Welcome to the homepage of the Institute for Applied Theatre Studies. Unfortunately, not every page of the website is available in English. If you are looking for information you cannot find in English, please contact us and we will try to answer your questions!
For information about our events and presentations please see Events > Programme.
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.
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.
The Online-Registration for the Application is now possible (please see Applicants)!
On the 28th of January 2016 from 10-15 o'clock there will be an information day at the institute for the study programs. If you are interested in studying BA there will be from 10-12 a information program, which is also for everyone interested. If you would like to study CuP or MA-ATW please write us an E-Mail if you plan to come to the information day, so we know the amount: email@example.com
Applications and Deadlines
BA and MA ATW (applied theatre studies)
Online registration: 15.12.2015 - 31.01.2016
Closing date for application portfolio: 29.02.2016
Written exam: 18.05.2016
Oral Exam: BA: 20./21.06 MA: 21./22.06
CuP (Choreography and Performance)
Online registration: 15.12.2015 - 29.02.2016
Closing date for application portfolio: 31.03.2016
Oral exam: 09. - 10.06.2016
The online registration will be possible from this website. For any questions please check first the informations on this website.
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
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