Erfaringsfattigdom: Om visse sceniske praksisser ”efter faldet”

The lecture ”Poverty of Experience – Performance Practices after the Fall” by Nikolaus Müller-Schöll was presented at the international seminar ”After the Fall”, held at The Danish Royal Theatre in 2009 on the occasion of the 20th anniversary of the Fall of the Berlin Wall. The author has kindly permitted Peripeti to print a translated version of his lecture. Deploying Walter Benjamin’s concept of Poverty of Experience Müller-Schöll conducts an analysis of the crisis in not only experience but also the world of ideas as such in the time following the era of the cold war, the disastrous development of the (Western) financial markets and thereby the last great ideology remaining after the fall of the Berlin Wall, namely capitalism. Following this, he analyses a number of European performance practices, namely those of the performance group White Horse, the director duo Hofmann & Lindholm and Phillip Quesne’s group Vivarium Studio, exploring how these practices address the circumstances “after the fall” in an manner where they expose their own “poverty of experience” whilst very consciously dedicating themselves to an unspectacular scenic poverty

A diszpozitívum és a kormányozhatatlan : Gondolatok bárminemű politika kezdetéről és végéről a végtelenben

With the term dispositif this essay focuses primarily on those elements and practices of the performing arts that G. Agamben once defined as the “ungouvernable of any kind of politics”. As “ungovernable” they may be returned to general usage. For Müller Schöll the figure of the harlequin represents the ungovernable or unruly. The harlequin was the central character that single handed disturbed the disciplinary process the theatre underwent during the 18th century. His act also invites us to re-evaluate the so-called performative turn of the 1960s

(Des-)crença. O jogo com a ilusão

Após um pequeno resumo histórico que problematiza a questão - teatro e linguagem -, gostaria de elaborar essa problemática mais detalhadamente a partir de dois exemplos especialmente sobressalientes desse teatro chamado “teatro da realidade”: são estes o trabalho Cargo Sofia Zollverein, de Stefan Kaegi, e os trabalhos My neck is thinner than hair: engines [Meu pescoço é mais fino que o cabelo: máquinas] e I feel a great desire to meet the masses once again [Eu sinto um grande desejo de encontras as massas mais uma vez], de Walid Ra'ad. Concluindo então, apresentarei algumas sugestões para a compreensão atual da ilusão

(Des-)crença. O jogo com a ilusão

Após um pequeno resumo histórico que problematiza a questão - teatro e linguagem -, gostaria de elaborar essa problemática mais detalhadamente a partir de dois exemplos especialmente sobressalientes desse teatro chamado “teatro da realidade”: são estes o trabalho Cargo Sofia Zollverein, de Stefan Kaegi, e os trabalhos My neck is thinner than hair: engines [Meu pescoço é mais fino que o cabelo: máquinas] e I feel a great desire to meet the masses once again [Eu sinto um grande desejo de encontras as massas mais uma vez], de Walid Ra'ad. Concluindo então, apresentarei algumas sugestões para a compreensão atual da ilusão

Die zweite Geschichte : zwei Arbeiten von Rabih Mroué, Lina Majdalanie und Walid Ra’ad erkunden das Fremde im Eigenen

Das Fremde, das uns als etwas Unheimliches, nicht dingfest zu Machendes begegnet, zwingt uns dazu, die Grenze zwischen dem Fremden und dem Eigenen neu zu verhandeln. Erfahren lässt sich dies, wenn wir uns einlassen auf zwei aktuelle Arbeiten von libanesischen Künstlern