{'fraction_non_alphanumeric': 0.020116807268007787, 'fraction_numerical': 0.0, 'mean_word_length': 5.319672131147541, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
A Theatre of Multiple Voices

The development of diverse forms in contemporary German theatre has been accompanied by a process of questioning the theatre itself, not only in terms of its aesthetics but also its political functions. In a continuous process of changing styles, methods and attitudes, contemporary theatre has been redefined, or at least freed from outworn and restrictive definitions. A comment on current tendencies has to realize that the distinction between 'theatre' and 'performance' has become almost irrelevant to artists who attempt both to combine art forms and to subvert the ubiquitous categories of the market. It's no accident that many theatre people (and not only in Germany) try to escape the 'high' culture of representation and to locate performance in urban spaces for new audiences, while at the same time many well-known experimental artists working in performance have made their way into the highly subsidized city or state theatres, trying to adapt inflexible bureaucratic systems to their own ideas of artistic development and production. Contradictory positions also about the status of text are at play. Some of the most important international protagonists of postdramatic theatre, such as Robert Wilson, the Wooster Group, Jan Lauwers, Need Company, TGStan, to name but a few, nowadays address the repertoire of classic theatre. At the same time, traditional theatre institutions open themselves to new approaches and tendencies, mainly because they are losing audiences and can Patrick Primavesi