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The death of the lecture(1)
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The Post Lecture Wednesday, 3/28
What is postmodern art?
When did this post thing
happen?
• Just like there are
many answers to the
question “When did
we become
modern?” there are
many answers to the
question “When did
we become
postmodern?”
When did this post thing
happen?
• Answer #1: Modernity
and its associated values
were discredited by World
War II, and postmodern
theatre begins with the
postwar plays of the
Existentialists and the
Absurdists—Camus,
Jean-Paul Sartre,
Beckett, Ionesco, Pinter.
When did this post thing
happen?
• Answer #2: Modernity gives way to postmodernity in the 1960s and „70s, when television fundamentally alters how people perceive the world and allows the values of market capitalism to permeate every aspect of our lives. In this version, theatre becomes postmodern when commercial theatre absorbs all of the “revolutionary” innovations of the modernist avant-garde and commodifies them.
When did this post thing
happen?
• Answer #3: The themes and forms that we associate with “postmodernism” are nearly as old as modernism itself. Postmodern drama is not “what drama became after the end of modernism” but drama that casts the same critical gaze on modernism that modernism itself cast on 19th-Century values. In this model, the first postmodernists included Oscar Wilde and Alfred Jarry.
The Post-Chart
Modern Postmodern
Culture divided into “high” and
“low”/ “Inside” and “outside.”
A “marketplace” in which all
forms of cultural expression are
equal.
Purity and Identity Mixture and Difference
Prophecy Irony
Art as original creation Art as rearrangement or
recoding of familiar materials
The Revolutionary Says:
“Religion and tradition are
tyrannical illusions—but reason
will save us!”
The Revolutionary Says:
“Reason itself is a tyrannical
illusion—but pluralism might
save us.”
The Critic Asks: “Should art
imitate life?”
The Critic Asks: “Are art and
life actually different things?”
What makes postmodern
theater postmodern?
• Pop culture is placed on equal footing with “highbrow” art. The trashy, campy, and kitschy aspects of culture are major source materials.
• Texts and performers defy high-brow expectations regarding what “good theatre” and “good acting” look like.
• Plays awkwardly fuse together multiple forms and styles instead of being clean and unified.
• More often than in Modernism, performance texts are created collectively or through other alternative composition processes.
• Major thematic interests include simulation and simulacra; uncertainty and relativism;
They say, "you mean it's just sounds?" thinking that for
something to just be a sound is to be useless, whereas I love
sounds just as they are, and I have no need for them to be
anything more than what they are. I don't want them to be
psychological. I don't want a sound to pretend that it's a
bucket or that it's president or that it's in love with another
sound. I just want it to be a sound.
--John Cage, experimental composer and performer
Beckett as a Postmodern
Playwright
Well, that passed the time.
It would have passed
in any case.
Thompson as a
Postmodern Playwright
“You don‟t even know who I lookin like!”
The Postmodern and the
Postcolonial
Postdrama
• “Postdramatic” = a term, currently popular in continental Europe, used to describe theater that shifts the focus of theatre away from drama (that is, stories told mainly through dialogue and focused on conflicts between characters) and toward other components of theatrical experience.