The fundamental theme of this paper is the dynamics of influence between theatre and cinema. The paper focuses on a screenwriting perspective over postdramatic, a concept introduced by Hans-Thies Lehmann (Postdramatisches Theater, 1999). The specific domain of the research deals with the possibilities of operative appropriation from postdramatic practices by contemporary narrative filmmaking. Being a case study research paper, the qualitative nature of the approach method implies a tangible object of study, thus, the specific theme is approached through an analysis of the writing process of a particular narrative screenplay (Second Rate Poetry, 2012), which was simultaneously influenced by the principles of Hollywood’s screenwriting and by postdramatic theory. The essay’s ultimate goal is to address the possibilities of a production prototype that combines the seemingly antithetical principles of Hollywood’s text-centric approach, largely based on Aristotelian Poetics, and postdramatic performance practices.
Este trabalho encontra-se publicado com a Licença Internacional Creative Commons Atribuição 4.0.
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