Justus-Liebig-Universität Gießen Institute for Applied Theatre Studies


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Theater as Critique

Dear Sir or Madam, dear colleagues,

It is our great pleasure to present you the enclosed program for the 13th Congress of the German Society for Theater Studies that will take place in Frankfurt am Main and Gießen from November 3rd to 6th. Under the heading "Theater as Critique", the congress invites participants to examine theater as a critical practice. With the crisis of the classical groundings of both theater and critique in mind, the congress will reconsider, on the one hand, the history, theory and issues of theater and, on the other, the concept of critique. At the heart of the debate are not the subjects of theater critique but rather critique itself.

Keynote speeches by Shannon Jackson (Berkeley), Christoph Menke (Frankfurt) and Werner Hamacher (Frankfurt) as well as roughly 200 contributions in more than 60 panels will be complemented by a performance program consisting of contributions from students of the Hessian Theater Academy (HTA) and the presentation of “Five Easy Pieces” by Milo Rau/IIPM and CAMPO.

Above all, we are delighted about the high number of international guests taking part – one out of every four panelists is from a university outside of Germany, Austria or Switzerland. For the first time, an English panel series will take place throughout the congress and there will be English subtitles for the keynote speeches held in German.

If you are interested in taking part in the congress, please register online at http://www.theater-wissenschaft.de/registration/ by October 20th. You will find all congress information at http://www.theater-als-kritik.de/ (scroll down for the English version of the website).

Open Call: W3 Professorship in Applied Theatre Studies with a focus on Artistic Practice

The Faculty of Language, Literature and Culture invites applications for a

W3 Professorship in Applied Theatre Studies with a focus on Artistic Practice

as of April 1st, 2018

Reference is made to §61 section 7 Hessisches Hochschulgesetz (HHG) and to conditions of employment based on §62 HHG. We seek candidates who have first-rate expertise in the artistic area of Applied Theatre Studies.

The successful candidate will represent the field of Artistic practice in Applied Theatre Studies in both research and teaching. Teaching consists of overseeing the three-year Bachelor course “Applied Theatre Studies” and the two-year Master course “Applied Theatre Studies”. Scientific and artistic practice are equal parts of all courses. Seminars, lectures, reading groups and exercises provide the framework for a scholarly investigation of research questions. Artistic approaches are explored in artistic projects, practical courses and workshops. Other humanities and cultural institutes of Justus Liebig University are involved to varying extents in the academic programme. Seminars and lectures from other institutes of the Justus-Liebig-University are part of the Applied Theatre Studies curriculum. The future holder of the position should research theatre/performance of the 20th and 21st centuries by developing a profile which focuses on the issue of the various work processes and dramaturgical, interdisciplinary approaches towards the production of theatre.

We expect collaboration with the interdiscipli nary centre “Zentrum für Medien und Interaktivität” (ZMI, Centre for Media and Interactivity) as well as with the Graduate Centre for the Study of Culture (GCSC, postgraduate education). Your participation in academic administrative tasks, in teaching for the MA degree course “Choreography and Performance”, as well as cooperation with the Hessische Theaterakademie (HTA, Hessian Theatre Academy) and the Hessische Film- und Medienakademie (HFMA, Hessian Film and Media Academy) are essential.

Required are a university degree, an excellent command of German, pedagogical aptitude and experience in theatre practice as well as excellent achievements in artistic practice; Please supply proof of several years of your artistic work and your teaching of the theoretical background to this work. You will be expected to have the ability and willingness to teach in English. Familiarity with scientific ways of thinking and working should preferably be proved by means of a doctorate. The candidate should have a record in acquiring external funding. Due to the special requirements of the inter-disciplinary degree courses, the candidate should be able to work with various subjects. The Institute for Applied Theatre Studies with the combination of the subjects Applied Theatre Studies and Choreography and Performance is a common space for discussion and work in which students of the individual degree courses interact rather than act separately. Against this background, artistic reflection should embrace the wide range of exploration of theory and practice in theatre and performance (and the envisioning of their future) and also consider an expanded definition of choreography.

The Justus Liebig University Giessen aims to employ more women in academic research. We therefore particularly encourage female candidates to apply. Justus Liebig University is committed to increasing the number of women employed at the university. The Justus Liebig University also aims to increase its faculty leadership with individuals who have competence in dealing with gender and family related-issues. The Justus Liebig University aims to position itself as a family-friendly university. Applicants with children are welcome to apply. Applications from disabled people of equal aptitude will be favoured.

Applicants should send a letter stating their qualifications and teaching abilities and a CV (no e-mail) to: The President of Justus Liebig University Giessen, Erwin-Stein-Gebaeude, Goethestrasse 58, 35390 Giessen, Germany, quoting reference number 5-20/16. Applications must be received by November 18th, 2016 at the latest.

Candidates are recommended to refer to our webpage on employment: http://www.uni-giessen.de/stellenmarkt/ and application procedures at: http://www.uni-giessen.de/stellenmarkt/merkblatt.pdf. Please only submit copies of your application documents as they cannot be returned after the application procedure has been completed.



The student body understands the importance of participating in the decision regarding the artistic professorship of the institute, which will influence the next 10-20 years. Therefore, we want to actively engage in this process and highlight wishes as well as clarify priorities specifically from a student perspective, as follows


+ We wish for someone who supports the independent and experimental atmosphere of the institute.

+ We support gender and race equality and especially encourage non-white, non-male applicants.

+ We support the possibility of the professorship being shared by e.g. a duo or a collective.

+ We do not expect the candidate / the candidates to have a Ph.D.

+ We encourage applicants from ALL artistic fields as long as she/he has an extended and non-conservative understanding of theatre, performance and choreography.

+ We wish for someone who considers this professorship as their primary engagement; who is present at the institute, available to the students and approachable for everyone.

+ We wish for someone who is willing to reflect upon her/his power position, i.e. someone who appreciates transparency and is enthusiastic about shaping the institute together with its students and creating an open culture of discussion.

+ We wish for someone who supports the development of students’ artistic practices - also as an alternative to the logic of production of the art and theatre market.

+ We wish for someone who reflects on theatre and performance as a political and social space.

We warmly encourage you to submit your application to the university, and offer our support in that process in whichever way we are able (contact: ).

Please do not hesitate to forward this call to whomever you think it may concern.


The Student Body of the Institute of Applied Theatre Studies

Martina Ruhsam - new research assistant for CuP master program

We are excited to welcome Martina Ruhsam as the new research assistant for the Masters program "Choreography and Performance" under the directorship of Prof. Dr. Bojana Kunst!

Martina Ruhsam has worked in numerous artistic, academic and editorial contexts. From 2006 until 2010 she was a member of the editorial board of Corpus. Internetmagazine for Dance, Choreography and Performance. From 2008 until 2009 she worked in the theory department of Tanzquartier Wien. Since 2012 she is a member of the editorial board of Maska. Performing Arts Journal. She was lecturing in Maskas Seminar for Performing Arts in Ljubljana (2013) and at HZT (Hochschule Zentrum Tanz, SODA) in Berlin (2015).

In 2011 her monography „Kollaborative Praxis: Choreographie“ was released by Turia + Kant. Currently she is writing a Phd (dissertation advisor: Prof. Dr. Bojana Kunst) about the altered role of non-human things in contemporary choreographies.

Theatre as Critique

Congress of the Society for Theatre Studies, Frankfurt and Gießen, 3.-6. November 2016

Under the heading “Theatre as Critique”, the organisers of the 13th Congress of the Society for Theatre Studies invite researchers to examine theatre as a critical practice. With the crisis of the classical groundings of both theatre and critique in mind, the congress aims at a reconsideration of, on the one hand, the history, theory and issues of theatre and, on the other, the concept of critique. At the heart of the debate, therefore, is not just the subject matter of theatre critique but rather critique itself. Plenary speeches and shorter contributions on 8 different subject areas will be complemented by performative formats, visits to the theatre, talks and scenic contributions from students of the Hessian Theatre Academy (HTA).

These questions can be discussed in various sections at the Congress of the Society for Theatre Studies. The following thematic emphases are thinkable:

1. Critical practices in contemporary theatre 2. Critique and normativity 3. Critique of the dispositive of the theatre in the past and the present 4. Theatre as a critical practice of thought and action 5. Critique of critique 6. Theatre studies as a critical practice 7. Critique and the public sphere in the theatre 8. Hostility towards the theatre

Significant academics and artists are intended as keynote speakers. There will also be a group of young academics that will present the results of their discussions in a keynote speech. We are also seeking suggestions for lecture performances or group presentations at a length of 60 minutes.
The congress will advance the internationalisation of German-speaking theatre studies by putting on a series of panels in English that will run parallel to the German-speaking panels. We would thus like to encourage contributors from abroad to submit abstracts. We will endeavour to provide funding for the travel and accommodation costs of contributors from abroad from the German Research Community (DFG). In order to be eligible for this funding, please submit your abstract by the 1st of April. For those of you who do not need funding, please send your abstract or suggestion for a panel (max. 500 characters) by the 30th of April 2016 to the following email address:

The organisers will arrange the financial means to free those whose suggestions for a lecture or a presentation are accepted from the conference fee, inasmuch as they do not have the opportunity to receive this funding elsewhere. Please tell us when you send us your suggestion if this applies to you.
For hotel reservations, please check the list of hotels on the congress homepage from the 1st of May on:www.theater-wissenschaft.de/kongresse
If you want to take part in the congress, please register on our website from the 1st of June 2016 on.

Organisers: The Institute for Applied Theatre Studies, Justus Liebig University Gießen (Professor Dr Gerald Siegmund), and the Theatre Studies Chair of the Institute for Theatre, Film and Media Studies, Goethe University Frankfurt am Main (Professor Dr Nikolaus Müller-Schöll), in collaboration with the Hessian Theatre Academy (HTA), the Frankfurt LAB and the Künstlerhaus Mousonturm.

Artist at Work, Proximity of Art and Capitalism - New Book by Prof. Dr. Bojana Kunst

We are happy to announce the following publication at Zero Books by Prof. Dr. Bojana Kunst.

Artist at Work, Proximity of Art and Capitalism Examining the recent changes in the labour of an artist and addressing them from the perspective of performance.

The main affirmation of artistic practice must today happen through thinking about the conditions and the status of the artist's work. Only then can it be revealed that what is a part of the speculations of capital is not art itself, but mostly artistic life. Artist at Work examines the recent changes in the labour of an artist and addresses them from the perspective of performance.

"This critically coruscating exposure of what it means to have come 'after the event' yet always prepared to work on contemporary art's implications, is everything one might have hoped from one of Europe's most incisive performance writers. Like all treasures it shines with the brilliance of a wholly unexpected economy." ~ Alan Read, Professor of Theatre, Director Performance Foundation, King's College London

"Bojana Kunst, one of the most compelling writers today, has produced a book that will inform the critical discourse on art’s political ambitions for years to come. Artist At Work is a vital, searching treatise on the relation between artistic work and artistic labor in the proximity of capitalism. By challenging and scrutinizing the conditions of artistic practice, Kunst re-affirms artistic life with an unflinching determination and a tireless level of expertise, attentiveness and care." ~ Lin Hixson, Professor, Performance, School of the Art Institute of Chicago, Director, Every house has a door

"Artist At Work by Bojana Kunst turns the neoliberal perspective upside down and thus has a perfect timing, i.e. in the period of austerity measures. It draws its conclusions mainly from the argument that art no longer ne eds to re-affirm itself as a socially relevant and useful activity because this would lock it with in immanent capitalist and populist production of value. Instead, art has to rediscover its material basis and 'occupy' exactly those abstractions which enable the preservation of the capitalist system and reproduction of capital."
~ Goran Sergej Pristaš, Dramaturg, BADco, Zagreb

Follow this link to the publication