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El presente trabajo propone una breve revision del concepto de ‘teatro posdramatico’, acunado por el teorico y critico aleman Hans-Thies Lehmann en su libro homonimo, con el objeto de reflexionar sobre la relacion entre el texto y la escena en el panorama teatral contemporaneo y, puntualmente, en la ultima produccion de la dramaturga britanica Sarah Kane, 448 Psychosis (1999). El estudio de Lehmann dirige la atencion  hacia el surgimiento de un nuevo discurso teatral multiforme y heterogeneo, caracteristico del paso de la cultura textual a una cultura mediatizada, el cual ha promovido, en los ultimos anos, una ‘autonomizacion’ o ‘reteatralizacion’ del teatro, liberandolo de su sujecion al texto como soporte  y garantia del sentido. No obstante, el propio Lehmann advierte que esta reivindicacion de la practica escenica no supone que los textos escritos para el teatro ya no sean significativos, sino mas bien que es preciso considerar en que aspectos estos han renunciado a los principios constitutivos de la forma dramatica, al cuestionar sustancialmente los modelos tradicionales de representacion y comunicacion. En este marco, procuraremos relevar algunas de las tendencias experimentales de la escritura teatral reciente a partir del analisis de 4.48 Psychosis, sin dejar de problematizar la presunta paradoja a la que nos enfrentamos en virtud de la singular importancia que adquiere en esta pieza el componente literario-textual.  This paper proposes a brief review of the concept of  'post-dramatic theater', coined by the German theorist Hans-Thies Lehmann in his eponymous book, in order to reflect on the relationship between the text and the scene in the contemporary theater and, specifically, in 4.48 Psychosis (1999), the last play of British playwright Sarah Kane. Lehmann’s study focuses its attention on the emergence of a multiform and heterogeneous theatrical discourse, as a sign of the historical shift out of a textual culture into a mediatized culture, which has promoted in recent years an 'autonomization' or 'retheatricalization' of  theater, freeing it of its subjection to the text as support and warranty of sense. However, Lehmann himself warns that this vindication of the performance dimension does not mean that the texts written for theater are no longer significant, but rather that it is necessary to consider in what ways they have given up the principles underlying the dramatic form, challenging traditional models of representation and communication. In this context, we will try to analyze some of the experimental trends of recent playwriting that might be observed in 4.48 Psychosis. At the same time, we will problematize the alleged paradox that arises from the singular importance of the text within this play.

Reflexiones sobre la relación texto-escena en el horizonte teatral posdramático. El caso de "4.48 Psychosis" de Sarah Kane