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"The proof is in the pudding": Britische Theaterstücke "zwischen" Drama und postdramatischem Theater

Research output: Contribution in Book/Report/Proceedings - With ISBN/ISSNChapter

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"The proof is in the pudding" : Britische Theaterstücke "zwischen" Drama und postdramatischem Theater. / Juers-Munby, Karen.

"Postdramatik": Reflexion und Revision. ed. / Pia Janke; Teresa Kovacs. Vienna : Praesens Verlag, 2015. p. 464-480 (Diskurse.Kontexte.Impulse; Vol. 11).

Research output: Contribution in Book/Report/Proceedings - With ISBN/ISSNChapter

Harvard

Juers-Munby, K 2015, "The proof is in the pudding": Britische Theaterstücke "zwischen" Drama und postdramatischem Theater. in P Janke & T Kovacs (eds), "Postdramatik": Reflexion und Revision. Diskurse.Kontexte.Impulse, vol. 11, Praesens Verlag, Vienna, pp. 464-480, "Sinn Egal. Körper Zwecklos". Postdramatik? Reflexion und Revision, Vienna, Austria, 14/05/14.

APA

Juers-Munby, K. (2015). "The proof is in the pudding": Britische Theaterstücke "zwischen" Drama und postdramatischem Theater. In P. Janke, & T. Kovacs (Eds.), "Postdramatik": Reflexion und Revision (pp. 464-480). (Diskurse.Kontexte.Impulse; Vol. 11). Praesens Verlag.

Vancouver

Juers-Munby K. "The proof is in the pudding": Britische Theaterstücke "zwischen" Drama und postdramatischem Theater. In Janke P, Kovacs T, editors, "Postdramatik": Reflexion und Revision. Vienna: Praesens Verlag. 2015. p. 464-480. (Diskurse.Kontexte.Impulse).

Author

Juers-Munby, Karen. / "The proof is in the pudding" : Britische Theaterstücke "zwischen" Drama und postdramatischem Theater. "Postdramatik": Reflexion und Revision. editor / Pia Janke ; Teresa Kovacs. Vienna : Praesens Verlag, 2015. pp. 464-480 (Diskurse.Kontexte.Impulse).

Bibtex

@inbook{68a1c07b923449a0a7d4c3a757e67fcd,
title = "{"}The proof is in the pudding{"}: Britische Theaterst{\"u}cke {"}zwischen{"} Drama und postdramatischem Theater",
abstract = "This contribution begins by analysing the British critical reception of Hans-Thies Lehmann's Postdramatic Theatre (translation 2006), firstly in terms of the national theatre landscape in the UK, which diverges from theatre in German speaking countries with respect to the dominance of commercial theatre and the privileging of playwrights over directors, and secondly in terms of Lehmann's heterogeneous theorisation of the role the text in postdramatic theatre. The contribution subsequently explores how selected plays by Sarah Kane and Tim Crouch can be described as 'no-longer-dramatic' texts that call for postdramatic theatre forms, while at the same time retaining some dramatic elements and referring to the dramatic tradition. The chapter proposes that it is often the plays at the interface of the dramatic tradition and postdramatic theatre that are especially political. ",
keywords = "postdramatic theatre, Sarah Kane, Tim Crouch",
author = "Karen Juers-Munby",
year = "2015",
month = apr,
day = "30",
language = "German",
isbn = "9783706908115",
series = "Diskurse.Kontexte.Impulse",
publisher = "Praesens Verlag",
pages = "464--480",
editor = "Janke, {Pia } and Teresa Kovacs",
booktitle = "{"}Postdramatik{"}",
note = "null ; Conference date: 14-05-2014 Through 18-05-2014",
url = "https://fpjelinek.univie.ac.at/forschungsarbeiten/projekt-postdramatik-201314/",

}

RIS

TY - CHAP

T1 - "The proof is in the pudding"

AU - Juers-Munby, Karen

PY - 2015/4/30

Y1 - 2015/4/30

N2 - This contribution begins by analysing the British critical reception of Hans-Thies Lehmann's Postdramatic Theatre (translation 2006), firstly in terms of the national theatre landscape in the UK, which diverges from theatre in German speaking countries with respect to the dominance of commercial theatre and the privileging of playwrights over directors, and secondly in terms of Lehmann's heterogeneous theorisation of the role the text in postdramatic theatre. The contribution subsequently explores how selected plays by Sarah Kane and Tim Crouch can be described as 'no-longer-dramatic' texts that call for postdramatic theatre forms, while at the same time retaining some dramatic elements and referring to the dramatic tradition. The chapter proposes that it is often the plays at the interface of the dramatic tradition and postdramatic theatre that are especially political.

AB - This contribution begins by analysing the British critical reception of Hans-Thies Lehmann's Postdramatic Theatre (translation 2006), firstly in terms of the national theatre landscape in the UK, which diverges from theatre in German speaking countries with respect to the dominance of commercial theatre and the privileging of playwrights over directors, and secondly in terms of Lehmann's heterogeneous theorisation of the role the text in postdramatic theatre. The contribution subsequently explores how selected plays by Sarah Kane and Tim Crouch can be described as 'no-longer-dramatic' texts that call for postdramatic theatre forms, while at the same time retaining some dramatic elements and referring to the dramatic tradition. The chapter proposes that it is often the plays at the interface of the dramatic tradition and postdramatic theatre that are especially political.

KW - postdramatic theatre

KW - Sarah Kane

KW - Tim Crouch

M3 - Chapter

SN - 9783706908115

T3 - Diskurse.Kontexte.Impulse

SP - 464

EP - 480

BT - "Postdramatik"

A2 - Janke, Pia

A2 - Kovacs, Teresa

PB - Praesens Verlag

CY - Vienna

Y2 - 14 May 2014 through 18 May 2014

ER -