In this interview, the theatre scholar Azadeh Sharifi, a fellow at the center since 2014, speaks about her research project on ‘post-migrant theatre’ in Western European countries. Explaining that her research is influenced by her personal experiences as a refugee in Germany, Sharifi describes how her interest in the effects of migration on contemporary European theatre developed—effects that must be considered as formative but are, in fact, very often ignored, marginalized, or misrepresented. Strongly emphasizing the need to investigate and highlight this formative role of migration for the aesthetics of contemporary Western European theatre, Sharifi strives to critically rethink the potentials of the term ‘post-migrant theatre’.
The socio-political changes in Northern Africa and the Middle East since 2011 have resonated with an ongoing and wide-spread perception of crisis in Europe, begging the questions: What kind of society do we want to live in? What kind of conditions are necessary for this society to emerge? In 2013, twelve Egyptian and European artists, architects, and cultural workers from the fields of choreography, architecture, and theater addressed these questions in and for Berlin, Vienna, and Cairo. They worked to build spaces that might respond to the needs and questions of the local, cultural, and social contexts in which they were involved.
Ayat Najafi, February 27, 2015
Now, as I walk in the streets of Lahore, I realize that I too am in a supermarket – producing and consuming Pakistan like the “Iran experts” do Iran. The lens of my camera is tinted with the preconceived notions I have packaged and brought to Pakistan. In fact, the supermarket goes both ways: Pakistanis, too, produce and consume me as a certain plastic image of Iran. Ironically, with Reza Kazim’s words of revolution still ringing in my ears, I am engaged in the free-market capitalism of clichés.
On stage, we see a private room: a rug, a chair, a table with personal items … on the floor, a TV set and a stereo. Diyaa Yamout seems to have gone out briefly to fetch cigarettes or to meet friends. He should be coming back any minute … Or someone else should be coming … After all, someone has to come. But no one does.
This paper discusses the idea of new media dramaturgy in connection to dumb type performances and outlines some of the notions that apply to the concept of interweaving performance cultures and new media. In this context, it explores dumb type's pioneering suite of multimedia performances pH, S/N, OR and Memorandum as the basis for an emergent transformation in performance towards the development of new forms.
Thomas Martius, November 7, 2014
Thomas Martius, October 31, 2014
In 2013, a group of Egyptian and European artists from the fields of choreography, architecture and theatre set out to explore questions such as: What kind of society do we want to live in? What are the conditions we need to create for our lives? The group tried to address these challenges through building spatial structures in Berlin, Vienna and Cairo. The video A Future Archeology captures reflections and impressions from their first extensive research and working period at Uferstudio 14 in March 2013 in Berlin.