Tarp dramos ir postdramos

LTStraipsnyje nagrinėjama dramos žanro kaita postdraminio teatro kontekste. Postdraminio teatro teoretikas H. T. Lehmannas teigia, kad dramos tekstas yra viena iš postdraminio teatro dalių. Tačiau dažnai dramos tekstas yra spektaklio centrinė ašis, kuria remiantis konstruojamas spektaklis. Straipsnyje keliama prielaida, kad postdraminė teorija atnaujina dramos žanrą, o kai kuriuos scenos tekstus galima laikyti postdramomis. Spektaklio „Didis blogis“ pavyzdžiu siekiama parodyti, kad šio spektaklio tekstą galima laikyti postdrama, nes jo atsiradimą lemia ne dramaturgas, o lygiavertis režisieriaus, aktorių ir dramaturgo kūrybinis bendradarbiavimas. Šio bendradarbiavimo rezultatas – įvairias dramos kūrimo strategijas atskleidžiantis tekstas. Jame gausu akivaizdžių žaidimų įvairiomis draminio teksto formomis: epiniu, brechtiškuoju, socialiniu, dokumentiniu, medijų, žiaurumo teatru, intermedija, teatru teatre, stand-up. Galima teigti, kad drama, nustumta į antrą planą postmoderniame teatre, šiuolaikiniame teatre virsta postdrama, kuri atsinaujina panaudodama postdraminiam teatrui būdingas strategijas, kitaip sakant, integruodama įvairias šiam teatrui būdingas estetikas ir priversdama jas tarnauti tekstui. [Iš leidinio]Reikšminiai žodžiai: Postdrama; Marius Ivaškevičius; "Didis blogis"; Postdrama; Marius Ivaškevičius; Wartists.

ENThe article analyses the transformations of the genre of drama in the context of the postdramatic theatre. Contrary to the affirmations of Hans-Thies Lehmann, the main theoretician of the postdramatic theatre, a text of a drama is not always only one of the elements of the postdramatic theatre. A text of a drama is often the main axis of a performance, around which it is constructed. It is presumed that the postdramatic theory allows a new approach to the genre of drama and encourages the birth of texts that can be called postdramas. The example of a performance of Wartists is aimed to show that the text of this performance can be treated as a postdrama, since it is caused not by a playwright but by a creative collaboration between the director, the actors and the playwright. The result of this collaboration is a text that integrates very different strategies of the creation of drama. There is an evidence of a play with different drama forms: epic, social, documental media, cruelty, Brecht’s theatre, theatre in the theatre, stand up or intermezzo. It can be assumed that drama, which in the postmodern theatre played only a secondary role, becomes postdrama and the contemporary theatre. It renews itself while using the strategies that are common in the postdramatic theatre, which means that it integrates various aesthetics common for this theatre and obliges them to serve as a text. [From the publication]