ABSTRACT
In an introductory chapter of his landmark book Postdramatisches Theater, Hans-Thies Lehmann warns his reader against ‘the mistaken judgement that the theatrical phenomena of the 1990s might be caused directly or indirectly by the political eruption around 1989’.1 However, is it really possible to imagine that the sorts of political, social, economic and cultural transitions referred to here, transitions from one construction of reality to another, did not (directly or indirectly) affect the supposed aesthetic autonomy of theatre, initiating its re-examination, even inspiring innovation?
