Postdramatikk, postmusikk, postkritikk.
Friksjoner mellom postdramatisk teater og postkritisk partiturmusikk
DOI:
https://doi.org/10.15845/tvs.9.4659Sammendrag
The article explores connections and differences between the musical work TURBA / Theories of Mass Society (2003) by composer Trond Reinholdtsen, and elements from theatre scholar Hans-Thies Lehmann's concept of postdramatic theatre. The two occur at a time when digital technology changes writing as a creative, performative and theorizing tool in the performing arts. Both also appear in art forms where one element, to borrow Lehmann's term, has over time been given a prioritized, organizing function – in theatre: verbal language; in music, wordless sound—and both challenge this priority in their respective art form. TURBA could as well be said to compose with theory. Inspired by its attempt, this article aims to read artistic practices in TURBA through aspects of Lehmann’s postdramatic theory, as well as the other way around.
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