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Theatre of Real People: Diverse Encounters at Berlin’s Hebbel am Ufer and Beyond de Ulrike Garde

Theatre of Real People: Diverse Encounters at Berlin’s Hebbel am Ufer and Beyond: Methuen Drama Engage

Autor Ulrike Garde, Meg Mumford
en Limba Engleză Paperback – 18 mai 2016
Theatre of Real People offers fresh perspectives on the current fascination with putting people on stage who present aspects of their own lives and who are not usually trained actors. After providing a history of this mode of performance, and theoretical frameworks for its analysis, the book focuses on work developed by seminal practitioners at Berlin's Hebbel am Ufer (HAU) production house. It invites the reader to explore the HAU's innovative approach to Theatre of Real People, authenticity and cultural diversity during the period of Matthias Lilienthal's leadership (2003-12). Garde and Mumford also elucidate how Theatre of Real People can create and destabilise a sense of the authentic, and suggest how Authenticity-Effects can present new ways of perceiving diverse and unfamiliar people. Through a detailed analysis of key HAU productions such as Lilienthal's brainchild X-Apartments, Mobile Academy's Blackmarket, and Rimini Protokoll's 100% City, the book explores both the artistic agenda of an important European theatre institution, and a crucial aspect of contemporary theatre's social engagement.
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Specificații

ISBN-13: 9781472580214
ISBN-10: 1472580214
Pagini: 264
Ilustrații: 10 bw illus
Dimensiuni: 138 x 216 x 22 mm
Greutate: 0.34 kg
Editura: Bloomsbury Publishing
Colecția Methuen Drama
Seria Methuen Drama Engage

Locul publicării:London, United Kingdom

Caracteristici

'Authentic' theatre forms are very much in vogue and this book provides the first examination of a particular form of reality theatre that will be of interest to the many students and scholars of verbatim, documentary and other 'real' theatre forms

Notă biografică

Dr Ulrike Garde is Senior Lecturer in German Studies at Macquarie University, Australia. Her research interests range across Intercultural German Studies, German literature and the performing arts. Her publications include Brecht & Co: German-speaking Playwrights on the Australian Stage (2007). Dr Meg Mumford is Senior Lecturer in Theatre and Performance Studies at the University of New South Wales, Australia. Her research focuses on social engagement, intercultural exchange, and the politics of performing bodies, particularly with regard to theatre from Germany and Australia. She has published extensively on the work of playwright-director Bertolt Brecht, and is the author of Bertolt Brecht (2009).The authors co-edited Rimini Protokoll Close-Up: Lektüren (2014) together with Johannes Birgfeld, as well as the 2015 issue of Performance Paradigm on the arts and effects of non-professional theatre performers.

Cuprins

Introduction 1. A Historical Perspective on Theatre of Real People2. Theatre of Real People at the HAU3. Theatre and Authenticity-Effects4. Encounters with Cultural Diversity at the HAU5. Berliners with an 'Authenticity Guarantee': Cultural Complexity in 100% Berlin and 100% City6. Meeting Unfamiliar Residents in Berlin: Playing with Frames of Reference in X-Apartments7. Unsettling Journey into the Unfamiliar: Ambiguous Guides to the City in Call Cutta: Mobile Phone Theatre 8. Getting Closer to the Subject(s) of Migration: Partial Proximity in Schwarzmarkt No. 7 and Mr Dagaçar and the Golden Tectonics of TrashConclusionBibliographyIndex

Recenzii

With this book, Garde and Mumford notably advance the study of Theatre of the Real and of the performer in documentary theatre . The notion of a skeptical approach to Authenticity-Effects and the impact that this can have on willing audiences is a thrilling step forward in the field and one that can have a wide impact among both scholars and theatre practitioners.
A fascinating account of recent modes of socially engaged performance that places contemporary people drawn from the everyday, rather than trained actors, at the center of the theatrical experience ... the analyses in Chapters 5-8 of Theatre of Real People are lively and incisive.