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    "madek_system": "https://medienarchiv.zhdk.ch/vocabulary/madek_system:",
    "Keyword": "https://medienarchiv.zhdk.ch/vocabulary/keyword/",
    "Role": "https://medienarchiv.zhdk.ch/roles/",
    "rdf": "http://www.w3.org/1999/02/22-rdf-syntax-ns#",
    "rdfs": "http://www.w3.org/2000/01/rdf-schema#",
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    "madek_core": "https://medienarchiv.zhdk.ch/vocabulary/madek_core:",
    "madek_zhdk_bereich": "https://medienarchiv.zhdk.ch/vocabulary/zhdk_bereich:",
    "madek_media_content": "https://medienarchiv.zhdk.ch/vocabulary/media_content:",
    "madek_copyright": "https://medienarchiv.zhdk.ch/vocabulary/copyright:"
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      "madek_core:title": {
        "@value": "FÜR DIE BÜHNE SCHREIBEN",
        "@type": "madek:Text"
      },
      "madek_core:subtitle": {
        "@value": "Eine Suche nach formalen Kriterien für dramatischen Text",
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      },
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        "@value": "Gibt es im heutigen, sogenannten postdramatischen Theater überhaupt Kriterien, oder zumindest Anhaltspunkte, wie ein Text beschaffen sein muss,\r\ndamit er sich für die Bühne eignet, damit er «auf die Bühne will». Oder kann jeder Text im Theater aufgeführt und bespielt werden? Gibt es überhaupt eine klare und eindeutige Definition, was einen dramatischen Text von einem nichtdramatischen Text unterscheidet? Oder ist es einfach der/die Autor, der/die bestimmt, dass der Text, den er/sie geschrieben hat, dramatisch ist? Gibt es heutzutage noch Kriterien, die erfüllt werden müssen, um als dramatischer Text zu gelten? Oder in einer Frage zusammengefasst: Nach welchen formalen Kriterien muss ich als Autorin für die Bühne schreiben? Die ist das zentrale Untersuchungsthema dieser Arbeit.",
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        "@value": "20.05.2016",
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        "@value": "35 Seiten",
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        }
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      "rdfs:label": "Richard III."
    },
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