(Re)presenting drama: adaptation in postdramatic theatre

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http://eprints.org/relation/isVersionOf http://etheses.bham.ac.uk/id/document/16210 http://eprints.org/relation/isVolatileVersionOf http://etheses.bham.ac.uk/id/document/16210 http://eprints.org/relation/isIndexCodesVersionOf http://etheses.bham.ac.uk/id/document/16210 archive 4031 disk0/00/00/29/65 2011-11-17 16:40:35 2019-01-23 09:55:13 2011-11-17 16:40:35 thesis show 0 Bicknell Samuel Reilly Kara University of Birmingham (Re)presenting drama: adaptation in postdramatic theatre unpub BH GV N1 NX T1 10col_artl This thesis examines three adaptations of dramatic texts for postdramatic performance by two experimental theatre companies: the Wooster Group’s L.S.D. (1984) and Brace Up! (1991), and La Fura dels Baus’ F@ust 3.0 (1998). Of particular significance to this study is the notion that these companies do not simply restage the texts they engage with in lieu of creating new and original material, nor do they only present a “version” of the texts in their own aesthetic style. Instead both companies self-consciously explore their personal relationship with dramatic text by making the processes of adapting and interrogating the material the theme of their performance. This is achieved by juxtaposing the text against a landscape of newer media and digital technologies which complicate the traditional forms of mimetic representation found in the purely dramatic text. As such, both the Wooster Group and La Fura dels Baus question the very notion of “representability”: that is both (a) the ability of the postdramatic to accommodate a mimetic form of representation in light of the integration of digital technologies into performance, and (b) the capability of the dramatic text as an older form of media to represent and reflect the highly mediated, technologically-driven contemporary moment. 2011-12 2011-07 graduation eng author unchecked This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. public 81 University of Birmingham School of English, Drama and American & Canadian Studies, Department of Drama and Theatre Arts m_ph na 2011-12 graduation