Dea Loder's theater: a field of aesthetic tension

Abstract

The theater of contemporary German playwright, Dea Loher, stands out by a hybrid of theatrical aesthetics, beginning with the Brechtian distancing effects, even resources of the fragmentation coming from the Theater of the Absurd, but not abdicating the tradition of the fable and prioritizing the ideal of the masses. It is the general objective of this article to analyze the aesthetic effects of Loher's work in the light of Jean-Pierre Sarrazac's theory in observing the contemporary dramaturgical phenomenon. In addition, we propose an analytical cut permeated by the cultural studies of Homi Bhabha. From the analysis of some pieces, especially Olgas Raum and Licht, we point out the aesthetic contribution of Loher, that is, the way in which she retrieves elements derived from other artistic manifestations and engages them in her writing giving rise to a dramatic text that walks in a field of tension between various aesthetics. The result of this literary work is the predominance of an aesthetic mosaic linked to the maintenance of the plot, removed from the idea of dramatic continuity.