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He is currently president of the German Society for Theater Studies. He published amongst others: Das Theater des 'konstruktiven Defaitismus'. Lektüren zur Theorie eines Theaters der A-Identität bei Walter Benjamin, Bertolt Brecht und Heiner Müller. Frankfurt/M. and Basel 2002; Performing politics (2012, co-ed.); Unterm Blick des Fremden. Theaterarbeit nach Laurent Chétouane, Bielefeld (2015, co-ed);  Thewis: Kafka und Theater (2017, co-ed) Theater als Kritik (2018, co-ed); Theatre as Critique (2019, co-ed); Das Denken der Bühne (2019, co-ed).<br /><span class="u-fw700">Phone: </span>++49/69/79832065<br /><b>Address: </b>Goethe Universität, Institut für Theater-, Film- und Medienwissenschaft, Norbert Wollheim Platz 1, 60323 Frankfurt am Main, Germany.<br /><div class="js-profile-less-about u-linkUnstyled u-tcGrayDarker u-textDecorationUnderline u-displayNone">less</div></div></div><div class="suggested-academics-container"><div class="suggested-academics--header"><p class="ds2-5-body-md-bold">Related Authors</p></div><ul class="suggested-user-card-list"><div class="suggested-user-card"><div class="suggested-user-card__avatar social-profile-avatar-container"><a href="https://ksu.academia.edu/DavidSeamon"><img class="profile-avatar u-positionAbsolute" alt="David Seamon" border="0" onerror="if (this.src != 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class="profile--tab_heading_container">Papers by Nikolaus Müller-Schöll</h3></div><div class="js-work-strip profile--work_container" data-work-id="124698899"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/124698899/Early_Modern_Characters_in_the_Late_Modern_Age_On_the_Return_of_the_Chorus_of_Comedy_in_Contemporary_Performance_Practices_after_Brecht"><img alt="Research paper thumbnail of Early Modern Characters in the Late Modern Age: On the Return of the “Chorus of Comedy” in Contemporary Performance Practices after Brecht" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" 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href="https://www.academia.edu/124698898/Zwischenstand_2020"><img alt="Research paper thumbnail of Zwischenstand 2020" class="work-thumbnail" src="https://attachments.academia-assets.com/118876441/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/124698898/Zwischenstand_2020">Zwischenstand 2020</a></div><div class="wp-workCard_item"><span>Thewis</span><span>, Dec 15, 2022</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="b84ac340a88ec244507010accf4a72d0" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":118876441,"asset_id":124698898,"asset_type":"Work","button_location":"profile"}" 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Espaços de finitude em teatro e performance da atualidade" class="work-thumbnail" src="https://attachments.academia-assets.com/118876445/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/124698896/Transfiguras_espaciais_temporais_Espa%C3%A7os_de_finitude_em_teatro_e_performance_da_atualidade">Transfiguras espaciais-temporais. Espaços de finitude em teatro e performance da atualidade</a></div><div class="wp-workCard_item"><span>Urdimento: Revista de Estudos em Artes Cênicas</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">A partir de uma crítica de concepções arquitetônicas dos espaços teatrais e contextualizando suas...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">A partir de uma crítica de concepções arquitetônicas dos espaços teatrais e contextualizando suas transformações numa perspectiva histórico-cultural, o artigo discute maneiras como sair ou não sair do dispositivo de espaço à italiano. Discute até que ponto as perturbações e desafirmações do espaço à italiano, apresentados ao longo do ensaio, podem servir para elucidar a afirmação de Agamben de que a profanação de um dispositivo evidencia o ponto de ingovernabilidade que está na partida e no fim de qualquer prática política.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="350dd808a63045fb8ced05a70e3f170a" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":118876445,"asset_id":124698896,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/118876445/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124698896"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124698896"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124698896; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=124698896]").text(description); $(".js-view-count[data-work-id=124698896]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 124698896; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='124698896']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "350dd808a63045fb8ced05a70e3f170a" } } $('.js-work-strip[data-work-id=124698896]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":124698896,"title":"Transfiguras espaciais-temporais. 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Theatre, Identity Politics, (Re-) Appropriation" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/124698893/The_drama_of_identity_Theatre_Identity_Politics_Re_Appropriation">The drama of identity. Theatre, Identity Politics, (Re-) Appropriation</a></div><div class="wp-workCard_item"><span>Sciami | ricerche</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Topic of the essay is the so called &quot;Identity Politics&quot;, which is currently discussed w...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Topic of the essay is the so called &quot;Identity Politics&quot;, which is currently discussed with regard to theatre and the visual arts at numerous places: Who is allowed to represent whom on stage and in the arts in general? And how to deal with the alterity of the other on stage? Activists accuse white artists to appropriate black suffering and to instrumentalise it in order to sell their works. (Hannah Black vs. Dana Schutz) Theatre directors are critizised for their unreflected use of blackface on stage. (Bühnenwatch vs. Didi Hallervorden, Sebastian Baumgarten) Performance groups which bring people of colour or disabled performers on stage are accused of exploitation or paternalism. (Monster Truck, Jerome Bel) Amongst the topics of the discussion there was one of the most important ones how the traditional white European theatre deals structurally with minorities being underrepresented on stage because of their skin colour, their disability or their sexual orientation. 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O jogo com a ilusão</a></div><div class="wp-workCard_item"><span>Urdimento</span><span>, 2016</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The paper initially outlines a problematization of the question "theatre and language", in order ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The paper initially outlines a problematization of the question "theatre and language", in order to develop this problematics in more detail through the analysis and discussion of two especially outstanding examples of this theatre that is called "reality theatre": Cargo Sofia Zollverein by Stefan Kaegi and the works My neck is thinner than hair: engines and I feel a great desire to meet the masses once again, both by Walid Ra'ad. It finishes by presenting some considerations on the function of mimetic illusion in contemporary theatre.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="32f71f543d65b1c2210ba8235d303072" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":118876439,"asset_id":124698889,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/118876439/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124698889"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124698889"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124698889; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=124698889]").text(description); $(".js-view-count[data-work-id=124698889]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 124698889; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='124698889']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "32f71f543d65b1c2210ba8235d303072" } } $('.js-work-strip[data-work-id=124698889]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":124698889,"title":"(Des-)crença. 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Zur Politik (mit) der Komödie zwischen Molière, Marivaux und Lessing</a></div><div class="wp-workCard_item"><span>Kultur- und Medientheorie</span><span>, 2003</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5d97dfbd6bb9c842339c7bfe9b671cee" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":118876436,"asset_id":124698888,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/118876436/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124698888"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124698888"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124698888; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=124698888]").text(description); $(".js-view-count[data-work-id=124698888]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 124698888; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='124698888']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "5d97dfbd6bb9c842339c7bfe9b671cee" } } $('.js-work-strip[data-work-id=124698888]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":124698888,"title":"Das Komische als Ereignis. 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Zur zeiträumlichen Differenz der Darstellung in Heinrich von Kleists »Empfindungen vor Friedrichs Seelandschaft« und »Der Findling«" class="work-thumbnail" src="https://attachments.academia-assets.com/118876467/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/124698887/Die_Aussetzer_des_Lebens_Zur_zeitr%C3%A4umlichen_Differenz_der_Darstellung_in_Heinrich_von_Kleists_Empfindungen_vor_Friedrichs_Seelandschaft_und_Der_Findling_">Die Aussetzer des Lebens. Zur zeiträumlichen Differenz der Darstellung in Heinrich von Kleists »Empfindungen vor Friedrichs Seelandschaft« und »Der Findling«</a></div><div class="wp-workCard_item"><span>Lettre</span><span>, 2003</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">War es das Ziel der Romantiker und mit ihnen der idealistischen Philosophie nach Kant, die Lücke,...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">War es das Ziel der Romantiker und mit ihnen der idealistischen Philosophie nach Kant, die Lücke, die dessen kopernikanische Wende auf dem Gebiet der Erkenntnis hinterlassen hatte, zu schließen, die Einheit des Subjektes und des Systems auf dem Gebiet der Ästhetik wiederherzustellen, so tritt Heinrich von Kleist solchen Bestrebungen in »Emp-6 dem einsamen Geschrei der Vögel vernimmt«. 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Das Spiel mit der Illusion" class="work-thumbnail" src="https://attachments.academia-assets.com/118876435/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/124698886/_Un_Glauben_Das_Spiel_mit_der_Illusion">(Un-)Glauben. Das Spiel mit der Illusion</a></div><div class="wp-workCard_item"><span>Theater und Medien / Theatre and the Media</span><span>, 2008</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Glaubt man den Trendforschern der Theaterkritik und des Betriebs, so ist das Gegenwartstheater se...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Glaubt man den Trendforschern der Theaterkritik und des Betriebs, so ist das Gegenwartstheater seit der Jahrtausendwende geprägt von der »Rückeroberung der Wirklichkeit auf der Bühne« (Theaterkanal/Theatertreffen) 2 , der »Rückkehr des Dokumentarstücks« (Laudenbach: 11), ja von einem »Théâtre sans illusion« (Biet/ Frantz: 565). Meine Hypothese lautet dagegen, dass dieses angebliche »Wirklichkeitstheater« Columbus gleichend, der Indien suchte und Amerika fand, tatsächlich nolens volens auf dem Wege seiner Suche nach dem Realen die unauflösbare Ambivalenz des Glaubens an die Illusion wiederentdeckt hat. Nicht »reality strikes back«, wie eine Konferenz des Düsseldorfer FFT im September 2006 mit Blick aufs Theater der Gegenwart behauptete 3 , sondern »illusion«. Mit ihr, einem angezählten »Motiv« im »postdramatischen Theater des Realen« (Lehmann 1999a: 67, vgl. 1999b: 185-193), wird hier gespielt. Kalkuliert oder im eigenen Kalkül gestört, enthüllen gerade die besonders an der Realität oder am Realen interessierten Theatermacher, was es heißt, im Medium von Theater und Sprache gleichsam verstrickt zu sein (vgl. Chartin/Lacoue-Labarthe/Nancy/Weber: 234). Nach einem kurzen problemgeschichtlichen Abriss möchte ich dies an zwei besonders exponierten Beispielen des sogenannten »Wirklichkeitstheaters« etwas ausführlicher erläutern, an Stefan Kaegis »bulgarische(r) LKW-Fahrt durchs Ruhrgebiet […] CARGO SOFIA ZOLLVEREIN« 4 sowie Walid Raads Arbeiten MY NECK IS THINNER THAN A HAIR: ENGINES (vgl. Nakas/Schmitz: 96-103) und I FEEL A GREAT DESIRE TO MEET THE MASSES ONCE AGAIN 5. Abschließend werde ich dann einige Vorschläge zu einem heutigen Verständnis der Illusion unterbreiten. (2) P r obl em gesc hic htlic he Re k a p i tulati o n Ein gerader Strohhalm, den wir, weil in Wasser getaucht, als geknickten sehen-an diesem vielzitierten Beispiel lässt sich schnell erläutern, was unter einer Illusion zu verstehen sei: Etwas, woran geglaubt wird, obwohl man weiß oder zu wissen</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="445242b348e9573ca0a88eef3f2c5826" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":118876435,"asset_id":124698886,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/118876435/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124698886"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124698886"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124698886; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=124698886]").text(description); $(".js-view-count[data-work-id=124698886]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 124698886; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='124698886']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "445242b348e9573ca0a88eef3f2c5826" } } $('.js-work-strip[data-work-id=124698886]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":124698886,"title":"(Un-)Glauben. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="124698882"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/124698882/Ereignis"><img alt="Research paper thumbnail of Ereignis" class="work-thumbnail" src="https://attachments.academia-assets.com/118876461/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/124698882/Ereignis">Ereignis</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Ereignis-das Thema dieses Bandes ist ein fundamentaler Begriff der alltäglichen wie der philosoph...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Ereignis-das Thema dieses Bandes ist ein fundamentaler Begriff der alltäglichen wie der philosophischen Rede über die Zeit, ihre Erfahrung und die Geschichte solcher Erfahrungen. Von »Ereignis« und »Ereignissen« ist überall dort die Rede, wo über das Einmalige, Neue, noch nicht Dagewesene gesprochen werden soll, über eine Revolution, einen Epochenbruch, eine Erfindung, eine unvorhergesehene Wendung. Das Wort kann als Synonym der Aporien begriffen werden, denen das Nachdenken über die Zeit heute ausgesetzt ist. Zugleich stellt die Rede vom Ereignis eines der mächtigsten Ideologeme der gegenwärtigen Kultur-und Medienindustrie dar. Im Nachdenken über die Zeit und ihre Erfahrung bezeichnet das Wort in einer auf Heideggers »Kehre« zurückgehenden Tradition des Denkens eine alle Begriffe, Traditionen und Kategorien sprengende Kategorie der Unterbrechung oder Eröffnung: Den Moment, in dem alle institutionalisierten, konventionalisierten, beherrschten, im eigenen Vermögen stehenden Äußerungsformen auf eine unabsehbare Weise überschritten, ja überrumpelt werden. Innerhalb der ruinierten Formen und Konventionen kann dieser Moment deshalb vermutlich immer nur ausgehend von der Unmöglichkeit, ihn begrifflich zu erfassen, begriffen werden. In jedem Fall stellt sich mit dem Thema des »Ereignisses« die Frage nach der Zeit und der Geschichte, in der die Vorstellungen von Zeit und Geschichte gebildet werden, etwa nach jener Geschichte, in der das vielbeschworene »Ende der Geschichte« gedacht werden kann. Spätestens seit dem 11. September 2001 taucht der Begriff »Ereignis« häufig in der politischen Rhetorik auf: Man beruft sich auf den alle Ordnungen umwerfenden Einschnitt des Attentats auf das World Trade Center, spricht vom Ereignis einer unvergleichlichen terroristischen Aktion und einer neuen, bis dahin nicht gekannten Herausforderung. Der Begriff wird in diesem Zusammenhang zum Synonym für den zur Regel erhobenen »Ausnahmezustand«. »Ereignis« ist zugleich ein Begriff, der im Bereich des Ästhetischen heute eine große Rolle spielt: Vom Ereignishaften ist die Rede, 8 Kräften besteht (Präsenz und Macht bzw. Kraft sind korrelativ: Jede Präsenz übt eine Macht aus, jede Macht ist präsent). Die Wesen, die man »Götter« (oder »Göttinnen«) nennt, sind präsente Kräfte, in deren Präsenz die Menschen leben. Zwischen diesen Göttern, ebenso wie zwischen ihnen und den Menschen, herrscht ein Spiel der Kräfte [jeu de forces], entgegengesetzter oder zusammengesetzter. Ihre Konflikte, ihre Versöhnungen und ihre Ansteckungen machen die Bewegung dieser Welt aus. Die Welt ohne Götter, deren Erben wir sind-wenngleich 9 ohne Testament (denn sie haben uns kein einziges hinterlassen) und 8. A.d.Ü.: Orig. puissance, eine »Macht« wie etwa in »es liegt nicht in meiner Macht«, d.h. nicht im institutionell geprägten Sinn des »an der Macht sein« (»pouvoir«), sondern in dem der Kraft (»force«) und Stärke, des Vermögens, der Herrschaft und Gewalt, wie in »Groß«-und »Weltmacht« etc. 9. Zweifelsohne muß man die Frage stellen: Gäbe es in dem, was man den Monotheismus nennt, ein Testament der Götter? Natürlich spreche ich nicht von all den sogenannten »heidnischen« Überlebensformen, die es bekanntlicherweise scharenweise gibt. Sondern ich spreche von einer möglichen Spur des Göttlichen selbst im Herzen dessen, was sich dem in jeder Hinsicht entzieht. Anders gesagt: Wie steht es, für uns, noch um das Heilige? Eine Frage, die nur unter der Bedingung gestellt werden kann, daß man sich weigert, davon auszugehen, daß das »Heilige« vollständig in ein Mysterium überführt worden wäre, das sich unmittelbar durch den Menschen und die Welt offenbart hätte, ohne Rest, so wie es bis zu einem bestimmten Punkt zumindest der Fall bei Feuerbach, Marx oder Freud ist. Oder wie es heutzutage häufig in Theorieansätzen zur Kunst der Fall ist, die durch irgendeine Verbindung auf Benjamin und Adorno rückbezogen sind. Diese Frage ist extrem heikel und wird bei einer anderen Gelegenheit aufzugreifen sein. Sie stellt nichts Geringeres aufs Spiel als die Kontinuität in der Diskontinuität der Geschichte, oder: Wie bricht und verfolgt das Abendland im selben Zug den Lauf der Geschichte, den es auf diese Weise im eigentlichen Sinn historisch macht, aber damit gleichermaßen des Ursprungs beraubt. (N.b.: Was hier das »Abendland« genannt wird, darf die Umwandlungen, die im »Orient« um andere Entzugsformen der Götter herum vollzogen wurden, und die das Denken von Konfuzius, Lao Tseu oder Buddha begleitet haben, nicht einfach aus seinem Blickfeld ausklammern, welche Unterschiede dabei auch immer bestehen mögen. Sehr allgemein und überschematisch gesprochen, handelt es sich um</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="45599c50857943926f7ccc7798c42df4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":118876461,"asset_id":124698882,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/118876461/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124698882"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124698882"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124698882; 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Die Prinzipien der Hochschulautonomie, der Wissenschaftsfreiheit und einer Bildung, die mehr ist als Ausbildung, werden dabei in nie gekanntem Maße ausgehöhlt. Die Konsequenzen für Universität und Gesellschaft sind noch kaum bedacht und analysiert worden. Was ist aus der modernen Universität geworden, wie sie um 1800 entworfen wurde? Wie behauptet sie ihren Anspruch gegenüber den aktuellen Forderungen nach Effizienz und Exzellenz? 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="124698880"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/124698880/Gesten_des_Opfers_der_Kunst_"><img alt="Research paper thumbnail of Gesten des Opfers (der Kunst)" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/124698880/Gesten_des_Opfers_der_Kunst_">Gesten des Opfers (der Kunst)</a></div><div class="wp-workCard_item"><span>Theater</span><span>, 2015</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124698880"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124698880"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124698880; 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Im Dialog mit seiner Choreographie »Sacré Sacre du Printemps« finden die Autorinnen und Autoren dieses Buches Begriffe für Chétouanes Arbeit, die in ihrer die Disziplinen und Sparten überschreitenden Art auf der zeitgenössischen Bühne einzigartig ist, und beleuchten darüber vermittelt das gegenwärtige Geschehen in Theater und Tanz. 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Derrida, Forsythe, Chétouane" class="work-thumbnail" src="https://attachments.academia-assets.com/118876471/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/124698878/Denken_auf_der_B%C3%BChne_Derrida_Forsythe_Ch%C3%A9touane">Denken auf der Bühne. Derrida, Forsythe, Chétouane</a></div><div class="wp-workCard_item"><span>Edition Moderne Postmoderne</span><span>, 2007</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Die Generation, die ni chts zu sagen hat-Hypothese In einem kurz vor seinem Tod gegebenen Intervi...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Die Generation, die ni chts zu sagen hat-Hypothese In einem kurz vor seinem Tod gegebenen Interview kommt Jacques Derrida ein letztes Mal auf seine Verbundenheit mit Antonin Artaud zu sprechen und gibt dafür eine denkwürdige Erklärung. Über Jahrzehnte hinweg habe ihn ein Zitat dieses Mannes beschäftigt, das er früh gelesen und auf sich bezogen habe. Artaud schrieb, »daß er nichts zu sagen hat, daß ihm nichts auf irgendeine Weise diktiert sei, während ihm zugleich die Leidenschaft, der Trieb des Schreibens und sicher auch des Inszenierens innewohnten«. 1 Dieses Zitat, so Derrida, spreche von einer Verantwortung des Schreibens, die immer gefühlt werde als »Höhlung, die von einer Leere ausgeht«, als eine Art Kénose der Schrift-, so daß letztendlich das, was es zu sagen gäbe, nicht vor dem Akt des Sagens existiert; denn, wenn der Inhalt der zu sagenden Sache vorab existierte, dann gäbe es einerseits keine Verantwortung zu übernehmen, kein Risiko, und andererseits sähe man, wie sich sowohl die Dichotomie als auch die Hierarchie zwischen Autor, Text und Bühne neuerlich herstellten. Der Autor meistert, beherrscht, er weiß, was er sagen will und diktiert: er diktiert sich und also schreibt er unter Diktat und Autorität des Autors, der weiß, was er sagen will. 2 Nichts zu sagen zu haben-nichts, was dem Akt oder der Geste des Schreibens, des Denkens oder des Spielens auf der Szene vorausgeht, mit dieser Behauptung oder diesem Anspruch treten heute nicht wenige von 1 Vgl. Jacques Derrida: Die Stimmen Artauds (die Kraft, die Form, die Furche</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e4bbcedb346ac88e77a679067765e1fb" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":118876471,"asset_id":124698878,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/118876471/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124698878"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124698878"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124698878; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=124698878]").text(description); $(".js-view-count[data-work-id=124698878]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 124698878; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='124698878']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e4bbcedb346ac88e77a679067765e1fb" } } $('.js-work-strip[data-work-id=124698878]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":124698878,"title":"Denken auf der Bühne. 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Espaços de finitude em teatro e performance da atualidade</a></div><div class="wp-workCard_item"><span>Urdimento: Revista de Estudos em Artes Cênicas</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">A partir de uma crítica de concepções arquitetônicas dos espaços teatrais e contextualizando suas...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">A partir de uma crítica de concepções arquitetônicas dos espaços teatrais e contextualizando suas transformações numa perspectiva histórico-cultural, o artigo discute maneiras como sair ou não sair do dispositivo de espaço à italiano. 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Theatre, Identity Politics, (Re-) Appropriation" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/124698893/The_drama_of_identity_Theatre_Identity_Politics_Re_Appropriation">The drama of identity. Theatre, Identity Politics, (Re-) Appropriation</a></div><div class="wp-workCard_item"><span>Sciami | ricerche</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Topic of the essay is the so called &quot;Identity Politics&quot;, which is currently discussed w...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Topic of the essay is the so called &quot;Identity Politics&quot;, which is currently discussed with regard to theatre and the visual arts at numerous places: Who is allowed to represent whom on stage and in the arts in general? And how to deal with the alterity of the other on stage? Activists accuse white artists to appropriate black suffering and to instrumentalise it in order to sell their works. (Hannah Black vs. Dana Schutz) Theatre directors are critizised for their unreflected use of blackface on stage. (Bühnenwatch vs. Didi Hallervorden, Sebastian Baumgarten) Performance groups which bring people of colour or disabled performers on stage are accused of exploitation or paternalism. (Monster Truck, Jerome Bel) Amongst the topics of the discussion there was one of the most important ones how the traditional white European theatre deals structurally with minorities being underrepresented on stage because of their skin colour, their disability or their sexual orientation. Agains...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124698893"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124698893"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124698893; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=124698893]").text(description); $(".js-view-count[data-work-id=124698893]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 124698893; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='124698893']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=124698893]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":124698893,"title":"The drama of identity. Theatre, Identity Politics, (Re-) Appropriation","internal_url":"https://www.academia.edu/124698893/The_drama_of_identity_Theatre_Identity_Politics_Re_Appropriation","owner_id":25016864,"coauthors_can_edit":true,"owner":{"id":25016864,"first_name":"Nikolaus","middle_initials":null,"last_name":"Müller-Schöll","page_name":"NikolausMüllerSchöll","domain_name":"uni-frankfurt","created_at":"2015-01-19T02:50:47.029-08:00","display_name":"Nikolaus Müller-Schöll","url":"https://uni-frankfurt.academia.edu/NikolausM%C3%BCllerSch%C3%B6ll"},"attachments":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="124698892"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/124698892/Raum_Zeitliche_Kippfiguren_Endende_R%C3%A4ume_in_Theater_und_Performance_der_Gegenwart"><img alt="Research paper thumbnail of Raum-Zeitliche Kippfiguren. Endende Räume in Theater und Performance der Gegenwart" class="work-thumbnail" src="https://attachments.academia-assets.com/118876462/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/124698892/Raum_Zeitliche_Kippfiguren_Endende_R%C3%A4ume_in_Theater_und_Performance_der_Gegenwart">Raum-Zeitliche Kippfiguren. Endende Räume in Theater und Performance der Gegenwart</a></div><div class="wp-workCard_item"><span>Bühne: Raumbildende Prozesse im Theater</span><span>, 2014</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4448887df6e1c71d52ed42e4db4d28eb" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":118876462,"asset_id":124698892,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/118876462/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124698892"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124698892"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124698892; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=124698892]").text(description); $(".js-view-count[data-work-id=124698892]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 124698892; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='124698892']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "4448887df6e1c71d52ed42e4db4d28eb" } } $('.js-work-strip[data-work-id=124698892]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":124698892,"title":"Raum-Zeitliche Kippfiguren. 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O jogo com a ilusão</a></div><div class="wp-workCard_item"><span>Urdimento</span><span>, 2016</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The paper initially outlines a problematization of the question "theatre and language", in order ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The paper initially outlines a problematization of the question "theatre and language", in order to develop this problematics in more detail through the analysis and discussion of two especially outstanding examples of this theatre that is called "reality theatre": Cargo Sofia Zollverein by Stefan Kaegi and the works My neck is thinner than hair: engines and I feel a great desire to meet the masses once again, both by Walid Ra'ad. 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Zur Politik (mit) der Komödie zwischen Molière, Marivaux und Lessing</a></div><div class="wp-workCard_item"><span>Kultur- und Medientheorie</span><span>, 2003</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5d97dfbd6bb9c842339c7bfe9b671cee" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":118876436,"asset_id":124698888,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/118876436/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124698888"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124698888"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124698888; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=124698888]").text(description); $(".js-view-count[data-work-id=124698888]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 124698888; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='124698888']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "5d97dfbd6bb9c842339c7bfe9b671cee" } } $('.js-work-strip[data-work-id=124698888]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":124698888,"title":"Das Komische als Ereignis. 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Zur zeiträumlichen Differenz der Darstellung in Heinrich von Kleists »Empfindungen vor Friedrichs Seelandschaft« und »Der Findling«" class="work-thumbnail" src="https://attachments.academia-assets.com/118876467/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/124698887/Die_Aussetzer_des_Lebens_Zur_zeitr%C3%A4umlichen_Differenz_der_Darstellung_in_Heinrich_von_Kleists_Empfindungen_vor_Friedrichs_Seelandschaft_und_Der_Findling_">Die Aussetzer des Lebens. Zur zeiträumlichen Differenz der Darstellung in Heinrich von Kleists »Empfindungen vor Friedrichs Seelandschaft« und »Der Findling«</a></div><div class="wp-workCard_item"><span>Lettre</span><span>, 2003</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">War es das Ziel der Romantiker und mit ihnen der idealistischen Philosophie nach Kant, die Lücke,...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">War es das Ziel der Romantiker und mit ihnen der idealistischen Philosophie nach Kant, die Lücke, die dessen kopernikanische Wende auf dem Gebiet der Erkenntnis hinterlassen hatte, zu schließen, die Einheit des Subjektes und des Systems auf dem Gebiet der Ästhetik wiederherzustellen, so tritt Heinrich von Kleist solchen Bestrebungen in »Emp-6 dem einsamen Geschrei der Vögel vernimmt«. Einem, so Brentano, 2 3. Friedhelm Kemp (Hg.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="38e909df44ea657ec686c0a9439f9849" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":118876467,"asset_id":124698887,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/118876467/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124698887"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124698887"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124698887; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=124698887]").text(description); $(".js-view-count[data-work-id=124698887]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 124698887; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='124698887']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "38e909df44ea657ec686c0a9439f9849" } } $('.js-work-strip[data-work-id=124698887]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":124698887,"title":"Die Aussetzer des Lebens. 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Das Spiel mit der Illusion" class="work-thumbnail" src="https://attachments.academia-assets.com/118876435/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/124698886/_Un_Glauben_Das_Spiel_mit_der_Illusion">(Un-)Glauben. Das Spiel mit der Illusion</a></div><div class="wp-workCard_item"><span>Theater und Medien / Theatre and the Media</span><span>, 2008</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Glaubt man den Trendforschern der Theaterkritik und des Betriebs, so ist das Gegenwartstheater se...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Glaubt man den Trendforschern der Theaterkritik und des Betriebs, so ist das Gegenwartstheater seit der Jahrtausendwende geprägt von der »Rückeroberung der Wirklichkeit auf der Bühne« (Theaterkanal/Theatertreffen) 2 , der »Rückkehr des Dokumentarstücks« (Laudenbach: 11), ja von einem »Théâtre sans illusion« (Biet/ Frantz: 565). Meine Hypothese lautet dagegen, dass dieses angebliche »Wirklichkeitstheater« Columbus gleichend, der Indien suchte und Amerika fand, tatsächlich nolens volens auf dem Wege seiner Suche nach dem Realen die unauflösbare Ambivalenz des Glaubens an die Illusion wiederentdeckt hat. Nicht »reality strikes back«, wie eine Konferenz des Düsseldorfer FFT im September 2006 mit Blick aufs Theater der Gegenwart behauptete 3 , sondern »illusion«. Mit ihr, einem angezählten »Motiv« im »postdramatischen Theater des Realen« (Lehmann 1999a: 67, vgl. 1999b: 185-193), wird hier gespielt. Kalkuliert oder im eigenen Kalkül gestört, enthüllen gerade die besonders an der Realität oder am Realen interessierten Theatermacher, was es heißt, im Medium von Theater und Sprache gleichsam verstrickt zu sein (vgl. Chartin/Lacoue-Labarthe/Nancy/Weber: 234). Nach einem kurzen problemgeschichtlichen Abriss möchte ich dies an zwei besonders exponierten Beispielen des sogenannten »Wirklichkeitstheaters« etwas ausführlicher erläutern, an Stefan Kaegis »bulgarische(r) LKW-Fahrt durchs Ruhrgebiet […] CARGO SOFIA ZOLLVEREIN« 4 sowie Walid Raads Arbeiten MY NECK IS THINNER THAN A HAIR: ENGINES (vgl. Nakas/Schmitz: 96-103) und I FEEL A GREAT DESIRE TO MEET THE MASSES ONCE AGAIN 5. Abschließend werde ich dann einige Vorschläge zu einem heutigen Verständnis der Illusion unterbreiten. (2) P r obl em gesc hic htlic he Re k a p i tulati o n Ein gerader Strohhalm, den wir, weil in Wasser getaucht, als geknickten sehen-an diesem vielzitierten Beispiel lässt sich schnell erläutern, was unter einer Illusion zu verstehen sei: Etwas, woran geglaubt wird, obwohl man weiß oder zu wissen</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="445242b348e9573ca0a88eef3f2c5826" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":118876435,"asset_id":124698886,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/118876435/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124698886"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124698886"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124698886; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=124698886]").text(description); $(".js-view-count[data-work-id=124698886]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 124698886; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='124698886']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "445242b348e9573ca0a88eef3f2c5826" } } $('.js-work-strip[data-work-id=124698886]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":124698886,"title":"(Un-)Glauben. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="124698882"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/124698882/Ereignis"><img alt="Research paper thumbnail of Ereignis" class="work-thumbnail" src="https://attachments.academia-assets.com/118876461/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/124698882/Ereignis">Ereignis</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Ereignis-das Thema dieses Bandes ist ein fundamentaler Begriff der alltäglichen wie der philosoph...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Ereignis-das Thema dieses Bandes ist ein fundamentaler Begriff der alltäglichen wie der philosophischen Rede über die Zeit, ihre Erfahrung und die Geschichte solcher Erfahrungen. Von »Ereignis« und »Ereignissen« ist überall dort die Rede, wo über das Einmalige, Neue, noch nicht Dagewesene gesprochen werden soll, über eine Revolution, einen Epochenbruch, eine Erfindung, eine unvorhergesehene Wendung. Das Wort kann als Synonym der Aporien begriffen werden, denen das Nachdenken über die Zeit heute ausgesetzt ist. Zugleich stellt die Rede vom Ereignis eines der mächtigsten Ideologeme der gegenwärtigen Kultur-und Medienindustrie dar. Im Nachdenken über die Zeit und ihre Erfahrung bezeichnet das Wort in einer auf Heideggers »Kehre« zurückgehenden Tradition des Denkens eine alle Begriffe, Traditionen und Kategorien sprengende Kategorie der Unterbrechung oder Eröffnung: Den Moment, in dem alle institutionalisierten, konventionalisierten, beherrschten, im eigenen Vermögen stehenden Äußerungsformen auf eine unabsehbare Weise überschritten, ja überrumpelt werden. Innerhalb der ruinierten Formen und Konventionen kann dieser Moment deshalb vermutlich immer nur ausgehend von der Unmöglichkeit, ihn begrifflich zu erfassen, begriffen werden. In jedem Fall stellt sich mit dem Thema des »Ereignisses« die Frage nach der Zeit und der Geschichte, in der die Vorstellungen von Zeit und Geschichte gebildet werden, etwa nach jener Geschichte, in der das vielbeschworene »Ende der Geschichte« gedacht werden kann. Spätestens seit dem 11. September 2001 taucht der Begriff »Ereignis« häufig in der politischen Rhetorik auf: Man beruft sich auf den alle Ordnungen umwerfenden Einschnitt des Attentats auf das World Trade Center, spricht vom Ereignis einer unvergleichlichen terroristischen Aktion und einer neuen, bis dahin nicht gekannten Herausforderung. Der Begriff wird in diesem Zusammenhang zum Synonym für den zur Regel erhobenen »Ausnahmezustand«. »Ereignis« ist zugleich ein Begriff, der im Bereich des Ästhetischen heute eine große Rolle spielt: Vom Ereignishaften ist die Rede, 8 Kräften besteht (Präsenz und Macht bzw. Kraft sind korrelativ: Jede Präsenz übt eine Macht aus, jede Macht ist präsent). Die Wesen, die man »Götter« (oder »Göttinnen«) nennt, sind präsente Kräfte, in deren Präsenz die Menschen leben. Zwischen diesen Göttern, ebenso wie zwischen ihnen und den Menschen, herrscht ein Spiel der Kräfte [jeu de forces], entgegengesetzter oder zusammengesetzter. Ihre Konflikte, ihre Versöhnungen und ihre Ansteckungen machen die Bewegung dieser Welt aus. Die Welt ohne Götter, deren Erben wir sind-wenngleich 9 ohne Testament (denn sie haben uns kein einziges hinterlassen) und 8. A.d.Ü.: Orig. puissance, eine »Macht« wie etwa in »es liegt nicht in meiner Macht«, d.h. nicht im institutionell geprägten Sinn des »an der Macht sein« (»pouvoir«), sondern in dem der Kraft (»force«) und Stärke, des Vermögens, der Herrschaft und Gewalt, wie in »Groß«-und »Weltmacht« etc. 9. Zweifelsohne muß man die Frage stellen: Gäbe es in dem, was man den Monotheismus nennt, ein Testament der Götter? Natürlich spreche ich nicht von all den sogenannten »heidnischen« Überlebensformen, die es bekanntlicherweise scharenweise gibt. Sondern ich spreche von einer möglichen Spur des Göttlichen selbst im Herzen dessen, was sich dem in jeder Hinsicht entzieht. Anders gesagt: Wie steht es, für uns, noch um das Heilige? Eine Frage, die nur unter der Bedingung gestellt werden kann, daß man sich weigert, davon auszugehen, daß das »Heilige« vollständig in ein Mysterium überführt worden wäre, das sich unmittelbar durch den Menschen und die Welt offenbart hätte, ohne Rest, so wie es bis zu einem bestimmten Punkt zumindest der Fall bei Feuerbach, Marx oder Freud ist. Oder wie es heutzutage häufig in Theorieansätzen zur Kunst der Fall ist, die durch irgendeine Verbindung auf Benjamin und Adorno rückbezogen sind. Diese Frage ist extrem heikel und wird bei einer anderen Gelegenheit aufzugreifen sein. Sie stellt nichts Geringeres aufs Spiel als die Kontinuität in der Diskontinuität der Geschichte, oder: Wie bricht und verfolgt das Abendland im selben Zug den Lauf der Geschichte, den es auf diese Weise im eigentlichen Sinn historisch macht, aber damit gleichermaßen des Ursprungs beraubt. (N.b.: Was hier das »Abendland« genannt wird, darf die Umwandlungen, die im »Orient« um andere Entzugsformen der Götter herum vollzogen wurden, und die das Denken von Konfuzius, Lao Tseu oder Buddha begleitet haben, nicht einfach aus seinem Blickfeld ausklammern, welche Unterschiede dabei auch immer bestehen mögen. Sehr allgemein und überschematisch gesprochen, handelt es sich um</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="45599c50857943926f7ccc7798c42df4" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":118876461,"asset_id":124698882,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/118876461/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124698882"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124698882"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124698882; 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="124698881"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/124698881/Was_ist_eine_Universit%C3%A4t"><img alt="Research paper thumbnail of Was ist eine Universität?" class="work-thumbnail" src="https://attachments.academia-assets.com/118876463/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/124698881/Was_ist_eine_Universit%C3%A4t">Was ist eine Universität?</a></div><div class="wp-workCard_item"><span>Kultur- und Medientheorie</span><span>, 2008</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Unter dem Vorzeichen der »Reform« kündigen sich heute fundamentale Veränderungen der Institution ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Unter dem Vorzeichen der »Reform« kündigen sich heute fundamentale Veränderungen der Institution Universität an. Die Prinzipien der Hochschulautonomie, der Wissenschaftsfreiheit und einer Bildung, die mehr ist als Ausbildung, werden dabei in nie gekanntem Maße ausgehöhlt. Die Konsequenzen für Universität und Gesellschaft sind noch kaum bedacht und analysiert worden. Was ist aus der modernen Universität geworden, wie sie um 1800 entworfen wurde? Wie behauptet sie ihren Anspruch gegenüber den aktuellen Forderungen nach Effizienz und Exzellenz? 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="124698880"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" rel="nofollow" href="https://www.academia.edu/124698880/Gesten_des_Opfers_der_Kunst_"><img alt="Research paper thumbnail of Gesten des Opfers (der Kunst)" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" rel="nofollow" href="https://www.academia.edu/124698880/Gesten_des_Opfers_der_Kunst_">Gesten des Opfers (der Kunst)</a></div><div class="wp-workCard_item"><span>Theater</span><span>, 2015</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124698880"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124698880"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124698880; 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Im Dialog mit seiner Choreographie »Sacré Sacre du Printemps« finden die Autorinnen und Autoren dieses Buches Begriffe für Chétouanes Arbeit, die in ihrer die Disziplinen und Sparten überschreitenden Art auf der zeitgenössischen Bühne einzigartig ist, und beleuchten darüber vermittelt das gegenwärtige Geschehen in Theater und Tanz. Zahlreiche Photographien, ein Werkverzeichnis sowie eine Bibliographie runden den Band ab.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a247778fc24255e3d37bdd7b5d9d021d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":118876464,"asset_id":124698879,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/118876464/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124698879"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124698879"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124698879; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=124698879]").text(description); $(".js-view-count[data-work-id=124698879]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 124698879; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='124698879']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "a247778fc24255e3d37bdd7b5d9d021d" } } $('.js-work-strip[data-work-id=124698879]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":124698879,"title":"Unterm Blick des Fremden","internal_url":"https://www.academia.edu/124698879/Unterm_Blick_des_Fremden","owner_id":25016864,"coauthors_can_edit":true,"owner":{"id":25016864,"first_name":"Nikolaus","middle_initials":null,"last_name":"Müller-Schöll","page_name":"NikolausMüllerSchöll","domain_name":"uni-frankfurt","created_at":"2015-01-19T02:50:47.029-08:00","display_name":"Nikolaus Müller-Schöll","url":"https://uni-frankfurt.academia.edu/NikolausM%C3%BCllerSch%C3%B6ll"},"attachments":[{"id":118876464,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/118876464/thumbnails/1.jpg","file_name":"9783837629132_Excerpt_001.pdf","download_url":"https://www.academia.edu/attachments/118876464/download_file","bulk_download_file_name":"Unterm_Blick_des_Fremden.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/118876464/9783837629132_Excerpt_001-libre.pdf?1728881855=\u0026response-content-disposition=attachment%3B+filename%3DUnterm_Blick_des_Fremden.pdf\u0026Expires=1740153547\u0026Signature=Eu4bEgzHuq2~jPKhndMqaw9PfEWnBgDzU5nmJTzdl7PYI58LCouCPuO5OvWw~gCFIuN2d9RK~Wj1u9p9CiiQ-m7eaMO9MQ~pCwZLcYjQ~45NkUs8F6aynZl6C59dXaaIYwFpk~giGyAqRJBT-ZoCBVh~ZRVLkswyATIU-R~B01UWXxvjMd-F8zOtQz~HXYclUhzRRRTcWXSPEayX-vTLlWQcqPuw0W~-PvIKWuiz2pU0Q~lKP3-r93I941OaMAT24ONIKOiAWEmSRdlwPHBNkYzmjH6on-4VtjBoHJIg9vvNYWVHnHIXpUSgM7r1TwEsAZqaL5vT4YMyFq2VFd7j6Q__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="124698878"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/124698878/Denken_auf_der_B%C3%BChne_Derrida_Forsythe_Ch%C3%A9touane"><img alt="Research paper thumbnail of Denken auf der Bühne. Derrida, Forsythe, Chétouane" class="work-thumbnail" src="https://attachments.academia-assets.com/118876471/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/124698878/Denken_auf_der_B%C3%BChne_Derrida_Forsythe_Ch%C3%A9touane">Denken auf der Bühne. Derrida, Forsythe, Chétouane</a></div><div class="wp-workCard_item"><span>Edition Moderne Postmoderne</span><span>, 2007</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Die Generation, die ni chts zu sagen hat-Hypothese In einem kurz vor seinem Tod gegebenen Intervi...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Die Generation, die ni chts zu sagen hat-Hypothese In einem kurz vor seinem Tod gegebenen Interview kommt Jacques Derrida ein letztes Mal auf seine Verbundenheit mit Antonin Artaud zu sprechen und gibt dafür eine denkwürdige Erklärung. Über Jahrzehnte hinweg habe ihn ein Zitat dieses Mannes beschäftigt, das er früh gelesen und auf sich bezogen habe. Artaud schrieb, »daß er nichts zu sagen hat, daß ihm nichts auf irgendeine Weise diktiert sei, während ihm zugleich die Leidenschaft, der Trieb des Schreibens und sicher auch des Inszenierens innewohnten«. 1 Dieses Zitat, so Derrida, spreche von einer Verantwortung des Schreibens, die immer gefühlt werde als »Höhlung, die von einer Leere ausgeht«, als eine Art Kénose der Schrift-, so daß letztendlich das, was es zu sagen gäbe, nicht vor dem Akt des Sagens existiert; denn, wenn der Inhalt der zu sagenden Sache vorab existierte, dann gäbe es einerseits keine Verantwortung zu übernehmen, kein Risiko, und andererseits sähe man, wie sich sowohl die Dichotomie als auch die Hierarchie zwischen Autor, Text und Bühne neuerlich herstellten. Der Autor meistert, beherrscht, er weiß, was er sagen will und diktiert: er diktiert sich und also schreibt er unter Diktat und Autorität des Autors, der weiß, was er sagen will. 2 Nichts zu sagen zu haben-nichts, was dem Akt oder der Geste des Schreibens, des Denkens oder des Spielens auf der Szene vorausgeht, mit dieser Behauptung oder diesem Anspruch treten heute nicht wenige von 1 Vgl. Jacques Derrida: Die Stimmen Artauds (die Kraft, die Form, die Furche</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e4bbcedb346ac88e77a679067765e1fb" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":118876471,"asset_id":124698878,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/118876471/download_file?s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="124698878"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="124698878"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 124698878; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=124698878]").text(description); $(".js-view-count[data-work-id=124698878]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 124698878; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='124698878']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-a9bf3a2bc8c89fa2a77156577594264ee8a0f214d74241bc0fcd3f69f8d107ac.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e4bbcedb346ac88e77a679067765e1fb" } } $('.js-work-strip[data-work-id=124698878]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":124698878,"title":"Denken auf der Bühne. 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