Theatre Curation and Institutional Dramaturgy: Post-Representational Transformations in Flemish Theatre
DOI:
https://doi.org/10.7146/peri.v19i35.130633Referencer
Bal, Mieke, 1996. Double Exposures: The Subject of Cultural Analysis. New York and London: Routledge.
Balme, Christopher and Tony Fisher, eds (2021), Theatre Institutions in Crisis? European Perspectives, Abingdon and New York: Routledge.
Bismarck, Beatrice von, Jörn Schafaff, Thomas Weski (eds), 2012. Cultures of the Curatorial. Berlin: Sternberg.
Boenisch, Peter M., 2021a. ‘Struggles of singularised communities in German theatre: The ‘culture war’ around the Berlin Volksbühne’. In Christopher Balme and Tony Fisher (eds). Theatre Institutions in Crisis? European Perspectives. Abingdon and New York: Routledge.
---, 2021b. ‘Encountering a ‘theatre of (inter-)singularity’: Transformations and rejections of shifting institutional dramaturgies in contemporary German theatre’. In Erika Fischer-Lichte, Christel Weiler and Torsten Jost (eds). Dramaturgies of Interweaving: Engaging Audiences in an Entangled World. Abingdon and New York: Routledge.
--- and Lise Sofie Houe, 2021. ‘Milo Rau’s Work as Artistic Director of NT Ghent: Towards an Art of Creating and Listening Together’. Theater 51.2, p. 85-95.
Dienderen, An van, Joris Janssens, Katrien Smits (eds), 2007. Tracks: Artistieke praktijk in een diverse samenleving. Berchem: EPO.
Ensslin, Felix, 2015. ‘The Subject of Curating: Notes on the Path towards a Cultural Clinic of the Present’. OnCurating 26, p. 17-31.
Georgelou, Konstantina, Efrosini Protopapa and Danae Theodoridou. (eds), 2016. The Practice of Dramaturgy: Working on Actions in Performance. Amsterdam: Valiz.
Gielen, Pascal (ed.), 2013. Institutional Attitudes: Instituting Art in a Flat World. Amsterdam: Valiz.
Goossens, Jan, 2016. ‘The Endless Possibilities and Tensions of a City Theatre: KVS 2001-2015’. In Elke van Campenhout and Lilia Mestre (eds). Turn Turtle! Reenacting the Institute. Berlin: Alexander.
Guy, Georgina, 2016. Theatre, Exhibition and Curation: Displayed & Performed. Abingdon and New York: Routledge.
Hof, Elisa von, 2021. ‘Mitarbeiter werfen Gorki-Intendantin „Klima der Angst“ vor‘, Der Spiegel 18/2021. Online at: https://www.spiegel.de/kultur/shermin-langhoff-mitarbeiter-werfen-gorki-intendantin-klima-der-angst-vor-a-c8766257-0002-0001-0000-000177330705 (accessed 16 June 2021)
Jans, Erin, 2006. Interculturele Intoxicaties: Over Kunst, Cultuur en Verschil. Berchem: EPO.
---, 2010. ‘Congo tussen nostalgie en postkoloniale kramp’. Etcetera 122, p. 28-32.
Leboutte, Audrey, 2021. Online lecture at the conference Let’s talk about diversity, ILT Theatre Festival and Aarhus University/Research Group ‘Paradigms of dramaturgy’, 28 June 2021.
Malzacher, Florian, 2019. ‘Theatre as Assembly: Spheres of Radical Imagination and Pragmatic Utopias’. In Ana Vujanović and Livia Andrea Piazza (eds). A Live Gathering: Performance and Politics in Contemporary Europe. Berlin: B-Books.
---, 2020. Gesellschaftsspiele: Politisches Theater heute. Berlin: Alexander.
Marchart, Oliver, 2011. ‘The Curatorial Function: Organizing the Ex-Position’. OnCurating 9, p. 43-46.
Marcus, Dorothea, 2020. ‘Verstörendes Video von Casting bei Milo Rau: Schwieriger Balanceakt zwischen Kunst und Machtmissbrauch‘. Deutschlandfunk 29 February 2020. Online at: https://www.deutschlandfunkkultur.de/verstoerendes-video-von-casting-bei-milo-rau-schwieriger.2159.de.html?dram:article_id=471393 (accessed 24 June 2021).
Martinon, Jean-Paul (ed.), 2015. The Curatorial: A Philosophy of Curating. London and New York: Bloomsbury.
Mosse, Ramona, 2021. ‘Re-enacting the crisis of democracy in Milo Rau’s General Assembly’, in Christopher Balme and Tony Fisher, eds, Theatre Institutions in Crisis: European Perspectives. Abingdon and New York: Routledge, 56-68.
Mouffe, Chantal, 2013. ‘Institutions as Sites of Agonistic Intervention’. In Gielen (2013).
Peeters, Thomas, 2004. ‘KVS had confrontatie met bottelarij nodig’. De Tijd 31 May 2004. Online at https://www.tijd.be/cultuur/algemeen-podium-premium/kvs-had-confrontatie-met-bottelarij-nodig/1229587.html (accessed 25 june 2021).
Rau, Milo, 2021. ‘The Revolution begins when you link the economic system with the cultural one’. Online at: https://www.betonbleu.org/milorau-en (accessed 23 June 21).
Reckwitz, Andreas, 2019. Das Ende der Illusionen: Politik, Ökonomie und Kultur in der Spätmoderne. Berlin: Suhrkamp.
Rugg, Judith, and Michèle Sedgwick (eds), 2007. Issues in Curating Contemporary Art and Performance. Bristol: Intellect.
Sternfeld, Nora, and Luisa Ziaja, 2012. ‘What Comes After the Show? On Post-representational Curating’. On:Curating No. 14, p. 21-24.
Steyerl, Hito, 2017. Duty Free Art: Art in the Age of Planetary Civil War. London and New York: Verso.
Szatkowski, Janek, 2019. A Theory of Dramaturgy. Abingdon and New York: Routledge.
Trencsényi, Katalin, 2015. Dramaturgy in the Making: A User’s Guide for Theatre Practitioners. London: Bloomsbury.
Vanhaesebrouck, Karel, 2010. ‘The Hybridization of Flemish Identity: The Flemish National Heritage on the Contemporary Stage’. In Boenisch, Peter M. and Lourdes Orozco (eds). Border Collisions: Contemporary Flemish Theatre, special issue of Contemporary Theatre Review, Vol. 20(4), p. 465–474.
Wallyn, Jan, 2020. Online lecture for Aarhus University, research project ‘Reconfiguring Dramaturgy’, 15 June 2020.
Wilson, Dorrie A., 2017. Book of Dreams: Brussels artists decolonizing the city. Brussels: Zinnema, accessible online https://issuu.com/zinnema/docs/bookofdreams_hr
Žerovc, Beti, 2018. ‘The Exhibition as Artwork, the Curator as Artist: A Comparison with Theatre’. In When Attitudes Become the
Downloads
Publiceret
Citation/Eksport
Nummer
Sektion
Licens
Det følgende vedrører alle Peripeti-udgivelser fra 2024, nr. 39, og senere:
Peripeti er et Diamond Open Access-tidsskrift, der giver direkte open acces til publiceret indhold ud fra princippet om, at det at gøre forskning frit tilgængelig for offentligheden understøtter en større global udveksling af viden.
Forfattere skal ikke betale for indsendelse, redigering eller offentliggørelse af artikler.
Forfattere, der bidrager til Peripeti, bevarer ophavsretten til deres artikler.
Forfattere accepterer at udgive artikler under en Creative Commons CC-BY-NC 4.0-licens. Vilkårene for denne licens tillader brugere frit at kopiere og videredistribuere materialet i ethvert medie eller format og at tilpasse, transformere og bygge videre på materialet, så længe der gives passende kreditering, et link til licensen gives, og eventuelle ændringer angives. Brugere må ikke dele eller tilpasse materialet til kommercielle formål uden samtykke fra licensgiveren. Brugen af licensen må ikke på nogen måde antyde, at licensgiveren støtter tredjeparten eller dennes brug. Licensen kan ikke tilbagekaldes.
Forfattere opfordres til at lægge deres artikler ud på personlige og/eller institutionelle hjemmesider for at sikre endnu større offentlig adgang efter udgivelsen. Forfattere har ret til at arkivere deres artikler i fondes og offentlige institutioners arkiver, men Peripeti anmoder om, at forfattere bruger et direkte link til den publicerede artikel på tidsskriftets hjemmeside, når det er muligt, da Peripeti som en ikke-kommerciel, offentligt finansieret udgiver er afhængig af niveauet af brugeraktivitet på tidsskriftets hjemmeside.
Vedrørende tidligere udgivelser, indtil 2024, herunder nr. 38:
Ophavsretten deles mellem Peripeti og forfatteren/forfatterne. Tidsskriftet er et open access-tidsskrift, der giver direkte adgang til alt indhold baseret på princippet om, at det at gøre forskning frit tilgængelig for offentligheden understøtter en større global udveksling af viden. Brugere kan frit kopiere og dele materiale i ethvert medie eller format, så længe der gives passende kreditering. Enhver anden brug kræver skriftligt samtykke fra indehaverne af ophavsretten.
