Thomas Martius, October 31, 2014
A Future Archology. Photo: Thomas Martius 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. read more
Thomas Martius, October 20, 2014
tableau_nancy_thumb read more
Stephen Barber and Rustom Bharucha, October 15, 2014
Barber_Bharucha In June 2014, Stephen Barber and Rustom Bharucha met for a conversation on Bharucha's latest book Terror and Performance. In this talk, Bharucha and Barber explored the key notions of the book as well as the process of writing itself. Listen to the entire conversation here. read more
Thomas Martius, July 30, 2014
Lunch Lecture with Tim Ingold. © Thomas Martius read more
Sharon Dodua Otoo, May 27, 2014
In this paper, which was also presented at the IRC symposium Blackface, Whiteness and the Power of Definition in Contemporary German Theatre, the author focusses on how whiteness is represented in modern German theatre, using Michael Thalheimer’s 2012 production of Dea Loher’s play Unschuld as an example. read more
Julia Lemmle, May 20, 2014
This essay summarizes examples of the most common rhetoric figures, topoi and strategies of argumentation used in mainstream media by white journalists talking about blackface, the critique of blackface and the critics. read more
Daniele Daude, May 12, 2014
Based on a presentation during the IRC symposium Blackface, Whiteness and the Power of Definition in Contemporary German Theatre, this essay explores which set of filters are used by white artists and academics to (re)create race on the opera stage. In order to understand this nexus of practices and discourses, the essay employs the concept of racialization, focusing on three filters in particular: racialized dramaturgy, the racialized stage, and racialized embodiment. read more
Michael Roes, April 3, 2014
"Spring Awakening," directed by Michael Roes. Summer 2013 “Why do we busy ourselves in foreign countries?” is one of the central questions asked in all the debates on neo-colonialism. By “we,” panellists usually think of the ‘West,’ or the ‘Occident.’ And as “foreign” they preferably designate all non-European and North American countries. – And, of course, the anti-neo-colonialist’s answer to these questions is a strident “For no reason whatsoever!” Such debates tend to provoke polarising contributions … read more
Stephen Barber, February 20, 2014
Glass slide image by Eadweard Muybridge, 1880s This essay is based on a paper the author presented during the Symposium Dumb Type – The Birth of New Media Dramaturgy at Freie Universität Berlin in April 2013. It focuses on Lovers (1994) – the first moving-image installation work of Teiji Furuhashi, viewed within the framework of the histories of immersive moving-image projection environments involving human figures in performative movement. Alongside Lovers, it examines a film-projection experiment, The Birth, shown at the Expo ’70 in Osaka involving the work of Tatsumi Hijikata. The final part of this essay extends back to 1893 to look at the originating event for all projections of moving-images within specially-designed, enclosed spatial environments: Eadweard Muybridge’s project to create the first-ever space for the projection of moving-images to public audiences, through the construction of his ‘Zoopraxographical Hall.’ read more
Omar Elerian, February 6, 2014
The International Research Center “Interweaving Performance Cultures” opened the academic year 2013/14 with an international symposium entitled European Perspectives on Postmigrant Theatre. On this occasion, Omar Elerian, Associate Director at the Bush Theatre in London, offered 5 provocations on how British theatre can be affected in order to embrace change and contribute to building a cultural capital that will impact the next generation, regardless of its cultural or geographical heritage. read more