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This thesis speculatively explores both the nature of Postdramatic dramaturgy and its impact upon the role of the contemporary audience, focussing in particular on the work of New Brutalists Martin Crimp, Sarah Kane and Mark Ravenhill. Through the analysis of their texts, Attempts on Her Life (1997), 4.48 Psychosis (1999) and Shopping and Fucking (1996), the shift in audience participation from one of passivity to one of activity is recognised and the techniques they utilize to achieve this identified. This is achieved further still through the comparison of their form with that of Postdramatic predecessors. This thesis argues the Postdramatic as a paradigm shift, its gravity significant within contemporary theatre having influenced the anticipated ontology of the audience and arguably revolutionised the very potential of theatre.
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This thesis speculatively explores both the nature of Postdramatic dramaturgy and its impact upon the role of the contemporary audience, focussing in particular on the work of New Brutalists Martin Crimp, Sarah Kane and Mark Ravenhill. Through the analysis of their texts, Attempts on Her Life (1997), 4.48 Psychosis (1999) and Shopping and Fucking (1996), the shift in audience participation from one of passivity to one of activity is recognised and the techniques they utilize to achieve this identified. This is achieved further still through the comparison of their form with that of Postdramatic predecessors. This thesis argues the Postdramatic as a paradigm shift, its gravity significant within contemporary theatre having influenced the anticipated ontology of the audience and arguably revolutionised the very potential of theatre.
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