Performing Immanence: Forced Entertainment is a unique probe into the multi-faceted nature of the works of the British experimental theatre Forced Entertainment via the thought of Gilles Deleuze and Felix Guattari.
Goethes, Schillers und Kleists politische Dramen formulieren eine frühe Theorie charismatischer Autorität, indem sie Held*innen als Reflexionsfiguren im Zusammenhang von Politik und Emotionalität modellieren.
Le présent volume examine le processus de transfert et les modalités de réception en Allemagne de l’Ouest du théâtre français « de l’absurde », à travers les œuvres de ses principaux représentants : Arthur Adamov, Samuel Beckett, Jean Genet et Eugène Ionesco.
Seit dem Spätmittelalter entstehen zunehmend differenzierte Theorien der Meditation, denen eine zentrale und konfessionsübergreifende Bedeutung für die Ästhetik des geistlichen Theaters im deutschsprachigen Raum des 16.
Drawing primarily on Judith Butler's, Jacques Derrida's, Emmanuel Levinas's and Jean-Luc Nancy's reflections on precariousness/precarity, the Self and the Other, ethical responsibility/obligation, forgiveness, hos(ti)pitality and community, the essays in this volume examine the various ways in which contemporary British drama and theatre engage with 'the precarious'.
Drawing primarily on Judith Butler's, Jacques Derrida's, Emmanuel Levinas's and Jean-Luc Nancy's reflections on precariousness/precarity, the Self and the Other, ethical responsibility/obligation, forgiveness, hos(ti)pitality and community, the essays in this volume examine the various ways in which contemporary British drama and theatre engage with 'the precarious'.
Oper und Aufklärung bilden keineswegs einen Widerspruch, sondern stehen in einem produktiven Verhältnis zueinander; nicht zufällig ist die Gattung ein bevorzugtes Streitobjekt der Aufklärer.
In a moment of intense uncertainty surrounding the means, ends, and limits of (countering) terrorism, this study approaches the recent theatres of war through theatrical stagings of terror.
In a moment of intense uncertainty surrounding the means, ends, and limits of (countering) terrorism, this study approaches the recent theatres of war through theatrical stagings of terror.
Theatre is traditionally considered a live medium but its 'liveness' can no longer simply be taken for granted in view of the increasing mediatisation of the stage.
Theatre is traditionally considered a live medium but its 'liveness' can no longer simply be taken for granted in view of the increasing mediatisation of the stage.
British drama of the 1990s is most commonly associated with the term in-yer-face theatre, which was coined by Aleks Sierz to describe the shocking and provocative work of emerging playwrights such as Mark Ravenhill or Sarah Kane.
