Theatrale Widerständigkeit

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Subject according curriculum

Drama theater directing, dramaturgy, musical theater directing

Teachers

Semester

Sommersemester 2025

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 takes many forms and points 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 nonconformity on its head and operate through hyper-affirmative—that is, excessively affirmative—strategies. Resistant practices can both demand grand gestures and exert a critical impact through “soft,” almost invisible micro-practices. Works of appropriation art featuring manipulated plagiarisms or calculated “shitstorms” or “candystorms” in media contexts are possible examples and outcomes that demonstrate how aesthetic attention can be generated and entrenched power asymmetries can be set in motion.
A fundamental ambivalence is also inherent in the specific genre of artistic intervention: it functions as both an interruption and a form of mediation. It first gained significance in the history of ideas within the context of military and political operations. As the concept later migrated into artistic contexts, certain characteristics became established: interventions, however heterogeneous they may be in their concrete forms, generally take place without a commission, are ephemeral, and operate on the fringes of legality. They pursue a potentially community-building agenda “from below” and reveal alternative sociopolitical spaces. The experimental and exploratory potential of intervention art in theater will be the focus of our reflections.

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