@article{article_609658, title={A Paradigm of Dramatic and Postdramatic Tragedy: Simon Stephens’s Motortown1}, journal={Folklor/Edebiyat}, volume={25}, pages={635–644}, year={2019}, DOI={10.22559/folklor.955}, author={Günenç, Mesut}, keywords={tragedy,Simon Stephens}, abstract={<p>Tragedy has been studied and reworked by theorists from ancient Greece through </p> <p>Renaissance and into the modern age. Hans Thies Lehmann examines task of </p> <p>tragedy in his last work Tragedy and Dramatic Theatre (2016). In his detailed </p> <p>study, Lehmann classifies periods of tragedy such as predramatic, pure dramatic and </p> <p>postdramatic. In the beginning of twenty first century dramatic and postdramatic </p> <p>tragedies have been placed with the plays of Sarah Kane, Mark Ravenhill, and </p> <p>Simon Stephens. Simon Stephens’s play Motortown (2006), written over four </p> <p>days, represents signs of dramatic and postdramatic tragedies. The play consists </p> <p>of eight scenes which have structural order with each other; however Simon </p> <p>Stephens, choosing monologues, deconstructs hierarchical structure and diverges </p> <p>from the dramatic text. Stage structure of the performance is deconstructed by the </p> <p>explanation at the beginning of the play: “the play should be performed as far as </p> <p>possible without decor”. At this point, Motortown puts forth a new approach to </p> <p>tragedy in dramatic theatre, which conventionally depicts overt physical acts and </p> <p>suffering on stage, and in postdramatic theatre which unconventionally depicts </p> <p>overt non-hierarchical structure and irruption of the real. This paper considers how traits of dramatic and postdramatic theatre are determined and how aspects </p> <p>of dramatic and postdramatic tragedy are experienced in Simon Stephens’s </p> <p>contemporary performance. </p>}, number={99}, publisher={Uluslararası Kıbrıs Üniversitesi}