Deciphering Postdramatic Tragedy in Sarah Kane’s Phaedra’s Love

Abstract

In western cultural tradition and traditional form of dramatic conception, imitation, the text, chorus, and singing were vital elements. These vital elements date back to the time of Aristotle and his work Poetics which aims to establish “the hierarchy of the elements – mythos (plot), character, dianoia (thought) and speech.” Parallel to Aristotle’s notions, Hans Thies Lehmann explains (tragic) drama as follows: “action of a superior kind-grand, and complete in itself-presented in embellished language, in distinct forms in different parts, performed by actors rather than told by a narrator, effecting, through pity and fear, the purification of such emotions.” The soul of dramatic tragedy (mimesis and the logos of a totality) covers the Roman tradition adding with rhetorical discussion five act form and thought of revenge with bloody scenes. Thought of traditional drama traces back through Renaissance to second half of seventeenth and eighteenth centuries, and narration, form of unity, and well-organized structure have acted till second half of the nineteenth century. To the end of nineteenth century, new theatrical practices have been started to observe, closing bound with the textuality and logos of the totality have been disrupted. New meaning has been given to theatre through distinctive advancements in society and art. By the help of avant-garde movements and using of new elements, scenographic transformation has occurred. The fourth wall of the traditional/naturalist/realist theatre was demolished and the play has been open to audiences’ interpretation. Experi(m)ential theatrical model arose in an attempt to step away from the ostensibly obsolete dramatic model.