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MIMOS 2016

Theater HORA

Series:

Anne Fournier, Paola Gilardi, Andreas Härter and Beate Hochholdinger-Reiterer

Theater HORA, 1993 in Zürich als Kulturwerkstatt für Menschen mit einer geistigen Behinderung entstanden, erobert heute als «freie Republik» die Bühnen weltweit. Dem breiten Spektrum der künstlerischen Arbeit und den aktuellsten Entwicklungen dieses einzigartigen Projekts gilt das vorliegende Buch.

Le Théâtre HORA, créé à Zurich en 1993 comme atelier culturel pour personnes en situation de handicap mental, conquiert aujourd’hui les scènes du monde en tant que « République libre ». Le présent ouvrage se penche sur le large spectre du travail artistique de ce projet unique et sur ses audaces les plus actuelles.

Il Theater HORA, fondato nel 1993 come laboratorio artistico per persone con una disabilità mentale, è divenuto oggi una «Libera Repubblica» alla conquista della scena internazionale. Il presente volume analizza l’ampio ventaglio dell’espressione artistica e l’evoluzione più recente di questo progetto unico nel suo genere.

Theater HORA, which began in Zurich in 1993 as a cultural workshop for people with a mental disability, is today conquering stages around the world as a «free republic». The present book is devoted to the broad spectrum of artistic work and most recent developments of this unique project.

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Ketty Ghnassia

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Präsenz in Jérôme Bels Inszenierung Disabled Theater und die Figur des ‹geistig Behinderten› Résumé Riassunto Abstract 167–181 P41711_Broschuere_Mimos_2015_IH.indd 165 05.12.16 13:52 Tanzperformance von HORA-Schauspielerin Julia Häusermann in Disabled Theater; im Hintergrund (v. l. n. r.): Matthias Brücker, Remo Beuggert, Matthias Grandjean, Damian Bright; Vorstellung im Rahmen des Festivals Bo:m, Seoul, Südkorea, 05.04.2013. Regie: Jérôme Bel Foto: © Jörg Brüggemann / Theater HORA P41711_Broschuere_Mimos_2015_IH.indd 166 05.12.16 13:52 167 Disabled Theater is a global success. The Berliner Theatertreffen justified its selection by emphasising the performers’ immediate- ness and presence, qualities linked to their ‘real bodies’. Scholars who defend the concept of performative theatre rely on similar arguments. Based on a postmodern conception of the “subject”, and using Erika Fischer-Lichte’s notions of “presence” and Anne- marie M. Matzke’s “ironic authenticity”, it is argued that the per- formers’ presence must be considered a result of staging strate- gies, most importantly toying with the persona of the ‘cognitively disabled’. By applying a cultural studies approach to the discour- se of performance studies, the author addresses the question of the extent to which Bel’s concept of culture is derived from a he- gemonic conception of a ‘non-disabled’ person with reference to the broader context of the effect of performance. Disabled Theater est un succès planétaire. Les Rencontres théâ- trales de Berlin expliquent avoir sélectionné le spectacle pour la spontanéit...

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