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For recent updates and infos on the application process, please visit https://www.uni-giessen.de/fbz/fb05/atw (English page will be launched in the next days).
For recent updates and infos on the application process, please visit https://www.uni-giessen.de/fbz/fb05/atw (English page will be launched in the next days).
The Institute for Applied Theatre Studies, member of HTA, expresses its full support to the students and staff of the University of Film and Theater arts in Budapest.
Since September, the Theatre and Film School in Budapest has been run by a board of trustees appointed by the Hungarian government around Viktor Orbán. This is intended to expand government influence on the cultural scene; the old management of the university was removed from power. In this way, the Hungarian government deprived the prestigious Budapest University of Theatre and Film Arts of its independence. Almost all teaching staff has resigned, while students protest. About 250 of them have now occupied the university. With their action, they are demanding a guarantee of autonomy in teaching and research; a loss of self-determination would be unacceptable from the student side.
Just as the freedom of artistic expression requires that artists are free from state censorship, political interference or pressure from non-government organizations, contemporary academic practice requires political independence and institutional autonomy for universities and art schools. This latest example of the disregard for freedom of expression in Hungary shows how urgently the EU institutions need to counteract autocratic tendencies to influence academic teaching and research.
This year’s summer semester will be digital and experimental! Since April 20, 2020, classes with various online formats have started at the institute, for now without classroom teaching. An overview of the seminars which were able to be transformed in such a format can be found in the download section as a timetable. The department’s students will find further and more detailed information regarding the different seminars via eVV, via stud.IP and via internal emails. In this semester, it will be crucial for the students to properly subscribe to the classes they are interested in, so that they can be informed by their teachers about the progression of the meetings of the seminars.
Furthermore, the podcast website and digital radio station Wilsonstrasse.FM has been put online by dedicated students to explore what a university’s department can be like during times of social distancing. In the section Wilsonstrasse.THEORIE, students can for example take part in seminar sessions which will be available live and as podcasts. With different broadcasts, lectures, talk shows and video essays this digital space will be a central meeting place for this semester, and it will also be the anchoring site for courses such as Propädeutikum on Wednesday mornings. On the homepage of Wilsonstrasse.FM it is announced that an editorial meeting takes place once a week, on Monday, from 7.00 to 8.00 p.m., in which the program for the coming week is discussed. Students who want to be informed about the program or want to partake are invited to subscribe to Wilsonstrasse.FM’s Newsletter or get in contact with the creators Antonia Beeskow and Lorenz Raschke to shape this space together.
The deadline for the application for both the BA and MA ATW study program have been prolonged until March 6th 2020.
Please read the compleate information regarding the application here.
Everyone who is interested in studying one of the study programs of this institut can apply from today on, 13th January 2020, following the instructions on our homepage. An online registration for BA ATW, MA ATW and MA CUP is not necessary this year, due to the IT-incidence at the University in December 2019. Applicants simply have to download, fill out, print and add the Registration-Document to their portfolios which they have to send to the institut.
You can find the Registration-Document in the download section to the right.
For futher inforamtion regarding for example the deadlines of the portfolios please check for BA and MA ATW here and for the MA CUP here.
Internal Applicants fill out the document aswell and have to hand it to the institut during the deadlines. They can either bring it to the sekretariat, to Eva Holling, or Martina Ruhsam.
For those who have already passed the admission tests (max. two years ago) and have postponed the beginning of their studies are also requested to register if they want to start studying in 2020. To do so they also have to fill out the registration sheet and mark in the last segment 'already applied' 'already accepted in XXX' with adding the acceptance date. Pleas send in your registartion via mail until the portfolio deadlines.
The IT-structures of Jusuts-Liebig-University are continuously recovering after the cyber attack in December but the start for the application process for the programs BA and MA ATW as well as MA CUP will have to be postponed another few days until the 13.01.20. The online registration will then be accessible here. The instructuions and further information will be published on the same day here aswell. Thank you for your patience.
Due to an IT security incident the JLU is since 08th December 2019 offline and also the Institute for Applied Theatre Studies have been affected. Those in charge say it can take some weeks until all domains have been scanned and if necessary cleaned up from viruses in order to operate again.
So that the Application Procedure for the Winter semester 20/21 may occur the institut is temporarily hosting a simplified version of this homepage on another server and is trying its best to make the process as simple and transparent as possible. Since, nonetheless, some legal questions related to this process still need to be clarified we ask the interested people to wait till 8th January 2020. The institut will then present how the registration for this year’s application procedure will work.
Explanations about the application procedure steps can be checked here: https://www.atw-giessen.de/en/studies/ba-and-ma-program-atw/admissiontest_atw & https://www.atw-giessen.de/en/studies/ma-program-cup/admissiontest_cup.
Apart from deviations in the registration process the institut is confident that other steps in the application procedure will work as described. An overview on all dates of the application procedures is available here: https://www.atw-giessen.de/en/studies/dates-deadlines.
Apart from that, potential candidates can find general descriptions of the study programs here: https://www.atw-giessen.de/en/studies/ba-and-ma-program-atw/ba_atw & https://www.atw-giessen.de/en/studies/ba-and-ma-program-atw/ma_atw & https://www.atw-giessen.de/en/studies/ma-program-cup/ma_cup.
Fortunately, the institut is already contactable per E-Mail, except the Hiwi account. We are also reachable per telephone on 0641/99 – 31221 or 31238 and (sporadically during Vacations) on Twitter at https://twitter.com/ATWjlu.
The Institute for Applied Theatre Studies of the Justus-Liebig University of Giessen invites one external artist, practitioner or researcher to join the institute for a visiting period of one or two semesters, between October 2020 and February 2022.
The Institute for Applied Theatre Studies focuses its research and teaching activities on an expandable understanding of theatre as an open space for all the different articulations of theatre, dance and performance. This approach is accompanied by an interdisciplinary methodology that combines theory and practice so that science could attend theatre and theatre could attend science problematizing each other, making visible scientific and artistic sets of problems and answers. The goal is to provide students with a thorough and wide basis for academic and artistic practice; to allow them to search for new forms in performing arts with an awareness and sensibility in both art and academics.
For all information check out our Call attached.
Deadline for application: 31.01.2020
2nd of December till 6th of December 2019
ATW, Justus-Liebig University Giessen
@ the Georg Büchner Saal, Bismarkstr. 37, 35390 Gießen
Autumn school is part of the research network on the future of imaginary institutions, which was established by several partners (EEPAP, Lublin, Nomad Dance Academy Ljubljana, Institute for Applied Theatre Studies, Justus Liebig University, Giessen, BADCo, Zagreb, CollectivA, Cluj, Lokomotiva Skopje) and is supported by the Allianz Stiftung.
We are inviting young artists, students, professionals, writers and thinkers to engage together in the imagining of the alternatives of working and being together, reacting to the populist and nationalist wave in Europe. We would like to examine new institutionalization, practices and modes of producing, especially related to the work of the young artists, who are working in the increasingly but also precarious international field and at the same time fighting for the right to work and remain in their local surrounding, fighting nationalism and populist pressure. We will exchange and share models and practices, current and historical one, which insist on the creation of experiments, feminist, radical and progressive practices, which insists on equality, solidarity and work against the populist political imagination.
The school is developed as a platform, where young artists and students, who are at the end of their studies or just finished, can meet other cultural workers and thinkers, who have a strong political and social agenda. How to discuss about the political and cultural needs together, how to practice solidarity, support and inclusion? How to think about the internationalization in the time, which is marked by a flow of commodities and neo-liberal globalization? What does it mean to work and study internationally in the time of the art market and its accelerated modes of evaluation? Can we develop new temporal modes of working and thinking and how can we learn from each other?
Participants: The participants will be, among others, Dragana Alfirević, Miki Braniste, Ana Dubljević, Ida Daniel, Valeria Graziano, Viktorija Ilioska, Goran Injac, Katarzyna Kania, Marta Keil, Joanna Krakowska, Romuald Krężel, Bojana Kunst, Livia Piazza, Iulia Popovici, Goran Sergej Pristaš, Tanja Šljivar, Solidarity for Theatre, Swoosh Lieu, Biljana Tanurovska-Kjulavkovski, Zrinka Užbinec, Rok Vevar, Ana Vujanović.
Please note that some seminars and discussions are public and others are closed. Check our timetable for further information.
We are happy to congratulate the B.A. students Paula Noack, Paula Erb and Julika Frieß for winning first place for "Best Implementation/ Dircetion" at the third radio play manuscript competition of this years Radio Play Summer/Hörspielsommer in Leipzig.
The professional jury which was elected by the Hörspielsommer e.V. in cooperation with Bauhaus University of Weimar awarded the students for their audio version of the text "Die Rettung des Herrn P. durch ein Pferd namesn Roswitha", a work which deals with the question of translating dreams and emotions in dreams into an audio format.
For further information please check: https://hoerspielsommer-verein.de/english-version/
Titled never again. art/talks/theory, this year’s edition of the DISKURS-Festival will take place in Gießen from the 7th to the 10th of November.
The international festival has been organised for the last 34 years on a voluntary basis by students of the Institute of Applied Theatre Studies, and is independently operated by the Kunstrasen giessen e.V. In addition to theatre productions and performative works, the festival includes installations, films, lectures and talks, offering artists, scientists, theoreticians and audiences the opportunity to engage in lively debates within various discussion formats. The focus is on experimental works that give new impulses to artistic research, both on an aesthetic and on a contentual level.
All further informations, timetables, tickets, program you can find here: https://www.atw-giessen.de/en/diskurs-festival/diskurs-2019 and www.diskursfestival.de.
Opening will happen on the 7th November at 4pm in Georg Büchner Saal, Bismarckstr. 37
The Institute reports back after the summer break and warmly welcomes the new students in the introduction week, which will occur from 07th to 11th October this year. This is the perfect opportunity for first-year students to get to know the Institute before the seminars start. For every student there will be exciting seminars this term, among others by guest professors such as Uta Plate (“Meine Großmutter, dir Politik und ich”, in cooperation with the Institute for Sociology) and Gob Squad (“Show Me a Good Time (in This Time)”), as well as external assistant professors such as Lina Zehelein (“Theater für junges Publikum”) and Claire Vivianne Sobottke (“With a Strage Voice”). Most seminars, practical courses, and lectures (https://studip.uni-giessen.de/evv/extern.php unter FB 05) will start this year on 21st October.
Over the entire summer a lot of work has been done on the construction sites of the new ATW-building and we all look forward to put at work the new rehearsal spaces in both the former “Strahlenzentrum” of the JLU Gießen and in the Institute’s new stage building downtown. The starting operations will be accompanied by practical courses giving students the technical knowledge to work in these spaces, and by Xavier Le Roy’s Szenisches Projekt “Working Conditions: The New Building”. In a further seminar, Phd. Eva Holling and Bernhard Siebert together with students of the institute will be "Planning an opening. Preparatory seminar for an international scholarly convention". The converntion will be part of the opening of the new stage building and will take place in April.
Researches will be carried on furthermore in the DFG projects “Nachwuchsfestivals” under direction of Prof. Dr. Gerald Siegmund and participation of Benjamin Hoesch, M.A., and “Choreo-Power” under direction of Phd. Gerko Egert . Beginning this semester, the DFG research project “minor aesthetics – zur Selbsrepräsentation von Roma in der darstellenden Kunst” directed by Phd. Lorenz Aggermann.
Prof. Gerald Siegmung and Benjamin Hoesch will participate on the annual conference of the DFG research group “Krisengefüge der Künste Institutionelle Transformationsdynamiken in den darstellensden Künsten der Gegenwart” with their subproject “Nachwuchsfestivals”; the conference will occur on 28th and 29th in Munich dealing with cultural and political dynamics in performing arts and its processes of legitimation, controlling, and negotiation.
Moreover, we would like to communicate that Prof. Dr. Gerald Siegmund assumes once again the managing direction of the Institute.
The Institute wish everyone a good start into the new semester!
in cooperation between Kunsthalle Gießen, Neuer Kunstverein Gießen and the ATW Institute
24th and 25th August 2019 (sat. starting at 12 am, sun. starting at 11 am)
place: Kunsthalle, Kunstverein and the "In/Between" space
without application, entry is free
A Performancefestival during two days, organized by the ATW Institute, Kunsthalle and Neuer Kunstverein Gießen.
The project is a first time collaboration between these institutions which are dealing with different formats of contemporary art with a focus on 'performance'. During these two days you will be able to see works by: "Akademie", "Baby of Control", Pia Bendfeld, Jonas Demuth, Paula Erb, Kathrin Selina Frech, Luise Hess, Anton Humpe, Jamila Hutchinson, "Institut Avaroid", Nadine Jachmann, Magdalena Kita, Maren Küpper, Victoria Link, Martin Müller, Katharina Olt, Kerstin Oppermann, Anna Maria Pahlke, Naomi Royer, Evamaria Schaller, Carla Wyrsch and Thomas Zipp.
For further information visit: http://www.kunsthalle-giessen.de/2019_in-between.html
WE WILL BE HAPPY TO WELCOME YOU!
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
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 firstname.lastname@example.org:
− 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
© Institut für Angewandte Theaterwissenschaft