Postmodern Performance
Opposing the Aesthetic (the Beautiful)
Aug 27, 2008 Tuirenn Hurstfield
Individual Perception
Postmodernism, particularly in the theatre, has no precise definition and it is increasingly obvious that the theories of postmodernism and postmodern theory are dependant on what the individual perceives the postmodern to be. Dave Robinson (in Nietzsche and Postmodernism) claims that, “Nobody really knows what the label ‘postmodernism’ means … [it] is perhaps just a convenient label for a set of attitudes, values, beliefs and feelings about what it means to be living in the late 20th century.”(p.35) If we adopt this notion that postmodernism is the condition of contemporary culture, then, by definition, all culture produced in our time is inherently postmodern. With such an open interpretation of postmodernism, how can we begin to understand it both stylistically and in a theatrical forum?
Although postmodernism cannot be defined, it is still possible to understand the term as an artistic field by observing the components and influences of performances one understands to be ‘postmodern’. The intention of these articles, therefore, is not, by any means, to attempt to define the term postmodernism, but rather to consider what postmodern performance is, how it opposes traditional theatrical aesthetics and why it does so.
Defining Principles of Postmodern Performance
Postmodernism in performance is, as it is understood today, a dramatic form that is based on a semiotic understanding of traditional theatrical practice. The semiotics (or visual signs) are frequently deconstructed (taken apart) thereby opposing their original interpretation and leaving them open to translation. In this style of theatre the performer is more of an artist, seldom a character like an actor, and the content rarely being traditional in format or presentation.
It is a non-narrative, non-representational theatre in which the traditional forms, genres and practices are abandoned and non-linguistic modes of practice such as gestus (the descriptive visual interpretation of something - usually in the form of gesture or body language) become key components. Dialogue is frequently forced to compete with other theatrically engaging elements. R.Goldberg in Performance Art states; “The performance might be a series of intimate gestures or large-scale visual theatre, lasting from a few minutes to many hours; it might be performed only once or repeated several times, with or without a prepared script, spontaneously improvised, or rehearsed over many months.”(p.8) Also, the professional distinctions of actor, playwright, director, stage-manager and spectator are broken down changing and altering their roles thus opposing the aesthetics (or beauty) of traditional theatre.
Under postmodern performance we can incorporate experimental theatre, the Avant-garde and performance art as each of these genres breaks free of the conventional theatre and strive to continually create works that challenge and astonish or shock their audiences; depicting what we understand to be postmodernism.
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