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"Rosencrantz and Guildenstern Are Dead" premiered at the Edinburgh Festival Fringe in 1966. The play belongs to the post Osborne and Beckett theatrical generation in which authors could no longer be pigeonholed neither from the political nor from the stylistic point of view. Stoppard later transformed the play into a film script which won the Golden Lion at the XLVIII Venice International Film Festival in 1990. The reason behind the success of this tragedy is the popularity of "Hamlet". Written during the last years of the Elizabethan era, it shows the gradual dissolving of its core values: the fact that nothing seems to have sense any more is deeply rooted into the Shakespearean tragic hero, and his dilemma mirrors the fear of the modern man of losing his own role and, with it, his own identity. Stoppard re-writes the Shakespearian drama not by altering the plot, but by presenting it through the eyes of two minor characters, thus by performing a 'poetical misunderstanding' of Hamlet – a device that, with its discussion, parody, ridicule, and, sometimes, celebration of the typical values of traditional culture, belongs to the common practices of postmodern authors in their depiction of reality.

The dissertation investigates American theatrical performances based on the Passion of Christ as related in the Four Gospels of the New Testament. I compare three Midwestern Passion plays, The New Great Passion Play (Eureka Springs, AR), The Promise (Glen Rose, TX) and The Man Who Ran (Disney, OK) to four notable adaptations of the Passion narrative written by contemporary mainstream American playwrights, Adrienne Kennedy's Motherhood 2000 (1994), Terrence McNally's Corpus Christi (1997), Sarah Ruhl's Passion Play: A Cycle (2004) and Stephen Adly Guirgis' Our Lady of 120th Street (2004) in order to examine their theatrical and ritualistic aspects, as well as their social, cultural and political functions and problems. For analytical purposes, I distinguish the two groups by calling the former, which are performed in the mode of belief, "Passion plays" and the latter, which are performed in the mode of critique, "passion plays." As the major theoretical framework, I adopt the theories of ritual studies represented by anthropologists Victor Turner, David Kertzer, Clifford Geertz and Catherine Bell, and the discourse of postmodernism as defined by French philosophers Jean-François Lyotard and Gilles Deleuze and Felix Guattari. These interdisciplinary case studies on American Passion/passion plays as both ritual and theatre demonstrate the viability, rather than the demise, of the metanarrative of the Passion, which is transformed into small narratives in postmodernity. Additionally, the case studies highlight the multifaceted nature of performance, which attests to the necessity of an interdisciplinary approach to performances in general. The comparative analysis between the Passion plays and the passion plays is also intended as a showcase of difficult dialogues between the conservative and the liberal.

Cruel Britannia: Sarah Kane's Postmodern Traumatics examines four plays by British playwright Sarah Kane (1971-1999), all written between 1995 and 1999 within the context of the «Cool Britannia», or «In-Yer-Face» London theatre movement of the 1990s. Kane's plays were notorious for their shocking productions and challenging and offensive subject matter. This book analyzes her plays as products of a long history of theatrical convention and experimentation, rather than trend. I read Kane's plays through an optic of trauma theory, and link the trauma to postmodern experience as defined by war, i

What can come of a scientific engagement with postmodern philosophy? Some scientists have claimed that the social sciences and humanities have nothing to contribute, except perhaps peripherally, to their research. Dorothea E. Olkowski shows that the historic link between science and philosophy, mathematics itself, plays a fundamental role in the development of the worldviews that drive both fields. Focusing on language, its expression of worldview and usage, she develops a phenomenological account of human thought and action to explicate the role of philosophy in the sciences. Olkowski propose

Merlinda Bobis is a bilingual writer who was born in the Philippines but now lives in Australia, which turns her into an in-between, a woman who has been carried across different cultures and cannot therefore be defined by making exclusive reference to any of them. The aim of this paper will be to show her two poem-plays Promenade and Cantata of the Warrior Woman, not as isolated phenomena, but as part of a rich tradition of (diasporic) Filipino poets and activist playwrights. Moreover, this paper will study these works from the perspective of a postmodern post-foundational ethics, since they are mainly concerned with writing as a means, not only to do away with fixed and rigid national/ cultural/ social/ gender/ ethnic categories, but also of liberation and celebration of a shared experience among the oppressed, especially women who have been suppressed by the combined oppression of nationalism, patriarchy and colonialism. By putting forward a quest for national, collective and individual identity through reconstructing the lost voices of women both in the pre-and post-contact periods, these poem-plays emphasize the importance of communication between self and other as the only way to give tolerance and peace a chance.

The focus of this study is to discuss the mythical motifs in Mark Ravenhill's plays; Shopping and Fucking, Faust is Dead and Some Explicit Polaroids, in relation to their positioning in the postmodern culture with the liberal capitalist systems. The concepts of relationships as a site of economic exchange, the quality of choice in market economies, free will, subject, knowledge and power are investigated through the theories of prominent postmodernist philosophers such as Gilles Deleuze, Felix Guattari, Michel Foucault and Francois Lyotard. Moreover, the provocative nature of the plays as a part of being representative of in-yer-face theatre is further explained in its historical and socio-cultural context. Such investigation not only brings political issues to the forefront, emphasizing the cultural change and its impact on individual lives but also the change in theatrical concepts of their milieu. Shopping and Fucking investigates the autonomy of the individual, the idea of sacrifice and suffering as a way to come to self-realization, the body as a place of control in authenticating the self and sexual relationships as a site of transaction. Faust is Dead explores the issues such as alienation, the loss of faith in the progress of man, the authenticity of experience, desire and the reconcilability of the phenomenal and noumenal worlds. In the last play, Some Explicit Polaroids examines the hedonism and the capitalist values that the younger generations adopt, contrasted with the values of older generations, the positivist decay experienced by twenty-somethings which is also a part of capitalism, the masculinity crisis, violence and abuse on the body and the transition from disciplined to controlled societies.Also, shopping myth which was found to be encompassing all the plays was inverted by the playwright through transforming the act of shopping from being personal and limited to the objects to be public and including humans and their emotions. ; Bu çalışma Mark Ravenhill'in Shopping and Fucking, Faust is Dead ve Some Explicit Polaroids oyunlarindaki mitsel motiflerin liberal kapitalist sistemde, postmodern kültür içerisinde konumlandirildiğindaki ilişkisi üzerinde durmaktadir. İlişkilerin ekonomik faaliyet alanının bir parcasi olmasi, piyasa ekonomisi içerisinde seçimin niteligi, özgür irade, özne, bilgi ve iktidar kavramlari, Gilles Deleuze, Félix Guattari, Michel Foucault ve François Lyotard gibi önde gelen postmodernist filozoflar ve teorileri aracılığıyla incelenmistir. Dahası, bu oyunlarin Suratina ("in-yer-face") Tiyatroyu temsil etmesinden kaynaklanan kıskırtıcı doğası tarihi ve sosyo-kültürel bağlamı içerisinde detaylı açıklanmıştır. Bu incelemeler sadece kültürel değişim ve bu değişimlerin kişilerin yaşamları üzerindeki etkilerini vurgulayarak sadece politik sorunlari degil, ayni zamanda donemin teatral değişimlerini de ön plana taşımıştır. Shopping and Fucking oyununda bireyin otonomisi, kendini gerçekleştirmede fedakarlik ve acı kavramları, varoluşun kanıtlanmasında bedenin bir kontrol alanı olarak yeri ve cinsel iliskiler ekonomik faaliyet alanı içerisinde incelenmistir. Faust is Dead oyununda yabancılaşma, insanin ilerlemesine olan inancın yitirilmesi, tecrubenin gerçekligi, arzu ile fenomen ve numen dünyalar arasındaki uzlaşabilirlik araştırılmıştır. Son oyun olan Some Explicit Polaroids' de ise genç nesillerin benimsedigi hedonist ve kapitalist değerler, daha önceki nesillerin değerleriyle kıyaslanmış, yirmilerindeki bir grup insanın tecrübe ettiği, kapitalizmin de bir parcasi olan pozitivist çürüme, erkeklik krizi, bedene yapılan şiddet ve taciz ile disiplin toplumlarından kontrol toplumlarına geçiş incelenmistir. Ayrıca bütün oyunları içine alan alışveriş mitinin yazar tarafindan değiştirilerek kişisel ve nesnelerle sınırlı olan alışveriş eyleminin, insanları ve duygularını da içine alan bir eyleme dönüştürdüğü anlasilmistir.

Beginnings: Postmodern Tipping Points / Daniel K. Jernigan -- Ch. 1. Spatial Ambiguity and the Early Modern/Postmodern in King Lear / Jenn Stephenson -- Ch. 2. Metadrama, Authority, and the Roots of Incredulity / Bill Angus -- Ch. 3. Parody, Metatheatre, and the Postmodern Turn: A Secret History of Irish Drama / Eugene McNulty -- Ch. 4. Lost in the Dark: Performing the Postmodern Moment in Eugene O'Neill's The Emperor Jones / Lance Norman -- Ch. 5. Landscapes of Metatheatre: Gertrude Stein's Anticipation of the Postmodern / Teresa Requena Pelegri -- Ch. 6. "Nayman" No More: Reconsidering Samuel Beckett / Matthew Paproth -- Ch. 7. Tom Stoppard's Regressive Postmodernity: Tracking the Major Plays, From Rosencrantz and Guildenstern Are Dead to Indian Ink / Daniel K. Jernigan -- Ch. 8. Elfriede Jelinek: Staging a Heideggerian Postmodern Debate in Totenauberg / Christine Kiebuzinska -- Ch. 9. Staging the Audience: Peter Weiss' The Investigation / Scott Windham -- Ch. 10. Top Girls: Postmodern Imperfect / Prapassaree Thaiwutipong Kramer -- Ch. 11. "Pessimism of the Intellect-Optimism of the Will": Tony Kushner's Postmodern Aesthetic / James Fisher -- Ch. 12. Postmodern Ethics in Mark Ravenhill's Some Explicit Polaroids / Leslie A. Wade -- Ch. 13. Rise and Fall of the Lad: Joe Penhall's Early Plays / William C. Boles -- Ch. 14. Utopia in absentia: Staging Possibilities in Kirk Lynn's WAR / Margaret F. Savilonis -- Ch. 15. Beckett and the Stage Image: Toward a Poetics of Postmodern Performance / Neil Murphy

Analyzes & compares two constructivist ethnicity paradigms -- the organizational (ethnicities used or discarded based on political need) & the critical (postmodern consequences of ethnic experience) -- & their contributions to the understanding of policy making, communal growth & decline, & inclusion. The underlying ideas & assumptions of each paradigm are described & related to the context of modern politics & societies. Their respective strengths & weaknesses are explained, along with their relevance to the situations of ethnic groups. The influence of postmodernity plays a major role. The opposing primordial or organic paradigms, which see ethnicity as fixed, are still influencing both scholarship & policy decisions. Organic paradigms are criticized as contradictory to modern political realities & experiences; the constructivist view of ethnicity as voluntary is more relevant. The future of ethnic groups is likely to be characterized by increased disaffiliation, segregation, or transformation, depending on the influence of each paradigm. A unified view of ethnicity that includes premodern, modern, & postmodern elements, & sees ethnicity as an evolutionary process, is called for. T. Arnold

The notion that personality is pluralistic and not a rigid construct is widely acknowledged within the social sciences. However, factors affecting multiplicity outside of clinical enquiry are still poorly understood. The idea that postmodern society has influenced how the individual conceives of their self-concept is frequently discussed, however, seldom theorised and empirically inspected. This study tests a number of psycho-sociological hypotheses that being immersed within consumption and part of a technology-based culture are contributing factors to self-pluralism. Data is collected from 201 individuals living in postmodern societies. Results indicate that technology exposure and materialistic beliefs are related to levels of self-pluralism and that materialism plays a partial mediatory role in technology's influence on multiplicity. These findings add support to postmodern understandings of the self and society and show everyday experiences associated with modern living influence how one conceives of their identity.

Greek Fragments in Postmodern Frames' takes as its subject adaptation of Greek tragedy in the last decades, arguing that rewritings of Greek tragic texts in this period can be used as a tool to uncover a significant dialogue with postmodernism. Despite the large number of staged and written adaptations of Greek tragic texts in recent years, the idea still persists that tragedy is incompatible with postmodernism, with the long-standing debate over the demise of the genre in the modern era undergoing a recent resurgence with the claim that postmodernism precludes tragedy both as an aesthetic form and as a way of perceiving the world. This volume focuses on the adaptation of Greek tragedy between 1970 and 2005 and explores a wide range of adaptations from a variety of different countries: the plays under discussion are characterized by an extended intertextual engagement with their prototype texts - instead of simply adapting the Greek myth, they rewrite the classical text in ways akin to the renegotiation of authorship and textuality proffered by poststructuralist thought.00

Modern stage drama was introduced into Thai theatre during the mid-1960s within the university circle and later spread to the commercial level. To make their productions more attractive and accessible to popular audiences, some theatre practitioners sought to experiment with adopting indigenous sources, either traditional stories or theatrical elements, which have been found in modern Thai theatre from time to time since the early 1970s. During the 1990s, several productions made use of traditional stories and elements to a greater degree due to many factors, such as the promotion of Thainess, the demand for original Thai plays, and the trend in Southeast Asian theatre. Most of these productions can thus be considered as postmodern Thai theatre since revisiting the past, disrupting the distinction of high and low art forms, and juxtaposing unmatched elements are clearly discernible. Makhampo'm's Malai Mongkhon, adapted from the myth of Phra Malai, was one of the works based on traditional Thai literature produced in this period. Not only was the myth used, but this production also made use of traditional theatrical elements, both court and folk, in juxtaposition with modern techniques. This production can be regarded as a representative of postmodern Thai theatre in the 1990s.

Live performances on live stage, the mother medium are no longer common sights in Nigeria. Thus, the waning influence of the live stage in the nation's contemporary theatre practice is becoming a newly found but embarrassing tradition among young and even some old theatre practitioners. Hence, the problem of this study is the lull in different stages and sectors of the creative industry that led to the decline in live performance. Poor creativity is one of the cancerous worms that is eating deep into the fabrics of the vibrancy of contemporary African theatre practice. Commercial interest, sexploitation and peripheral creativity are now the order of the day. Thus, the aim of this study is how to assure quality in the creative process through adherence to theoretical provisions, professionalism and finesse in the creative process; reinforced with indebt knowledge of the practitioner's worldview. Objectives include drawing the practitioners' attention to existing theories and aspiration towards a robust, vibrant and entertaining live theatre. To achieve this creative process based on a marriage of theory and practice; two of Emeka Nwabueze's plays, Guardian of the Cosmos and A Parliament of Vultures are examined in this article using case study and content analysis research approaches of the qualitative research method. The researchers concluded that adherence to theory can build and sustain quality assurance mechanism and vibrancy into the postmodern African theatre practice.

The article is devoted to topical issues of the culture of professional speech of representatives of the field of law, the level of which is an indicator of professionalism and general culture of the specialist in today's conditions. The purpose of the article is a comprehensive review of speech culture in the professional activities of lawyers at the present stage of development of Ukraine. In the research process, a descriptive method was used, as well as linguistic observation. The content of the concepts of "culture of speech", "culture of speech", "culture of professional speech", "culture of professional speech of a jurist" is highlighted and delimited, and it is also determined that they are in a logical mutual dependence and interdependence. It is revealed that the main standards in the speech activity of a lawyer are correctness, accuracy, logic, clarity, purity, conciseness and expediency, where normativity plays a key role. The studied material demonstrates typical mistakes of irregularity of language norms (accentuation, spelling, lexical, morphological) in professional speech. The causes of these mistakes (primarily interference) are identified and ways to eliminate them are named. After analyzing the importance of language literacy and noting the importance of increasing its level for perfect mastery of the Ukrainian language standards and application in practice, it is emphasized that the culture of professional literacy today is the key to the success of a professional personality of a lawyer.

In her book on adaptation theory, Linda Hutcheon1 argues that "[n]either the product nor the process of adaptation exists in a vacuum: they all have a context - a time and a place, a society, and a culture." Texts travel from their locus originis to other destinations, times, and contexts, crossing geographical, language, and genre borders, and creating their own palimpsestic identity. As Hutcheon2 states, "an adaptation is a derivation that is not derivative - a work that is second without being secondary." The objective of the article is to examine two Czech adaptations of Shakespeare's Hamlet: Claudius and Gertrude (2007) by Jiří Stránský and Jakub Špalek, which was inspired by Saxo Grammaticus and John Updike's novel Gertrude and Claudius (2000), and Emodrink of Elsinore (2009) by Josef Prokeš. The two plays differ significantly. Stránský and Špalek retell the story that precedes the well-known events at Elsinore and remade the remake. Prokeš, on the other hand, transfers the action to an obscure nightclub, turning Hamlet into a bartender accompanied by a faithful dog (albeit embodied by a human) and incorporating some Czech allusions. The paper focuses on the intertextual aspects of the Czech plays and their vertical rather than horizontal existence.