Theatrale Widerständigkeit

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Subject according curriculum

Drama theater directing, dramaturgy, musical theater directing

Teachers

Scope

Wednesdays 2-5 pm: 23.4. / 30.4. / 7.5. / 25.6. / 2.7. / 9.7. / block teaching / asynchronous learning (start 23.04.2025)

Room

Wiesendamm - Raum 1.15 (Seminarraum 3)

Duration

4 Semesterwochenstunden

Description

Theatrical resistance has many manifestations and refers to a complex interplay of subversion and affirmation: on the one hand, there is "counter-behavior" in the sense of breaking norms, refusal and protest. On the other hand, resistant practices can turn the mode of non-conformity into its opposite and act with hyper-affirmative, i.e. over-affirmative strategies. Resistant practices can both demand grand gestures and become critically effective in 'soft', almost invisible micro-practices. Works of appropriation art with manipulated plagiarism or calculated shit or candy storms in media contexts are possible examples and consequences that show how aesthetic attention can be generated and entrenched power asymmetries can be set in motion.
A fundamental ambivalence is also inscribed in the specific genre of artistic intervention: it acts as both interruption and mediation. It first became significant in the history of ideas in the context of military and political operations. During its later conceptual migration into artistic contexts, certain specifics became established: interventions, as heterogeneous as they are in their concrete execution, are usually carried out without a mandate, are fleeting and move on the fringes of illegality. They pursue a potentially community-building agenda 'from below', highlighting alternative socio-political spaces. The experimental and explorative potential of intervention art in the theater will be the subject of our considerations.

Literature

S. Ahmed: On Being Included. Racism and Diversity in Institutional Life (2012); S. Ahmed: Willful Subjects (2014); U. Bröckling: "Gegen-Verhalten. Zur Analyse widerständiger Praktiken" (2013); D. Hartmann et al. (eds.): Interventions. Grenzüberschreitungen in Ästhetik, Politik und Ökonomie (2012); A. Häusler et al.: Verletzen und Beleidigen. Attempts at a theatrical critique of disparagement (2020); U. Otto et al. (eds.): Ästhetiken der Intervention. Interventions and Assaults in the Regime of Theater (2021); A. Sharifi: "'Providing what is missing'. Postmigrant Theater and Interventions" (2020); G. Ziemer: Complicity. New perspectives on collectivity (2013).

Credits

2 Creditpoints

Comments

In order to obtain credit points, a willingness to read, a presentation in the seminar and a written term paper or reflection on own artistic work are obligatory. Credit points are awarded in accordance with the requirements specified in the curriculum. Optional participation in the seminar without the award of credit points is also possible and takes place after consultation with the lecturers.

Registration: Please send a brief outline of your interests and motivations by 18.04.2024 to: katharina.alsen@hfmt-hamburg.de and benjamin.sprick@hfmt-hamburg.de

Modules

Modul Theorie 1 Schauspiel, Regie Schauspiel, Regie Musiktheater, Modul Theorie 2 Schauspiel, Regie Schauspiel, Regie Musiktheater, Modul Theorie 3 Schauspiel, Regie Schauspiel, Regie Musiktheater, Wahlmodul freie Wahl (alle Studiengänge), Studium generale Wahlmodul Master