The Oscillation Between Dramatic and Postdramatic Theatre: Mark Ravenhill's <i>Shopping and F***ing</i>

dc.authoridIzmir, Sibel/0000-0001-7821-6328
dc.authorwosidIzmir, Sibel/AAM-9218-2020
dc.contributor.authorIzmir, Sibel
dc.contributor.otherDepartment of English Language and Literature
dc.date.accessioned2024-10-06T11:00:14Z
dc.date.available2024-10-06T11:00:14Z
dc.date.issued2017
dc.departmentAtılım Universityen_US
dc.department-temp[Izmir, Sibel] Atilim Univ, English Language & Literature, Ankara, Turkeyen_US
dc.descriptionIzmir, Sibel/0000-0001-7821-6328en_US
dc.description.abstractDrama and theatre, which are distinctive forms of art, stand among those concepts which are often used interchangeably regardless of their uniqueness. In order to contextualize and reassess this relationship between drama and theatre, Hans-Thies Lehmann, a German scholar and theoretician, has provided a useful formulation in his ground-breaking study Postdramatic Theatre. He claims that theatre has been subordinated by drama particularly in western cultures until the 1960s. This has naturally resulted in a domineering position of the dramatic text and the playwright in the final production. Lehmann argues that since the 1960s western theatre has demonstrated an interest in creating theatrical productions which display an equal treatment of the playtext, playwright, director, performers, costumes, decor, etc. in order to subvert the rooted hierarchal order. In his book, he does not neglect to mention that British "in-yer-face" dramatists are also among those who have influenced the emergence of German-based productions with their shock tactics to capture the audience. In such productions, the events happening on the stage make the audience feel as if they are attacked. The British playwright, Mark Raven hill, is one of such in-yer-face dramatists. This study will offer an exploration of Ravenhill's Shopping and F***ing in the light of Lehmann's theory of post dramatic theatre. The study puts forward that the play under examination goes beyond the confines of in-yer-face sensibility and exhibits a tension between dramatic and postdramatic theatre.en_US
dc.description.woscitationindexArts &amp- Humanities Citation Index
dc.identifier.citation3
dc.identifier.doi[WOS-DOI-BELIRLENECEK-173]
dc.identifier.endpage99en_US
dc.identifier.issn0171-5410
dc.identifier.issue1en_US
dc.identifier.scopusqualityQ4
dc.identifier.startpage71en_US
dc.identifier.urihttps://hdl.handle.net/20.500.14411/9090
dc.identifier.volume42en_US
dc.identifier.wosWOS:000404195700004
dc.institutionauthorİzmir, Sibel
dc.language.isoenen_US
dc.publisherGunter Narr verlagen_US
dc.relation.publicationcategoryMakale - Uluslararası Hakemli Dergi - Kurum Öğretim Elemanıen_US
dc.rightsinfo:eu-repo/semantics/closedAccessen_US
dc.subject[No Keyword Available]en_US
dc.titleThe Oscillation Between Dramatic and Postdramatic Theatre: Mark Ravenhill's <i>Shopping and F***ing</i>en_US
dc.typeArticleen_US
dspace.entity.typePublication
relation.isAuthorOfPublication9a621c01-fa33-4e19-9ec9-7b09c5cdf240
relation.isAuthorOfPublication.latestForDiscovery9a621c01-fa33-4e19-9ec9-7b09c5cdf240
relation.isOrgUnitOfPublication8b792715-728f-42a9-abba-e7efd76da37e
relation.isOrgUnitOfPublication.latestForDiscovery8b792715-728f-42a9-abba-e7efd76da37e

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