Is postdramatic theatre political and if so how? How does it relate to Brecht's ideas of political theatre, for example? How can we account for the relationship between aesthetics and politics in new forms of theatre, playwriting, and performance?

The chapters in this book discuss crucial aspects of the issues raised by the postdramatic turn in theatre in the late twentieth and early twenty-first century: the status of the audience and modes of spectatorship in postdramatic theatre; the political claims of postdramatic theatre; postdramatic theatre's ongoing relationship with the dramatic tradition; its dialectical qualities, or its eschewing of the dialectic; questions of representation and the real in theatre; the role of bodies, perception, appearance and theatricality in postdramatic theatre; as well as subjectivity and agency in postdramatic theatre, dance and performance.

Offering analyses of a wide range of international performance examples, scholars in this volume engage with Hans-Thies Lehmann's theoretical positions both affirmatively and critically, relating them to other approaches by thinkers ranging from early theorists such as Brecht, Adorno and Benjamin, to contemporary thinkers such as Fischer-Lichte, Rancière and others

后戏剧是政治性的吗，如果是的话，是怎样的？例如，它与布莱希特的政治戏剧思想有什么关系？我们如何解释新形式的戏剧、剧作和表演中美学和政治之间的关系？

本书各章讨论了20世纪末和21世纪初戏剧的后戏剧转向所引起的问题的关键方面。后戏剧中观众的地位和观演模式；后戏剧的政治诉求；后戏剧与戏剧传统的持续关系；其辩证性质或对辩证法的回避；戏剧中的表现和真实问题；身体、感知、外观和戏剧性在后戏剧中的作用；以及后戏剧、舞蹈和表演中的主体性和代理。

本卷中的学者们对大量的国际表演案例进行了分析，对汉斯-泰斯-莱曼的理论立场进行了肯定和批判，并将其与从早期理论家如布莱希特、阿多诺和本雅明，到当代思想家如费舍尔-利希特、朗西埃等人的其他方法联系起来。