This thesis explores dissident theatre in East Central Europe during the second half of the Cold War (1964-1989). Contextualised within the discussion of individual theatrical and performance cultures and practices in Poland, Czechoslovakia, and The German Democratic Republic, it examines how theatre was used to subvert the dominant ideologies and dissent from the status quos in these countries. It establishes a framework that addresses the divergences between Anglo-American political theatre and Eastern Bloc dissident theatre, and discusses the necessity of considering the work of subcultural and subversive artists when analysing work of this kind. The core chapters discuss the theatrical and dramatic techniques, and the intention of the artists with regards to the work itself and to audience interpretation and response in the plays and performances of Václav Havel (Czechoslovakia), Theatre of the Eighth Day (Poland) and Autoperforationsartisten (East Germany). Further, these chapters demonstrate the significant differences in the ways dissident theatre and performance was conceptualised and staged. This thesis also analyses similarities in the theoretical and philosophical motivations for the work of the artists, and the development of ‘second’ or ‘parallel’ societies as a result of the performances.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:699077 |
| Date | January 2016 |
| Creators | Shapiro, Ann Katherine |
| Publisher | University of Birmingham |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Source | http://etheses.bham.ac.uk//id/eprint/7005/ |
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