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New forms of artistic representations have been mastered with the development of new technologies. Various innovative methods of staging have flourished with the deconstruction of traditional forms. Contemporary British playwright Martin Crimp employs creative and experimental ways of using stage language and theatre techniques in order to explore theatre’s connection with such application fields as culture, politics and philosophy. Crimp deconstructs traditional/naturalist/realist playwriting rules by investigating new forms of representing character, plot, time and place on stage. With his playtexts he controls the audiences’ minds and provides them with the opportunity to explore new possibilities in their lives. His plays have a challenging and a complicated structure due to his way of combining the experimental, modern and postmodern traditions. Crimp defines himself as a satirist, and believes that satire is a driving force in him as a writer. He depicts many of the middle-class preoccupations, and habits of speech and mind, criticizes their attitudes to life and emphasizes the shallowness and moral hypocrisy of defences of bourgeois privilege. His recent play In the Republic of Happiness is evidently about the human desire for happiness, and the impossibility or absurdity of this quest. This paper discovers Crimp’s use of space, time, language and body aesthetics in innovative ways in his 2012 play, In the Republic of Happiness.

Martin Crimp, In the Republic of Happiness, Postdramatic Theatre

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