Book contents
- Frontmatter
- POLITICS: Détente and Multipolarity: The Cold War and German-American Relations, 1968-1990
- SECURITY: German-American Security Relations, 1968-1990
- ECONOMICS: Cooperation, Competition, and Conflict: Economic Relations Between the United States and Germany, 1968-1990
- CULTURE: Culture as an Arena of Transatlantic Conflict
- 1 American Cultural Policy Toward Germany
- 2 The Third Pillar of Foreign Policy: West German Cultural Policy in the United States
- 3 The Study of Germany in the United States
- 4 American Studies in the Federal Republic of Germany, 1945-1990
- 5 In the Shadow of the Federal Republic: Cultural Relations Between the GDR and the United States
- 6 American Literature in Germany
- 7 The American Reception of Contemporary German Literature
- 8 The Americanization of the German Language
- 9 Between Blight and Blessing: The Influence of American Popular Culture on the Federal Republic
- 10 Popular Music in Germany: Experimentation and Emancipation from Anglo-American Models
- 11 Hollywood in Germany
- 12 New German Cinema as National Cinema
- 13 Transatlantic Reflections: German and American Television
- 14 Performance Theater in the Age of Post-Drama
- 15 Beyond Painting and Sculpture: German-American Exchange in the Visual Arts
- 16 The Rediscovery of the City and Postmodern Architecture
- 17 Modernity and Postmodernity in a Transatlantic Perspective
- 18 Confrontations with the Holocaust in the Era of the Cold War: German and American Perspectives
- SOCIETY: German-American Societal Relations in Three Dimensions, 1968-1990
- 1 “1968”: A Transatlantic Event and Its Consequences
- OUTLOOK: America, Germany, and the Atlantic Community After the Cold War
- Index
14 - Performance Theater in the Age of Post-Drama
Published online by Cambridge University Press: 05 January 2013
- Frontmatter
- POLITICS: Détente and Multipolarity: The Cold War and German-American Relations, 1968-1990
- SECURITY: German-American Security Relations, 1968-1990
- ECONOMICS: Cooperation, Competition, and Conflict: Economic Relations Between the United States and Germany, 1968-1990
- CULTURE: Culture as an Arena of Transatlantic Conflict
- 1 American Cultural Policy Toward Germany
- 2 The Third Pillar of Foreign Policy: West German Cultural Policy in the United States
- 3 The Study of Germany in the United States
- 4 American Studies in the Federal Republic of Germany, 1945-1990
- 5 In the Shadow of the Federal Republic: Cultural Relations Between the GDR and the United States
- 6 American Literature in Germany
- 7 The American Reception of Contemporary German Literature
- 8 The Americanization of the German Language
- 9 Between Blight and Blessing: The Influence of American Popular Culture on the Federal Republic
- 10 Popular Music in Germany: Experimentation and Emancipation from Anglo-American Models
- 11 Hollywood in Germany
- 12 New German Cinema as National Cinema
- 13 Transatlantic Reflections: German and American Television
- 14 Performance Theater in the Age of Post-Drama
- 15 Beyond Painting and Sculpture: German-American Exchange in the Visual Arts
- 16 The Rediscovery of the City and Postmodern Architecture
- 17 Modernity and Postmodernity in a Transatlantic Perspective
- 18 Confrontations with the Holocaust in the Era of the Cold War: German and American Perspectives
- SOCIETY: German-American Societal Relations in Three Dimensions, 1968-1990
- 1 “1968”: A Transatlantic Event and Its Consequences
- OUTLOOK: America, Germany, and the Atlantic Community After the Cold War
- Index
Summary
Interaction between European and American performance theater after 1968 has increasingly provoked the very institutions and languages of established theater practice on both sides of the Atlantic. In earlier periods of the twentieth century such interaction was defined above all by the arrival of one or another renowned playwright whose work or style would, in turn, open up new possibilities for theatrical modernism within what was still understood primarily as a dramatic form of expression. The New York productions of Bertolt Brecht's The Mother in 1935 and The Three Penny Opera in 1954 challenged political avant-garde theater in the United States, just as Samuel Beckett's Waiting for Godot in the 1950s stunned and fascinated an American theater ensconced in the realism of a Tennessee Williams or the theatrical style of Stanislavski-dominated method acting.
The emergence in the 1970s of what has variously been called performance or postmodern theater, both in the United States and Europe, has destabilized the historically generic boundaries of traditional drama just as it has threatened the very notion of representation itself. One particularly interesting example of such theater is the work of American director Robert Wilson, East German dramatist Heiner Muller, and West German choreographer Pina Bausch, all of whom performed or were produced in both the United States and Germany, in both mutual cooperation and as separate productions.
- Type
- Chapter
- Information
- The United States and Germany in the Era of the Cold War, 1945–1990A Handbook, pp. 373 - 378Publisher: Cambridge University PressPrint publication year: 2004