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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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Kati Kroß

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Matthias Brücker: Augen auf – ich komme! Résumé Riassunto Abstract 184–192 P41711_Broschuere_Mimos_2015_IH.indd 182 05.12.16 13:52 Performance von HORA-Mitglied Matthias Brücker in Disabled Theater; im Hintergrund (v. l. n. r.): Tiziana Pagliaro, Nikolai Gralak, Matthias Grandjean, Gianni Blumer; Singapore International Festival of Arts, 03.09.2014 Foto: © Kevin Lee / Theater HORA P41711_Broschuere_Mimos_2015_IH.indd 183 05.12.16 13:52 184 This article looks at the performance of HORA actor Matthias Brücker in Disabled Theater. The author discusses the extent to which the reception of Brücker’s performance in this production is framed by a medical mode of perception that casts him as so- meone with a disability. At the same time she argues that the production provides an opportunity to receive his performance in a way that does not reduce Brücker to his “being disabled”. Seen in these terms his performance does not necessarily, or primarily, have to be written off as a lack of ability or even as compromising exposure. In terms of aesthetic perception the difference embo- died by Brücker can instead be experienced as a surplus rather than a deficit. Brücker’s performance not only rattles the hege- monic norms of perception, but also shows just how contingent these norms are. Cet article aborde la performance de Matthias Brücker, comédien du Théâtre HORA, dans la pièce Disabled Theater. L’auteure montre dans quelle mesure la présence de Brücker sur scène a...

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