* 2008 -- Stoppard & Postmodernist Theatre : pomo.vtheatre.net

... my POMO webpages logo?

1. Director's POV

2. PM Dramaturgy

3. Script (not play) writing (not wrighting)




script analysis *
Williams: We all live in a house on fire, no fire department to call; no way out, just the upstairs window to look out of while the fire burns the house down with us trapped, locked in it.

postmodern and vTheatre (pomo project) 2006
Shepard - Theatre Books

POMO Drama: Pinter, Shepard & Hamletmachine

Sam Beckett @ Amazon *
NB. I have to give them one page -- American and British Post-Beckett pays. (See A-Century -- class notes). Also, I include "Hamletmachine" (Muller) as a formal (and even "formalistic") example of Pomo.

There is another page on AmDrama (A. Miller, who is in DramLit class).

The emphasis in Playscript Analysis class is on Northern playwrights, that is the main reason why the North Americans are on the list. O'Neill, Williams, Shepard (Miller -- DramLit, although it should end in 19th century)... and British ones.

I wish that Mamet could be in PM category (American urbanism). Right now only O'Neil is on AmDrama page, which I would like to preserve for analysis of what is American? (O'Neill will have his own page).

The next wave of changes will be made in the Spring 2000 for Dramatic Literature Class THR215

Thematic Breakdown


Father & Sons

Man v. Woman

Money, Work, Happiness, Freedom, Slavery (topics)

Post-Protestant Mind (and our First US Pomo President, now ex)

[ more themes in Film600 directory, which serves as extra-reading for Film Analysis class ]
Beckett (see THEMES directory)

POMO Chronotope

From unpredictable past (Pinter) to unpredictable present (Shepard) to unpredictable (forgotten) reality...

Since the End of Time (Beckett) we try to understand the vertical (non-linear) structure of time. We try hard to comprehand the existence of time in Eternity. The best is to explain it from the hyper-text model...

Memory never was linear only (associations); the plot evolves by being based on previous and the next scene, but in comparasion with its entire entity. (Often, students thinks that "exposition" never ends -- new information is added layer-by-layer).

Postmodern mind wants to demostrate this principle of condensed time -- Hamletmachine. As if in the last moment of the dying world the whole history is flashed within one second. Can we observe it in one glance? (Piled up ruins of history, Walter Benjamin).

If the real space is replaced by Virtual Space, Time-Line opens into several dimentions, becoming SPACE. Travel in Time-without-Space is nothing but leaps (the favorite device of the science fiction); on the Web it's known as clicks. The jumps, when we move from one horizon of time-process to another time horizon. They all active and in process at the same time, we simply step out of the elevator on different floors.

..."synthetic fragment," a kind of assemblage play constructed from diverse parts.

...a dramaturgy of "flooding" (Aurthuad) or inundating the audience. This was aimed at the paradoxical project of both involving and overwhelming the viewer, offering too many simultaneus options to too much stimuli and thus defeating any easy position-taking.

"Beginning with the formal innovations of Beckett's late plays, which give theatrical form to "memoried states of being," Malkin goes on to study the stakes of memory for playwrights with different national and ethnic backgrounds. Shepard and Parks, through varying tactics and from very different points of view, dramatize the erasures of American memory, its disappearance into amnesia and commodification. Mueller and Bernhard, on the contrary, theatricalize a surfeit of historical memory and a chaos of ideological traces. All the plays aim to contest--and evoke--memories of collective pasts, to recontextualize, reopen taboo discourses, intervene in the politics of memory, and to engage (and occasionally enrage) the memoried consciousness of its target audience--with whose memory, and repression, these plays and their productions are in constant dialogue." Memory-Theater and Postmodern Drama, Jeanette R. Malkin 6 x 9. 272 pgs. (1999) Cloth 0-472-11037-3 $60.00S

lanscapes of consciousness -mindscapes
Explosion of Memory/Description of a Picture (1984)

Poem-plays: "antitheatrical theatre collages." Prose? Death of Genre (Beckett).

no memory = slave. Aitmatov on Mongolian torture.

Dramatic texts "which could serve as gravitation centers" (Letter to Wilson, Death Destruction and Detroit II -- DD&D II).

Stanislavsky's "theory of affective memory turns the actor into coauthor who rewrites a character by channeling a fictive text through remembered one." (pp 3-4)

NB. Plato's doctrine of anamnesis and electronic virtuality (restoration of ideal Forms in cyber-medium). Horizontal and Vertical Memory, Individual and Collective.

Chekhov, Strindberg, Williams -- the end of modernism (utopia).

"Frederic Jameson's essay, Postmodernism, or The Cultural Logic of Late Capitalism, describes the ethos of its time. Published in 1984, the work provides a detailed analysis of the social and political implications of postmodernism, and predicts the continuation of a trend already well in progress in the 1980's: the further fragmentation of the self. Jameson's predictions are validated and updated in Sherry Turkle's book Life on the Screen (Touchstone Press, 1995), published a decade later. Where Jameson looks at art, literature and architecture in the 1980's, Turkle looks at virtuality and the online world in the 1990's for evidence of the postmodern decentralization of the self, and what its sustainable and unsustainable consequences might be." Postmodernism, Virtuality, Globalization and the (fragmented) Self - 1/3..."

Depthlessness and Simulacrum. Turkle, Sherry. Life on the Screen. New York, NY: Touchstone Books, 1995.

"With Freud, the theatre of memory moved inward, beyond the imagination, into the psyche; and its drama was played out between repression, symbolic encoding, and therapeutic retrival." (p.5)
The Paul Virilio Reader (European Perspectives)
[Where do I start the pomo -- Chekhov?]
The whole THR413 Playscript Analysis is the POMO POV!

I will collect all postmodern pages in 413 subdirectory.

How to act in PM drama? rethinking:

Formal Elements

a) stage directions.

b) division into acts and scenes

c) dialogue, formally introduced by each character's name.

d) performance in a specific building, a theatre, which contains a stage, curtains, footlights and seats for an audience

e) the action is compressed in time since a play usually takes about 2-3 hours.

f) Drama is classified as:

( more @ source )

Go to Theatre Theory directory.

Textbook Critical Reading texts.

Method(s) of PM analysis (413)

Next: Theology of Technology
* All references: Memory-Theatre and Postmodern Drama, Jeanette R. Malkin, The University of Michigan Press, 1999 (Theatre: Theory/Text/Performance), Chapter 3 -- Heiner Muller's Lanscapes of Memory * The Zizek Reader (Blackwell Readers) The Zizek Reader provides a comprehensive and accessible introduction to this writer's work. Zizek has an international reputation and has had a considerable influence on both scholars and students. Divided into three parts, Culture, Women and Philosophy, the Reader not only gives careful explications of the individual extracts within each section but also connects these extracts in a general introduction, mapping the shiftings of Zizek's thought within a Lacanian framework. The book includes a Foreword by Zizek and a new, previously unpublished essay on cyberspace. The Adorno Reader (Blackwell Readers) This volume is the essential collection of readings from the multidisciplinary work of Theodor Adorno, one of the most influential and admired German thinkers of the twentieth century.

In order to allow a ready appreciation of a specific area of Adorno's thought, The Adorno Reader organizes the most important of his writings into five sections: the task of philosophy, the concepts of philosophy, sociological writings, culture, and aesthetic criticism.

In addition to a general introduction, the editor has provided individual introductions to all of the material in the book. By explicating some of the more obscure terminology and arguments these introductions clearly situate each piece within the larger context of Adorno's writings and his philosophical tradition.