The postdramatic turn: Recasting the dramatic curriculum

1. PrologueThis article presents a new educational design for the subject drama pedagogy in light of the paradigm shift in contemporary theatre towards a postdramatic theatre (Lehmann, 2006). Going out from a historical perspective a basic concept of aesthetic doubling based on dramatic fiction is successively identified as constitutive of the classic subject drama pedagogy. The historical exposition is followed by a brief introduction to the postdramatic theatre by means of the concepts postdrama, theatReality and f(r)iction, which is seen as a hybridization of the classic notion of fiction. Recent examples of postdramatic theatre performances are given, and the outlines of a new educational design for drama and theatre pedagogy inspired by this form of theatre is demonstrated by explanation and examples from educational practice at the Master's Programme of Theatre Pedagogy at Metropolitan University College Copenhagen. Finally it is argued with additional reference to Lawrence Grossberg's (1992) forms of authentic inauthenticity that drama and theatre pedagogy must turn postdramatic in its curricular basis in order to stay relevant for future generations of young people and other target groups.The discipline drama pedagogy, inspired by the reform pedagogical movement in the first half of the 20th century has been a constant battlefield for conflicting views on play, aesthetics, culture and the art form of the dramatic theatre. Thus Brian Way (1967) and others partly inspired by, partly in opposition to creative dramatics (Ward, 1930) rejected a theatre oriented drama pedagogy. Instead of pursuing artistic mastery, child drama (Slade, 1973) should aim at the development of the whole person: creativity, self-confidence, social skills and a natural sense of aesthetic form through dramatic play. Half a decade later the scene had changed. David Hornbrook was relentless in his critique of the fact that drama finds "its way unto the curriculum less like a subject than a way of promoting social and mental health. " (Hornbrook, 1998, p. 10) For Hornbrook drama is about"cultural induction. We share our knowledge and understanding with students so that they can develop a critical framework within which they can enjoy plays; we share our skills - as directors, actors, designers, playwrights - so that they can practice the art of drama for themselves. " (Hornbrook, 1998, p. 14)Today the scene is changing again. A variety of forms of postdramatic theatre are gaining momentum - even in mainstream theatre productions - based on non-dramatic 'states', non-acting, hybridizised fictions, genres and textscapes, mediation and reorientation of audience-performer relations, de-hierarchization of theatrical means and functions and new, often nomadic and collective production forms (Lehmann, 2006). Such theatrical forms are, measured against the standards of the dramatic theatre, something else than merely 'more-of-the-same-just-different'. They transform the notion of drama in depth, and by doing so also transform the notion of drama pedagogy.Our experience after 15 years of practice as (post-graduate) educators of drama pedagogues at all levels of Danish educational and pedagogical institutions is that many drama pedagogues still approach their professional practice with notions firmly rooted in dramatic theatricality, and often it is something of a Copernican Revolution for them to come to experience their discipline from a postdramatic point of view. This article explains why - and how - such a reorientation of drama and theatre pedagogy is possible.2. The Postdramatic Turn - what is it? Hans-Thies Lehmann's (2006) seminal study of the Postdramatic Theatre is interesting, not only because of its perspective on contemporary theatre, but also because of the way it provides this perspective. 'Postdramatic' is not necessarily equivalent to 'postmodern', and Lehmann does not explain the notion by any singular definition. …