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In this article, postmodernism is defined as an extension and problematization of modernist questions to which the problem of subjectivity remains a central concern. The concept of subjectivity is considered a redundant category in much of postmodernist theory; however, this is not the case in contemporary drama, theatre and performance, as is demonstrated in analyses of the work of Howard Barker, Sarah Kane and Forced Entertainment.
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The theoretical framework of this discussion is based on the work of Frankfurt School member Theodor W. Adorno who drew attention to the diminishing possibilities of subjective experience in late-capitalist (postmodern) society. For Adorno, resistance to the reification of the self in post-Auschwitz culture can only be found in an encounter with the aesthetic or, as is argued here, in an encounter with the distinctively theatrical. The examples of ‘new-expressionist’ theatre and performance discussed here engage with the crisis of subjectivity (a modernist trope) in a late-capitalist context, using aesthetic approaches which heighten the ‘damaged’ nature of the subject (Adorno). Subjectivity is articulated in a series of confrontations with outer and inner limitations, in experimental theatrical form, and in the particular immediacy of the performance event.
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