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dc.contributor.authorFreeman, John
dc.date.accessioned2017-01-30T10:29:59Z
dc.date.available2017-01-30T10:29:59Z
dc.date.created2014-02-26T20:00:31Z
dc.date.issued2013
dc.identifier.citationFreeman, John. 2013. No Boundaries Here: Brecht, Lauwers & European Theatre after Postmodernism. New Theatre Quarterly. 29 (3): pp. 220-232.
dc.identifier.urihttp://hdl.handle.net/20.500.11937/3277
dc.identifier.doi10.1017/S0266464X13000420
dc.description.abstract

In this article John Freeman focuses on theatre after postmodernism as exemplified by the Belgium-based Needcompany. If, as is suggested here, we are all more than a little ‘postmoderned out’ through an over-dependence on individualism, the shadow cast by postmodernism remains large in the contemporary Western world, and its impact is still clearly felt. As the postmodern came to offer a safety net through which bad practice could not easily fall, the modernist theatre it followed offered its own elusive ideal. In arguing this, Freeman forges links between Brecht's knowing embrace of amateurism and the faux uncertainty of much contemporary work, where Brecht the arch-dramatist becomes the archetype of the postdramatic, as twenty-first century theatre moves in the shadow of the past. John Freeman has written extensively on contemporary performance, creative learning, and arts policy. He is currently Associate Professor at Curtin University, Western Australia, where he leads the Humanities Honours programme.

dc.publisherCambridge University Press
dc.subjectmodernism
dc.subjectIsabella's Room
dc.subjectmontage
dc.subjectMarketplace 76
dc.subjectspectators
dc.subjectPostdramatic theatre
dc.subjectamateurism
dc.titleNo Boundaries Here: Brecht, Lauwers & European Theatre after Postmodernism
dc.typeJournal Article
dcterms.source.volume29
dcterms.source.number3
dcterms.source.startPage220
dcterms.source.endPage232
dcterms.source.issn0266-464X
dcterms.source.titleNew Theatre Quarterly
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Copyright © Cambridge University Press 2013

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curtin.accessStatusOpen access


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