We are happy to welcome Livia Andrea Piazza as new member of staff at the institute! She has a focus in performance and politics both as a researcher and practicioner, and her post is assigned to Prof. Dr. Xavier Le Roy. Livia Andrea Piazza studied Economics and Management of Art, Culture and Communication at Bocconi University in Milan. In 2015, she completed a PhD in Cultural Sciences at Leuphana University in Lüneburg and published the book “On the Concept of the New: Framing Production and Value in Contemporary Performing Arts” (2017). Between 2014 and 2017, she engaged with different collective research platforms (Aleppo/Brussels, Critical Practices Made in YU, a.o.), curated theory formats within art festivals and institutions (Santarcangelo Festival, Homo Novus Festival, DAS Theatre, a.o.). She also works as an independent dramaturg in the field of performance and dance. At the institute, she will continue her research on performance in the current political and economic context (art institutions, fiction, forms of temporality) and delve into dramaturgy as a research topic to be shared also through teaching.
The Institut for Applied Theatre Studies is happy to welcome every new and old student to the Winter Semester 2018/19. For study beginners the semester will start with the orientation week on the 8th of October: students from higher semesters are giving information concerning the studies and student life in genereal and are answering questions. All the freshmen and freshwoman will receive the detailed program of the orientation week via e-mail.
However the seminars, practial courses and scenic projects (https://studip.uni-giessen.de/studip/evv/extern.php check FB05) will start one week later on the 15th of October and we are happy to have Nadia Ismail, Margarita Tsomou, Saša Asentić, Sebastian Blasius, Hannes Kühn and Jörg Wagner as guest teachers present this semester. The guest professorship will be held by the performance collective Showcase Beat Le Mot.
Turthermore we are pleased to announce the festival DISKURS2018 (http://diskursfestival.de/), which is organized by students from the institut and has a history of 30 years, now. In keeping with the motto NO SERVICE the festival will deal in this years edition with the question of solidarity within artistic working processes. There will be workshops, discussion-groups, presentations and othere formats linking and questioning theory and practice.
On the 20th of October students of the Hessische Theateracademie will present a spectrum of their artistic work at the HTA-Tag, which will take place in Frankfurt LAB (https://www.hessische-theaterakademie.de) from 4 pm to 10 pm. The Institut of Applied Theatre Studies will be represented with different formats and works.
We hope for an exciting semester start and a good Winter Semester 2018/19 for everyone!
On Saturday, June 16th, former ATW students Gesa Bering and Stephan Dorn have been awarded both the Jury prize and the audience prize for their piece „Der Anti-Storch“ of the young talent prize competition at Theater Drachengasse in Vienna. The Jury, consisting of Esther Holland-Merten, Wolfgang Kralicek and Veronika Steinböck, reasoned their choice as follows:
„The collective has found a peculiar form, which skillfully oscillates between performative and theatrical elements. One could declare the „Anti-Storch“ an Anti-Fable. Ostensibly the piece is concerned with the history of the waldrapp, an extinct bird species. In this context, uncomfortable questions which far exceed the extinction of species are being raised. The unsightly waldrapp is established as heralidc animal of a society which prioritizes a good image and outward appearance, of a world which holds the underdogs solely responsible for their own failure. Without any moral patronising, Gesa Bering and Stephan Dorn are posing these questions, they never hold up a mirror to the audience. However, the performance leaves no doubt that this world has bats in the belfry – or, as you say in German, 'dass unsere Welt einen Vogel hat'.“
The Department of Culture of the City of Vienna and the theatre Drachengasse are granting the winners with 10.000€ for the development of the project in the following season.
The audience award includes prize money of 1.000€ and was also granted to the collective Dorn ° Bering.
Picture: Andreas Friess
"Irgendwas für irgendwen an irgendeinem Tag im Juni"
Direction, Concept and Idea by Arthur Romanowski
Institut for Applied Theatre Studies, Gießen
Last Sunday, 10th of June, the stagepiece „Anything for Anyone, Anyday in June“ from Arthur Romanowski, who is a student at the Institut for Applied Theatre Studies in Gießen, was honored as laureate at the 15th Körber Sutdio for Young Directing.
Following the last show on Sunday evening the jury debated in a public discussion, moderated by Catarina Felixmüller, their decision at Thalia Theatre in Gaußstraße:
„Arthur Romanowski has set himself an extremly difficult task to do „anything for anyone, someday in June“ on stage. With great consitency and a sweeping joy of playing he is trying to solve this task. In doing so, he virtuosically switches between levels of embodiment and of meaning while he occasionally is leaving his audience irritated with relish.“
Körber-Foundation is rewarding the laureate for a following production at a City- or Statetheatre / alternatively for a production in the Free Theatre Scene with a grant worth 10.000 Euro.
All Institut of Applied Theatre Studies Gießen is overjoyed because of the destinction of Arthur Romanowski and his work, especially appreciating the fact that the Körber-Award is granted to a student from the Institut the second time in a row. Congratulations dear Arthur!
Fotos: Körber-Stiftung / Krafft Angerer
French artist Dr. Xavier Le Roy obtains the W3-professorship Applied Theatre Studies with a focus on the practice of performing arts at Justus Liebig University Giessen, starting in May 2018. He thereby becomes successor of Heiner Goebbels, who since April is in possession of the Georg-Büchner-senior-professorship at JLU. For the position with focus on the practice of performing arts, 41 individuals and artistic teams applied.
Le Roy acquired his doctor’s degree in molecular biology at University of Montpellier and since 1991 works as an artist in between theatre, choreography and fine arts. His international break though came with his solo piece “Self Unfinished” (1998), which since has been shown worldwide. Le Roy works as a performer, choreographer and lecturer in the most diverse contexts: amongst others, we was Artist in Residence at Podewil (Berlin) from 1996 to 2003, Associated Artist at Associated Artist am Centre Chorégraphique National in Montpellier in 2007/08, Artist in Residence Fellow at MIT Program in Art Culture and Technology (Cambridge, MA) in 2010 and from 2013 to 2015 at Théâtre de la Cité Universitaire Internationale in Paris. With his pieces „Product of Circumstances“ (1999), „Giszelle“ (2001), „Le sacre du printemps“ (2007) and „low pieces“ (2011), he influenced a distinct language of the stage, which caused a great stir and intense discussions in theatre studies and dance studies. Besides his work in the field of choreography, he is working on different genres such as music theatre, e.g. in „Das Theater der Wiederholung“ (2003) and „Movements für Lachenmann“ (2005), but also other situations such as exhibitions, in „Rétrospective“ (2012) and „Temporary Title, 2015“, and the public space, in „Our Guided Tour“ (2013). In Germany, he most recently was represented with two major works, „Haben Sie ‚modern’ gesagt?“ (2017), which was developed in cooperation with Issho Ni Ensemble and Ensemble Modern for Frankfurt LAB, and commissioned piece „Still Untitled“ (2017) for Skulptur Projekte Münster, which was developed with Scarlet Yu.
Le Roy has a wide range of experiences with teaching: he was director of progam „ex.er.ce“ at C.C.N.Montpellier (2007, 2008), guest professor at Institute for Applied Theatre Studies Gießen (2004, 2011), Valeska-Gert guest professor for dance and performance at Institute for Theatre Studies at FU Berlin (2009, 2014) and since 2004 organized several workshops in the context of universities and festivals.
Congratulations to students Caroline Creutzburg, Gianna Pargätzi and Ole Hübner!
Caroline Creutzburg has been awarded with Ponto Performance Preis 2018. "Mit insistierender Diskretion zieht Caroline Creutzburg in ihren Bühnenperformances die Trag- und Aussagefähigkeit von Selbst-Konstruktionen und darüber auch das Theater als gewinnversprechenden Ort der Selbst-Verständigung und -Konstitution in Zweifel." (statement of the jury).
Gianna Pargätzi is part of Bremen-based independent performance-collective CHICKS, which has been invited to Theatertreffen der Jugend in Berlin, a festival which is aiming to be a showcase and a provider of impulses for theatre work by and for teenagers.
Ole Hübner together with Adámek Ondrej has been awarded the 63rd Price for Composition, awarded by the city of Stuttgart, for his piece "Drei Menschen, im Hintergrund Hochhäuser und Palmen und links das Meer" (2016/17).
With the puclication of Gerald Siegmund's newest book, the first monography on the works of Jérôme Bel has now been publishes!
This study is the first monograph on the work of French choreographer Jérôme Bel, following his artistic trajectory from the beginning of his career as a choreographer in 1994 to his most recent piece in 2016. It contains an overview and in-depth analysis of all of his choreographies, from Nom donné par l’auteur to Disabled Theatre, and provides a theoretical reflection on their theatrical nature.
Bel has developed a singular discourse on dance that has often been labelled 'conceptual'. By reducing the stage elements in his performances to a minimum, his work explores the implications of dance as an art form that has, since the heyday of modernism, based its guiding principles on the laws of nature. Bel addresses the question of power relations in dance by working through the questions of authorship and various forms of subjectivity dance produces. Offering a unique opportunity to ground seemingly abstract academic theories in a specific embodied artistic practice, this study explores the intersection between artistic practice and theory.
We are gladly welcoming Rose Beermann as new member of staff at the institute!
Since finishing her master’s degree ‘Choreography and Performances’ at Institute for Applied Theatre Studies in Gießen in March 2013, Rose Beermann works as a freelance choreographer, director and dramaturg in Berlin. Since then, she realized the following projects with multiple collaborators: ‘Show Me How’ (2014), ‘Strip naked, talk naked’ (2014’, ‘Balkan Dance Reality Show’ (2015), ‘There is a better version of you out there’ (2015) and ‘My Body is the Field for Tomorrow’s Battles’ (2016), which have been shown at several German-speaking houses and international festivals. A subject present in all her works is pictures of femininity and their conveyance through media.
For further information about her artistic work, see htts://rosebeermann.de/
Scientific research and writing still are important in her artistic process as a field for inspiration and reflection. Thus, she is happy to start a dissertation project with her work at the institute. The topic will be a (further) development of a notion of the choreographic – as a specific form of perception – which not necessarily is bound o a body and thus can be used as an instrument for analysis of phenomena of movement in a media context.
We are happy to welcome Gerko Egert as new postdoc researcher at the institute! From winter semester 2017/18 on, he will work on a multi-year DFG-research-project with the title "Choreopower".
Gerko Egert studied Theatre Studies and Sociology in Berlin and Potsdam. From 2010-2015, he was a member of several research projects at Freie Univesität Berlin, among others at the Cluster of Excellence Languages of Emotion and the Forschungskolleg Interweaving Performance Cultures. In 2014, he there received his doctor’s degree for his work Berührungen. Bewegung, Relation und Affekt im zeitgenössischen Tanz (Transcript 2016). Furthermore, Gerko is doing research at SenseLab, Concordia University Montréal and Studies in Performance Art & Media (S:PAM), Universität Gent.
His work is dealing with human and non-human choreographies, politics of movement, pragmatism, philosophy of process, weather and touch.
In his current research project Choreopower. Untersuchungen zur Macht der Bewegung, he is looking at historic and present forms of the power of movement, which can be found in migration, logistics and colonialism, as well as other contexts.
Amongst his publications are Berührungen. Bewegung, Relation und Affekt im zeitgenössischen Tanz (2016), „Choreographing the Weather – Weathering Choreography” (TDR, 2016), Dramaturgien des Anfangens (edited with Adam Czirak, 2016) as well as “Movements of Touch in MAYBE FOREVER”” in Touching and Being Touched (edited with Gabriele Brandstetter and Sabine Zubarik, 2013).
For further information and publications, see www.gerkoegert.com
Three productions by ATW-Students have been assigned prices in the Competition for Audio Play Scrips at Hörspielsommer Leipzig!
Theresa Moest and Conny Walter received the first price in the category “Realization” for their production “Alles in Ordnung” (text by Katja Schraml). In the same category, Marie Meyer’s and Antonia Beeskow’s audio play “Wal” (text: Bianca Bellchambers) eiceived the second price and Maria Huber and Asja Mahgoub won third price for the piece “FANTASIEREISE No.3-Ak”. We congratulate all winners!
Dr. Eva Holling has been awarded with The Missing-Link-Award by the Psychoanalytical Seminary Zurich 2017 for her book “Übertragung im Theater: Theorie und Praxis theatraler Wirkung”! Our warmest congratulations!
Fo further information and the press release, please check the Missing Link website.
The award show will be held on Sept 23rd 2017 in Zurich, the laudation will be given by Hayat Erdogan.
ATW-student Caroline Creutzburg has won the Jury Award endowed with 10.000€ at this year’s edition of Körber Studio Junge Regie with her performance “Nerve Collection”! The renowned exhibition of young theatre- and performance-artists from german-speaking training schools is taking place annually at Thalia Theatre Hamburg.
With “Nerve Collection”, Caroline Creutzburg takes a transboundary “hike through the as-is state”. For this, she “equips [herself] with a sensory sting, documenting her empathies and intolerances”.
We are absolutely thrilled and congratulate warmly!
At the “Hessische Theatertage 2017” at Staatstheater Darmstadt, two out of five Jury Awards have been given to pieces made by (or featuring) alumni of the Giessen study program Applied Theatre Studies at Justus-Liebig University. Another two pieces made by students and alumni of ATW were nominated for prices endowed with 1.500 and 4.000€.
The performance “Deine Welt” by HTA-alumni Meret Kiderlen and Kathrin Hylla has won one out of five Jury Awards at the annual Hessische Theatertage at Staatstheater Darmstadt. The price was awarded for the category “feeling” and is endowed with 1.500€. For the category “understanding”, the award, which is also endowed with 1.500€, was given to the live-audio-play “ready for boarding” by Brachland-Ensemble, Kassel, with performer Maria-Isabel Hagen. All three artists have been studying together at the Institute for Applied Theatre Studies, Giessen.
Since February 2015, six unaccompanied minor refugees from Eritrea and Afghanistan and four students from Marburg have been working together at Theatre-project “Meine Welt”. Based on events of everyday life and in examination of past experiences, dancing and cooking soup they got to know each other. This process is made visible be the piece “Deine Welt”. The piece has been produced independently at German Stage Service, Marburg.
In „ready for boarding“, three speakers using very little props set to music the US-senat’s examination report concerning the CIA-program for interrogation and internment, which has in part been rewritten into dialogue and thus has translated the 600-page-log text into vivid and nearly unfathomable situations. Not only does it visualize the CIA’s perfidiousness, but also the failing of bureaucratic control. Considering the terror attacks in Europe, the question how this danger is met today is raised: Will Europe’s governments be more sober-minded than the current candidates for the US-presidency, which demand the relaunch of the CIA-program?
Furthermore, in the category “hearing”, the piece “Post hoc ergo propter hoc” by Giessen heater scholars Gesa Bering and Stefan Dorn has been nominated. A Nomination in the category “feeling” was given to the production “Dieser Witz trägt einen Bart” by ATW-alumni Marion Schneider and Susanne Zaun. The Institute for Applied Theatre Studies congratulates all awardees and nominees and is thrilled about the successful presence of its graduates and numerous current students at the hessian festival.
DISKURS 17 - enter the pool
International festival for young art and science |
11. – 15. 10. 2017 | Institute for Applied Theatre Studies | Gießen
DISKURS 17 is a festival for young artists, scientists and theoreticians, organised by students of the Institute for Applied Theatre Studies in Gießen.
The 32nd edition of the international festival will take place from the 11th – 15th of October 2017: for five days, art science and theory will step into an interdisciplinary exchange with each other. enter the pool DISKURS 17 is a call to plunge: into works from all over the world, into a pool of interested artists, down to unknown depths.
DISKURS 17 wants to build a big basin in which every person can swim his or her own style. The festival will be co-created space, an island that is a port of call for swimmers and divers. A centre from which waves travel out and to which they crash back into. enter the pool!
We are looking for artistic and scientific works that deal with and discuss immersive structures and alternative forms of perception. We want to rethink the position of the audience, explore one’s own awareness and bring personal experiencing into focus. Come, be a part of the cluster and fill the basin with installations, performances, dances, speeches, durationals, readings, films, panel discussions, interdisciplinary works, lecture performances and works of fine art.
Along with a black box, a white cube and the university facilities, you can also use public spaces, shop windows, a park, an underwater monitoring station or a public swimming pool as performance venues. In consultation with you we are willing to look for further spaces. There will also be a basin constructed in the public space that can be a stage, a gathering place or discussion venue.
Please hand in the following application details to email@example.com:
− A detailed description including technical requirements of a selected work / proposal / concept
− A budget proposal
− An informal CV
− A link for videos or further material of previous and/or current works if available
Please send all documents in one PDF file. The file size of the document should not exceed 2MB.
Deadline: 30th of June 2017
DISKURS 17 is organised by students and takes care of travel and transport expenses, accommodation and expense allowance.
Dive in, be suffused, break waves, swim to new territories, let yourself be absorbed into the swirl of DISKURS 17 - enter the pool!
We wish all applicants good luck!
We are very excited to announce the publication of the book "The Oxford Handbook of Dance and Politics", which was co-edited by our very own Prof. Dr. Gerald Siegmund. It is available from now on, enjoy!
In recent decades, dance has become a vehicle for querying assumptions about what it means to be embodied, in turn illuminating intersections among the political, the social, the aesthetical, and the phenomenological. The Oxford Handbook of Dance and Politics edited by internationally lauded scholars Rebekah Kowal, Gerald Siegmund, and the late Randy Martin presents a compendium of newly-commissioned chapters that address the interdisciplinary and global scope of dance theory - its political philosophy, social movements, and approaches to bodily difference such as disability, postcolonial, and critical race and queer studies. In six sections 30 of the most prestigious dance scholars in the US and Europe track the political economy of dance and analyze the political dimensions of choreography, of writing history, and of embodied phenomena in general. Employing years of intimate knowledge of dance and its cultural phenomenology, scholars urge readers to re-think dominant cultural codes, their usages, and the meaning they produce and theorize ways dance may help to re-signify and to re-negotiate established cultural practices and their inherent power relations. This handbook poses ever-present questions about dance politics-which aspects or effects of a dance can be considered political? What possibilities and understandings of politics are disclosed through dance? How does a particular dance articulate or undermine forces of authority? How might dance relate to emancipation or bondage of the body? Where and how can dance articulate social movements, represent or challenge political institutions, or offer insight into habits of labor and leisure? The handbook opens its critical terms in two directions. First, it offers an elaborated understanding of how dance achieves its politics. Second, it illustrates how notions of the political are themselves expanded when viewed from the perspective of dance, thus addressing both the relationship between the politics in dance and the politics of dance. Using the most sophisticated theoretical frameworks and engaging with the problematics that come from philosophy, social science, history, and the humanities, chapters explore the affinities, affiliations, concepts, and critiques that are inherent in the act of dance, and questions about matters political that dance makes legible.
see also Oxford University Press
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.
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