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This comprehensive, authoritative account of tragedy is the culmination of Hans-Thies Lehmann's groundbreaking contributions to theatre and performance scholarship. It is a major milestone in our understanding of this core foundation of the dramatic arts. From the philosophical roots and theories of tragedy, through its inextricable relationship with drama, to its impact u This comprehensive, authoritative account of tragedy is the culmination of Hans-Thies Lehmann's groundbreaking contributions to theatre and performance scholarship. It is a major milestone in our understanding of this core foundation of the dramatic arts. From the philosophical roots and theories of tragedy, through its inextricable relationship with drama, to its impact upon post-dramatic forms, this is the definitive work in its field. Lehmann plots a course through the history of dramatic thought, taking in Aristotle, Plato, Seneca, Nietzsche, Heidegger, Lacan, Shakespeare, Schiller, Holderlin, Wagner, Maeterlinck, Yeats, Brecht, Kantor, Heiner M�ller and Sarah Kane.


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This comprehensive, authoritative account of tragedy is the culmination of Hans-Thies Lehmann's groundbreaking contributions to theatre and performance scholarship. It is a major milestone in our understanding of this core foundation of the dramatic arts. From the philosophical roots and theories of tragedy, through its inextricable relationship with drama, to its impact u This comprehensive, authoritative account of tragedy is the culmination of Hans-Thies Lehmann's groundbreaking contributions to theatre and performance scholarship. It is a major milestone in our understanding of this core foundation of the dramatic arts. From the philosophical roots and theories of tragedy, through its inextricable relationship with drama, to its impact upon post-dramatic forms, this is the definitive work in its field. Lehmann plots a course through the history of dramatic thought, taking in Aristotle, Plato, Seneca, Nietzsche, Heidegger, Lacan, Shakespeare, Schiller, Holderlin, Wagner, Maeterlinck, Yeats, Brecht, Kantor, Heiner M�ller and Sarah Kane.

32 review for Tragedy and Dramatic Theatre

  1. 5 out of 5

    Michael

    This book is undeniably important for any scholar of tragedy. It is an enormous scholarly edifice, and has very sensible things to say about tragedy in the contemporary theatre. But it is also flawed. The author spends hundreds of pages summarising critical theory, and accordingly never develops his own clear terminology in which to express his ideas. He simply excludes discussion of tragic fiction or cinema. He argues that previous books on tragedy have not paid enough attention to staging or p This book is undeniably important for any scholar of tragedy. It is an enormous scholarly edifice, and has very sensible things to say about tragedy in the contemporary theatre. But it is also flawed. The author spends hundreds of pages summarising critical theory, and accordingly never develops his own clear terminology in which to express his ideas. He simply excludes discussion of tragic fiction or cinema. He argues that previous books on tragedy have not paid enough attention to staging or performance, and then proceeds to spend about 10 of his 450 pages talking about staging and performance. That said, Lehmann's overall theory of tragedy is interesting, because he gives a new view of its evolution. His distinction between "predramatic," "dramatic" and "postdramatic" theatre is powerful. His notion that Aeschylus and Sophocles are "predramatic" helps him to interpret their plays insightfully, and I agree with him that his interpretation of them is superior to Hegel's. His notion that tragedy is essentially about "transgression" is also powerful. This is in all essentials the theory of Nietzsche, but of course Nietzsche was not in a position to apply his ideas to twentieth-century theatre, as Lehman does. If this book were 200 pages long, and included more analysis of the language and staging of his examples, it would have been a 5/5. As it stands, Lehmann's study will have to be an inspiration for the next great book on tragedy, rather than the book itself.

  2. 5 out of 5

    Ilker Ozbilek

  3. 4 out of 5

    Eleonora Fusco

  4. 4 out of 5

    Andrés

  5. 4 out of 5

    Marcos Gisbert

  6. 4 out of 5

    Dimitris Naziris

  7. 4 out of 5

    Milica Milosavljević

  8. 4 out of 5

    Megan

  9. 5 out of 5

    Dulcixote

  10. 4 out of 5

    Sarah

  11. 5 out of 5

    Jude

  12. 4 out of 5

    Michael Haas

  13. 5 out of 5

    LP

  14. 4 out of 5

    panayiota

  15. 4 out of 5

    Aetas

  16. 5 out of 5

    Ryan Davis

  17. 4 out of 5

    Laura Kutkaitė

  18. 4 out of 5

    Matthew Gutschick

  19. 4 out of 5

    Fernanda Jardi Munster

  20. 5 out of 5

    Anna Kaluger

  21. 5 out of 5

    Ildikó Ungvári

  22. 4 out of 5

    Janine

  23. 5 out of 5

    Elada

  24. 4 out of 5

    Sarah

  25. 4 out of 5

    Andrea Cvečić

  26. 5 out of 5

    Milica Šećerov

  27. 5 out of 5

    Edna De La Laguna

  28. 5 out of 5

    Hannah

  29. 4 out of 5

    Vanja

  30. 5 out of 5

    Elizabeth Gopsill

  31. 4 out of 5

    Celia Lee

  32. 5 out of 5

    爾凡

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