Results containing the tag: Interweaving Performance Cultures
osofisan_textures_thumb In this interview, the dramatist, researcher, and theatre director Femi Osofisan, a fellow at the center since 2012, explains how colonialism shaped his conception of ‘theatre’ during his childhood and how he became aware of the political, ethical, and moral dimensions of performance and theatre while studying in France in the 1970s. Osofisan also shares his rich experience as a political dramatist and theatre director who has been working around the globe for more than 30 years, practicing ‘interweaving’ as an aesthetic strategy for addressing current social and political problems in Nigeria and many other places where he has staged his fascinating work—including the U.S., the U.K., China, and Germany. read more
Nanako Nakajima In this interview, the dramaturge and dance scholar Nanako Nakajima, a fellow at the center since 2013, discusses her research project on the aging body in dance. The project developed out of her experiences of training and teaching traditional dance in Japan for more the 20 years as well as out of her work as a dramaturge for independent dance productions in the U.S. Describing the ways in which age is performed and perceived differently in dance communities in Japan, in the U.S., and in Europe, Nakajima emphasizes that during the creative production process of dance pieces, interweaving practices can open up various perspectives and thus prevent offending stereotypical representations of ‘other’ cultures in performance. read more
Azadeh Sharifi 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’. read more
Filmscreening during Dumb Type Symposium 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. read more
International theatre research has long studied the world before undergoing its revolution from the inside. Should the world study back or, rather, perform back while striving for recognition? The intercultural debate of the 1980s and 1990s implied the possibility of a democratic interweaving of performance cultures across the globe. Still, the task of postcolonial scholarship is further complicated by the existing body of world theatre histories. Our performance cultures are hardly visible in the “universal narrative of capital – History 1”, typically edited out, and otherwise often only mentioned on the borderlines between absence and presence. Europe has always been the silent referent in world theatre history. With rising demands for further democratizing the discipline, new modes of writing theatre history from below have emerged with an earnest desire for inclusion …. read more
I see "interweaving performance cultures" as a flexible perspective to inquire into the cultural adjustments, ambiguities, and misalignments performative events produce and manifest. I consider it meaningful that performance is mentioned instead of art – although art is certainly included – which shows such inquiries are not circumscribed to an elitist definition of art nor to a field with the official approval stamp of the academies. Thus, "interweaving performance cultures" in my view refers to a rigorous inquiry into the cultural complexities of human actions – as creative forms that enter into a dialogical relationship with others – that does not start from a single prescribed ideological, philosophical, aesthetic, or theoretical model. read more
In 1963, the Polish novelist and dramatist Witold Gombrowicz sailed from South America to Europe. He was bound for Berlin, where he was to take up a Ford Foundation fellowship, the first of a series of artist residencies meant to initiate a cultural revival of the recently divided city. For Gombrowicz, it was his first journey to Europe in twenty-three years. In his journal, he describes an extraordinary encounter: at the break of dawn, northeast of the Canary Islands, he sees in a distance the ship of Chrobry, sailing on her maiden voyage from the Polish harbor Gdynia to Argentina. Gombrowicz was on board as a correspondent. Bound to spend a short period abroad and then return. read more
Khalid Amine on "Interweaving Performance Cultures" Upon his departure in March 2010, Khalid Amine gave an interview about his time and experiences at the International Research Center "Interweaving Performance Cultures." read more
Are the terms "interweaving/entwining" acquiring the status of key concepts in contemporary performing arts? Both terms (and others related to them, such as Brecht’s "visible knots" or Michel Vinaver's "interlacs" are increasingly felt as powerful metaphors, especially in connection to postmodern and transcultural practice, as they point to the discontinuous, fragmented, heterogeneous and processual character of the arts rather than to an alleged unity of monolithic structure, as implied in the idea of "Gesamtkunstwerk" or Peter Brook's "yoghurt culture" (both of which stand suspected of hegemonic thinking). "Interweaving", however, alludes not only to intertextual and intermedial connections, but also to intercultural links inherent in every performative event. read more
From the range of the five horizontally-covered research areas clearly defined, I also see these areas vertically combined with at least four layers among the complexity of their interweaving processes from the departure of demographic approaches on any particular theatre production. read more