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German literature --- Theatrical science --- anno 1900-1999 --- Theater --- Performance art --- Experimental theater --- Drama --- Théâtre --- Art de performance --- Théâtre expérimental --- Théâtre (Genre littéraire) --- History --- History and criticism --- History and criticism. --- Histoire --- Histoire et critique --- Théâtre postdramatique --- Théâtre --- Théâtre expérimental --- Théâtre (Genre littéraire) --- Art de performance. --- Théâtre expérimental. --- Théâtre postdramatique. --- theatergeschiedenis

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Theater --- Experimental theater --- German drama --- History --- History and criticism. --- 82-2 --- -Experimental theater --- -German drama --- -German literature --- Alternative theater --- Avant-garde theater --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Actors --- Toneel. Drama --- -History --- -History and criticism --- Experimental drama, German --- -Toneel. Drama --- 82-2 Toneel. Drama --- History and criticism --- -82-2 Toneel. Drama --- -Alternative theater --- German literature --- German experimental drama --- Theatrical science --- anno 1970-1979 --- anno 1960-1969 --- anno 1980-1989 --- anno 1990-1999 --- Theater - Germany - History - 20th century. --- Experimental theater - Germany - History - 20th century. --- German drama - 20th century - History and criticism.

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Literature --- -Materialism --- -Literature --- Materialism --- 82.0 --- Physicalism --- Animism --- Philosophy --- Positivism --- Dualism --- Idealism --- Mechanism (Philosophy) --- Monism --- Realism --- Belles-lettres --- Western literature (Western countries) --- World literature --- Philology --- Authors --- Authorship --- Addresses, essays, lectures --- Literatuurtheorie --- Literature. --- Materialism. --- 82.0 Literatuurtheorie

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Hans-Thies Lehmann explains that the academic debate concerning the value and content of the terms "postdramatic" and "postdramatics" would be in vain should it go unrecognised that the first is based on forms of the theatre and the latter primarily on text forms. He argues that - as far as present-day text-production is at issue- a literary analysis is required that does not derive logic, composition and structuring of the theatre text from extensive external dictates and attributions, but rather production-aesthetically from the immanent dynamics of the language material and writing process. In contrast, any theatrical science that neglects the complex dramaturgy of words would pay for this with a destructive flattening of their subject as the price for the absolutisation of the performative having been bought with such exclusion.

Drama --- History and criticism. --- Criticism

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Literature