The term postdramatic has become a key point of reference in international discussions of contemporary theatre. Within the Arab world, the pioneer of postdramatic theatre - which does not only concern formalistic issues, but also and especially ethics, is Rabih Mroué (born 1967), a Lebanese stage and screen actor, playwright, and visual artist who has been writing and staging plays since 1990. His work includes videos and art installation, and his theatre performances – which are based on the performative lectures and documentary theatre genre - are representative of the new wave of Arab theatrical realizations. His works mostly “deal with issues that have been swept under the table in the current political climate of Lebanon”, even though in his lecture-performance al-Thawrah al-mubaksalah / The Pixelated Revolution (2012), Rabih Mroué stages the narrative of images chosen from the Internet and among videos posted by civilians trying to document the latest acts of violence witnessed in the Syrian Revolution. In this performance Mroué explores the use of social media in the Syrian revolution, looking for correspondences between the aesthetics of films of protests and the principles of “Dogme 95” manifesto created by Danish filmmakers in the 1990s.

al-Thawrah al-mubaksalah / The Pixelated Revolution: punto di arrivo del postdramatic theatre di Rabih Mroué

RUOCCO, Monica
2012

Abstract

The term postdramatic has become a key point of reference in international discussions of contemporary theatre. Within the Arab world, the pioneer of postdramatic theatre - which does not only concern formalistic issues, but also and especially ethics, is Rabih Mroué (born 1967), a Lebanese stage and screen actor, playwright, and visual artist who has been writing and staging plays since 1990. His work includes videos and art installation, and his theatre performances – which are based on the performative lectures and documentary theatre genre - are representative of the new wave of Arab theatrical realizations. His works mostly “deal with issues that have been swept under the table in the current political climate of Lebanon”, even though in his lecture-performance al-Thawrah al-mubaksalah / The Pixelated Revolution (2012), Rabih Mroué stages the narrative of images chosen from the Internet and among videos posted by civilians trying to document the latest acts of violence witnessed in the Syrian Revolution. In this performance Mroué explores the use of social media in the Syrian revolution, looking for correspondences between the aesthetics of films of protests and the principles of “Dogme 95” manifesto created by Danish filmmakers in the 1990s.
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Utilizza questo identificativo per citare o creare un link a questo documento: http://hdl.handle.net/11574/47021
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