Show Less

MIMOS 2016

Theater HORA


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.


Show Summary Details
Restricted access

Sarah Marinucci


Freie Republik HORA: Vom «Sprechen über» zum «Sprechen mit» Darstellenden mit geistiger Behinderung Résumé Riassunto Abstract 233–241 P41711_Broschuere_Mimos_2015_IH.indd 231 05.12.16 13:53 Publikumsgespräch mit dem HORA-Ensemble im Rahmen des Kolloquiums Freie Republik HORA - Was sieht Dein Blick?, Zürcher Hochschule der Künste, Departement Darstellende Künste und Film, Zürich, 05.12.2015 Foto: © Sarah Marinucci / Theater HORA P41711_Broschuere_Mimos_2015_IH.indd 232 05.12.16 13:53 233 The production Disabled Theater (2012) helped make so-called disabled theatre visible on Europe’s most prestigious festival sta- ges, and for the first time prompted a broader audience in the German-speaking world to grapple with the notion of theatre and dance practice involving performers with intellectual impair- ments. Analysis of the way the production was received reveals a shift in emphasis from “talking about” to “talking with” performers with intellectual disabilities. But the dialogue has not taken place on an equal footing, and Theater HORA has been forced to ask why it is so difficult to talk to people in theatre about their art, espe- cially if they have an intellectual disability. To find answers, the long-term project Freie Republik HORA, together with the Dis Ability on Stage research project, has been trying out new forms of dia- logue with the audience to stimulate reflection on how fruitful communication between artists and the audience can take place. Le spectacle Disabled Theater (2012) a donné au “théâtre de han- dicapés” une visibilité sur les...

You are not authenticated to view the full text of this chapter or article.

This site requires a subscription or purchase to access the full text of books or journals.

Do you have any questions? Contact us.

Or login to access all content.