diesen Leibern) as a piece of Postdramatic Theatre (Michael Wood, University of Edinburgh, UK)
11. Crises of Representation: Towards a Postdramatic Politics? (Brandon Woolf, University of California, USA)
EDITORS
Dr Jerome Carroll is lecturer in German Studies at the University of Nottingham, UK.
Steven Giles is Professor Emeritus of German Studies and Critical Theory at the University of Nottingham, UK. He has contributed to Brecht on Art and Politics (Methuen Drama, 2003) as well as authoring books on Modern European Drama and Critical Theory.
Dr Karen Jürs-Munby is a lecturer in Theatre Studies at the University of Lancaster, UK. She translated and wrote a critical introduction for Hans-Thies Lehmann's Postdramatic Theatre (2006).
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Papers by Karen Jürs-Munby
Is postdramatic theatre political and if so how? How does it relate to Brecht's ideas of poli... more Is postdramatic theatre political and if so how? How does it relate to Brecht's ideas of political theatre, for example? How can we account for the relationship between aesthetics and politics in new forms of theatre, playwriting, and performance? The chapters in this book discuss crucial aspects of the issues raised by the postdramatic turn in theatre in the late twentieth and early twenty-first century: the status of the audience and modes of spectatorship in postdramatic theatre; the political claims of postdramatic theatre; postdramatic theatre's ongoing relationship with the dramatic tradition; its dialectical qualities, or its eschewing of the dialectic; questions of representation and the real in theatre; the role of bodies, perception, appearance and theatricality in postdramatic theatre; as well as subjectivity and agency in postdramatic theatre, dance and performance. Offering analyses of a wide range of international performance examples, scholars in this volume e...
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eprints.lancs.ac.uk
... ID Code: 32702. Deposited By: Professor Allyson Fiddler. Deposited On: 14 Apr 2010 11:48. Ref... more ... ID Code: 32702. Deposited By: Professor Allyson Fiddler. Deposited On: 14 Apr 2010 11:48. Refereed?: Published?: Published. Last Modified: 14 Apr 2010 11:48. Archive Staff Only: edit this record. Lancaster Eprints is provided ...
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J.B. Metzler eBooks, 2024
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J.B. Metzler eBooks, 2024
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Postdramatic Theatre and the Political, 2013
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Contemporary Theatre Review, Nov 1, 2006
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TDR, Dec 1, 2008
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Postdramatic Theatre, 2006
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Contemporary Theatre Review, 2006
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Dramsko i postdramsko pozorište
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Postdramatic Theatre and the Political, 2013
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Performance Research, 2009
This article places stagings of theatre texts by Austrian writer Elfriede Jelinek in the wider th... more This article places stagings of theatre texts by Austrian writer Elfriede Jelinek in the wider theoretical context of the relationship between text and performance in postdramatic theatre. Countering a widespread misperception that postdramatic theatre is by definition theatre beyond the use of text, the article argues that in Jelinek productions, postdramatic forms of communication arise in response to a challenging new type of theatre text provided by the writer that actively demands new directorial and performative approaches. After first looking at Jelinek’s longstanding resistance to conventional theatre practice as articulated in her theoretical essays, I explore productions by Thirza Brunken, Einar Schleef and Nicolas Stemann. I argue that Jelinek’s texts act as a resistant force and that productions of her work increasingly acknowledge and openly exhibit the conflict between written text and performance in their dramaturgical approaches.
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New Theatre Quarterly, 2007
The well-known ‘banishment’ of the popular comic figure Hanswurst from the German stage by Gottsc... more The well-known ‘banishment’ of the popular comic figure Hanswurst from the German stage by Gottsched and the Neuber acting troupe in the early eighteenth century is usually read as part of the historical movement from improvised folk theatre to bourgeois literary theatre. In this article Karen Jürs-Munby goes beyond that received wisdom to discuss what kind of acting, what kind of body, and what kind of relationship between stage and audience were censored by banishing Hanswurst. Considering this censorship as part of the larger historical relationship between discourses on acting and the emergence of a modern self in the Enlightenment, she argues that the osmotic body and stage that Hanswurst stood for prevented the aesthetic mirroring relationship sought by eighteenth-century stage reformers in an increasing need for bourgeois self-representation. The Hanswurst banishment can be theorized with reference to Julia Kristeva as an abjection of grotesque acting – a form of acting whose...
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Modern Drama, 2007
... In his book Fassbinder's Germany: History, Identity, Subject, Thomas Elsaesser states ab... more ... In his book Fassbinder's Germany: History, Identity, Subject, Thomas Elsaesser states about the relation of Fassbinder's films to post-war German history that Fassbinder was ''the chronicler of the inner history of the Federal Republic'' (22). ... WORKS CITED Elsaesser, Thomas. ...
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Theatre Research International, 2005
Proceeding from the observation that Gotthold Ephraim Lessing's famous Hamburgische Dramaturg... more Proceeding from the observation that Gotthold Ephraim Lessing's famous Hamburgische Dramaturgie (Hamburg Dramaturgy) soon abandons the analysis of actual performances in favour of a discussion of character, the article explores Lessing's problematic relationship with the performing body, situating it in the context of an increasingly textual culture. It shows the implications of this move in terms of gender prescriptions before discussing Lessing's ‘disgust’ with a particular performance of his Emilia Galotti. Reading this example with Lessing's treatise Laokoon and drawing on Julia Kristeva's theory of abjection, it argues that Lessing's struggle with the performers reveals a profound crisis in subject formation in the sense that the disturbing corporality of the performing body is always threatening sympathetic identification. The article concludes that the Dramaturgie itself constitutes an ‘abjection’ of performance. A postscript opens up the view onto the...
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Spielräume des Anderen
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It has by now been well established that most of Elfriede Jelinek's texts for the theatre can... more It has by now been well established that most of Elfriede Jelinek's texts for the theatre can hardly be described as 'drama' anymore, since they lack a dramatic plot or dialogue and instead offer 'text surfaces' consisting of dense montages of quotes. Yet scholars have paid comparatively less attention to the fact that her 'postdramatic' theatre aesthetics also demands an entirely new form of acting that is intimately bound up with her methodical attack on prevailing ideologies and power structures. After briefly examining the nexus of 'natural acting', subjectivity and ideology (with reference to Althusser), which Jelinek denunciates in plays like Burgtheater and Macht Nichts!, this essay explores the alternative model of acting she envisions in theoretical texts like 'I want to be shallow' (1983) and 'Sense doesn't matter. Body purposeless' (1997)). With reference to Thirza Brunken's production of Stecken, Stab und Stangl...
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Books by Karen Jürs-Munby
The chapters in this book discuss crucial aspects of the issues raised by the postdramatic turn in theatre in the late twentieth and early twenty-first century: the status of the audience and modes of spectatorship in postdramatic theatre; the political claims of postdramatic theatre; postdramatic theatre's ongoing relationship with the dramatic tradition; its dialectical qualities, or its eschewing of the dialectic; questions of representation and the real in theatre; the role of bodies, perception, appearance and theatricality in postdramatic theatre; as well as subjectivity and agency in postdramatic theatre, dance and performance.
Offering analyses of a wide range of international performance examples, scholars in this volume engage with Hans-Thies Lehmann's theoretical positions both affirmatively and critically, relating them to other approaches by thinkers ranging from early theorists such as Brecht, Adorno and Benjamin, to contemporary thinkers such as Fischer-Lichte, Rancière and others.
CONTENTS
Introduction (Jerome Carroll (University of Nottingham, UK; Steve Giles, Emeritus, University of Nottingham, UK; Karen Jürs-Munby, Lancaster University, UK)
1. Performing Dialectics in an Age of Uncertainty, or: Why Post-Brechtian Does Not Mean Postdramatic (David Barnett, University of Sussex, UK)
2. Spectres of Subjectivity: On the Fetish of Identity in (Post-)Postdramatic Choreography (Peter M Boenisch, University of Surrey, UK)
3. Political Fictions and Fictionalisations: History as Material for Postdramatic Theatre (Mateusz Borowski, Jagiellonian University, Poland, and Malgorzata Sugiera, Jagiellonian University, Poland)
4. Phenomenology and the Postdramatic: A Case Study of three plays by Ewald Palmetshofer (Jerome Carroll, University of Nottingham, UK)
5. Christoph Schlingensief's 'Rocky Dutschke, '68': A reassessment of activism in theatre (Antje Dietze, University of Leipzig, Germany)
6. Postdramatic Reality Theatre and Productive Insecurity: Destabilizing Encounters with the Unfamiliar in Theatre from Sydney and Berlin (Ulrike Garde, Macquarie University, Australia, and Meg Mumford, University of New South Wales, Australia)
7. Parasitic Politics: Elfriede Jelinek's 'Secondary Dramas' and their staging (Karen Jürs-Munby, Lancaster University, UK)
8. A future for Tragedy? Remarks on the Political and the Postdramatic (Hans-Thies Lehmann, Visiting Professor at University of Kent, UK)
9. Acting, disabled: Back to Back Theatre and the politics of appearance (Theron Schmidt, King's College London, UK)
10. Performing the Collective: Heiner Müller's 'Alone with these Bodies' ('Allein mit diesen Leibern) as a piece of Postdramatic Theatre (Michael Wood, University of Edinburgh, UK)
11. Crises of Representation: Towards a Postdramatic Politics? (Brandon Woolf, University of California, USA)
EDITORS
Dr Jerome Carroll is lecturer in German Studies at the University of Nottingham, UK.
Steven Giles is Professor Emeritus of German Studies and Critical Theory at the University of Nottingham, UK. He has contributed to Brecht on Art and Politics (Methuen Drama, 2003) as well as authoring books on Modern European Drama and Critical Theory.
Dr Karen Jürs-Munby is a lecturer in Theatre Studies at the University of Lancaster, UK. She translated and wrote a critical introduction for Hans-Thies Lehmann's Postdramatic Theatre (2006).
Papers by Karen Jürs-Munby
The chapters in this book discuss crucial aspects of the issues raised by the postdramatic turn in theatre in the late twentieth and early twenty-first century: the status of the audience and modes of spectatorship in postdramatic theatre; the political claims of postdramatic theatre; postdramatic theatre's ongoing relationship with the dramatic tradition; its dialectical qualities, or its eschewing of the dialectic; questions of representation and the real in theatre; the role of bodies, perception, appearance and theatricality in postdramatic theatre; as well as subjectivity and agency in postdramatic theatre, dance and performance.
Offering analyses of a wide range of international performance examples, scholars in this volume engage with Hans-Thies Lehmann's theoretical positions both affirmatively and critically, relating them to other approaches by thinkers ranging from early theorists such as Brecht, Adorno and Benjamin, to contemporary thinkers such as Fischer-Lichte, Rancière and others.
CONTENTS
Introduction (Jerome Carroll (University of Nottingham, UK; Steve Giles, Emeritus, University of Nottingham, UK; Karen Jürs-Munby, Lancaster University, UK)
1. Performing Dialectics in an Age of Uncertainty, or: Why Post-Brechtian Does Not Mean Postdramatic (David Barnett, University of Sussex, UK)
2. Spectres of Subjectivity: On the Fetish of Identity in (Post-)Postdramatic Choreography (Peter M Boenisch, University of Surrey, UK)
3. Political Fictions and Fictionalisations: History as Material for Postdramatic Theatre (Mateusz Borowski, Jagiellonian University, Poland, and Malgorzata Sugiera, Jagiellonian University, Poland)
4. Phenomenology and the Postdramatic: A Case Study of three plays by Ewald Palmetshofer (Jerome Carroll, University of Nottingham, UK)
5. Christoph Schlingensief's 'Rocky Dutschke, '68': A reassessment of activism in theatre (Antje Dietze, University of Leipzig, Germany)
6. Postdramatic Reality Theatre and Productive Insecurity: Destabilizing Encounters with the Unfamiliar in Theatre from Sydney and Berlin (Ulrike Garde, Macquarie University, Australia, and Meg Mumford, University of New South Wales, Australia)
7. Parasitic Politics: Elfriede Jelinek's 'Secondary Dramas' and their staging (Karen Jürs-Munby, Lancaster University, UK)
8. A future for Tragedy? Remarks on the Political and the Postdramatic (Hans-Thies Lehmann, Visiting Professor at University of Kent, UK)
9. Acting, disabled: Back to Back Theatre and the politics of appearance (Theron Schmidt, King's College London, UK)
10. Performing the Collective: Heiner Müller's 'Alone with these Bodies' ('Allein mit diesen Leibern) as a piece of Postdramatic Theatre (Michael Wood, University of Edinburgh, UK)
11. Crises of Representation: Towards a Postdramatic Politics? (Brandon Woolf, University of California, USA)
EDITORS
Dr Jerome Carroll is lecturer in German Studies at the University of Nottingham, UK.
Steven Giles is Professor Emeritus of German Studies and Critical Theory at the University of Nottingham, UK. He has contributed to Brecht on Art and Politics (Methuen Drama, 2003) as well as authoring books on Modern European Drama and Critical Theory.
Dr Karen Jürs-Munby is a lecturer in Theatre Studies at the University of Lancaster, UK. She translated and wrote a critical introduction for Hans-Thies Lehmann's Postdramatic Theatre (2006).