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In the article, the author presents updates on the art and performance in Germany amidst the coronavirus pandemic as of September 2022. Other topics include the opening of theaters in the country in 2021 with plays like "Die Dreigroschenoper," starring Nico Holonics, the cases of cancellation of shows like "Der Hofmeister" (The Tutor) due to the pandemic, and how emergency funding for the performing arts sustained the German theatre during the pandemic.

Copyright of Thiasos is the property of Edizioni Quasar di Severino Tognon s.r.l. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In Gorki: Alternative for Germany, Croatian provocateur-director Oliver Frljić turns a critical gaze on Berlin's progressive Maxim Gorki Theatre, examining the ways in which elements of the theatre's language may be contributing to divides within Germany just as much as that of groups from the extreme Right. This production highlights shifts within Germany's politico-theatrical landscape as well as the difficulties of staging dialogues around them. [ABSTRACT FROM AUTHOR]

The absence of disturbing background noise is a fundamental minimum requirement for performances in opera houses and theaters. Although the acoustic design of such venues has reached some maturity and specifications for maximum allowable background levels can be found in almost every other textbook on auditorium design, it can be observed that tender documents show a noteworthy variance in published requirements. Oftentimes, the levels that need to be achieved fall significantly below commonly quoted reference values. In order to keep the specifications at a reasonable level and to reduce costs for the (public) developer and builder it seems reasonable to review long-serving guidelines and determine if they suffice for today's performance practice. This work presents limits for the stage machinery based on measurements conducted during live performances at four well-known performance art spaces in Germany. To ensure inaudibility of the stage machinery, the limits refer to the quietest performance moments without stage machinery noise, music, speech, or other noise events. Based on these limits the stage machinery developer receives a guideline, which helps to design high-quality machinery in terms of noise. Furthermore, these limits help to refine the noise requirements for stage machinery in tender documents. [ABSTRACT FROM AUTHOR]

Copyright of Zeitschrift für Kulturmanagement is the property of Transcript Verlag and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Turkish Research Institute / Atatürk Üniversitesi Türkiyat Arastirmalari Enstitüsü Dergisi is the property of Ataturk University Coordinatorship of Scientific Journals and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Purpose: The aim of this study was to estimate the accuracy of intra-operative frozen section (FS) diagnosis during hysterectomy for early-stage endometrial cancer (EC).Methods: At the Department of Obstetrics and Gynecology, University of Luebeck, between 2009 and 2014, the intra-operative FS pathology of 164 patients with pre-operative endometrial curettage, showing G1 or G2 endometrioid EC at an early clinical stage (FIGO I-II), was compared retrospectively with the final paraffin section reports. The accuracy of myometrial invasion (MI) in all patients and separately in stage FIGO I patients was calculated and the under- or overtreatment of the patients was analyzed. A subgroup analysis was performed focusing on the percentage of inadequate staging by FS with clinical consequences.Results: Concordance of FS and final pathology results in terms of FIGO stage was 85.2%, with an under-diagnosis rate of 14% and an over-diagnosis rate of 0.8%. The subgroup analysis rate of patients who were inappropriately operated using FS was 6.6%, while 3.3% underwent a secondary operation. The overall accuracy of FS in predicting MI was 93.3% and in patients with stage FIGO I, 92.7%. Sensitivity, specificity, PPV and NPV were 98.25%, 89.06%, 88.89% and 98.28%, respectively, and in stage FIGO I, 98.25%, 84.62%, 90.32% and 97.06%, respectively.Conclusion: The authors consider that intra-operative FS is a reliable diagnostic method to identify the clinical stage of EC and especially MI, to determine the necessity of lymphadenectomy. Further development of diagnostic techniques is essential to maximize diagnostic accuracy. [ABSTRACT FROM AUTHOR]

A microfauna of small shelly fossils (SSF) is reported here for the first time from middle Cambrian (Series 3, Stage 5) subsurface strata of the Torgau-Doberlug Syncline (TDS), Central Germany. Considering that this microfauna is strongly limited and poorly preserved the material is quite abundant and diverse. The assemblage consists of molluscs (pelagiellids, bivalves), coeloscleritophorans (chancelloriids, halkieriids), poriferids, protoconodonts, cambroclaves, hyoliths, brachiopods, and disarticulated echinoderm remains. Additionally, a probable pterobranch hemichordate is noted. The assemblage is dominated by epifaunal suspension feeders from mid- to outer shelf depositional settings. Stratigraphically it represents (together with rare trilobites) the oldest middle Cambrian (Series 3, Stage 5) fauna known from Central Germany and the entire Saxothuringian Zone. Regardless the taphonomic problems related to the SSF occurrence, close palaeobiogeographic relations are indicated with the Mediterranean shelf of West Gondwana (especially with the areas of southwestern Europe and Morocco). The reported microfauna coupled with recent trilobite and palynomorph research supports assumptions that the Cambrian succession in the TDS is by far more complete than hitherto suggested, emphasizing its importance as a region yielding Cambrian rocks in Central Europe. [ABSTRACT FROM AUTHOR]

Purpose of the Study: Against the context of a rapidly aging population, the theme of senescence has been figuring increasingly prominently in contemporary German theater. This paper discusses the depiction of old age in one notable example, Theresia Walser's King Kong's Daughters, a hugely successful black comedy set in a nursing home. Design and Methods: This paper takes an interdisciplinary approach in its analysis of Walser's play, drawing not just on drama and theater studies, but also on performance, film, and cultural studies as well as the sociology and psychology of aging. Results: King Kong's Daughters might seem to be pervaded with negative ageist stereotypes. It is argued here, however, that Walser skillfully exploits the special formal qualities of theatrical performance—in particular, its liveness, corporeality, and communality—to illuminate both what it is like to be old and what it is like to care for the elderly in today's world. Implications: Given demographic developments, senescence seems set to increasingly inform the themes, motifs, and characters of theater in Germany and beyond. Paying closer attention to how old age is invoked on the contemporary stage can generate insights that are not only of interest to theater scholars, but are also of value to gerontologists and age scholars more generally. [ABSTRACT FROM AUTHOR]

If institutions are "the more enduring features of social life" (Giddens, The Constitution of Society, 1984), then how do they come into being? What kinds of collective practices and intersubjective aspirations bring them about, and how do they maintain them? This article investigates these questions through the lens of instituting processes, that is, practices that structure and underpin institutional formations. Based on long-term ethnographic fieldwork with the Theater an der Ruhr, a public theatre in the German post-industrial Ruhr valley, this article examines the role of rehearsals as a key instituting practice in theatres. In this case study, the ideals and actions associated with long-term rehearsals serve not merely a professional purpose as principal form of artistic labour; rather, rehearsals constitute the aesthetic, ethical, and political modus operandi of the institution. As the core work of art in the institution, rehearsals facilitate the long-term development of a collective aesthetic in an ensemble as well as the ethical cultivation of actors' artistic sensibilities. This article thereby also examines how the theatre conceptualises collective rehearsing as a political practice by distinguishing it from the project-based and flexible modalities propagated by post-Fordist policies in the arts. Artistic critique is articulated through and not against the formation of an institution. Based on this account, this article proposes to treat artistic institutions and instituting processes as significant subjects of anthropological research and as prisms for the study of aesthetic, ethical, and political practices. [ABSTRACT FROM AUTHOR]

At the end of the eighteenth century, people who became notorious for their excessive engagement in legal proceedings started being labeled as 'querulents' or 'paranoid litigants'. The term 'querulents' first appeared in the General Order of the Court for the Prussian States ( Allgemeine Gerichtsordnung für die Preußischen Staaten) from July 6, 1793. From there on, the spectrum of juridical measures undertaken against the so-labeled litigators included classifying these persons as ineligible for legal action and psychiatric hospitalization. The paper discusses to what extent Hermann Bahr rearranges psychiatric and legal knowledge about this special type of the complainer in his tragicomedy Der Querulant, premiered in 1914. This concerns, first, the theatricality of the body and speech, secondly, the use of cultural techniques of writing and, thirdly, conflicting notions of justice. Therefore, the paper analyzes the aesthetic function of querulous behavior in the dramatic structure of the play from the point of view of both media theory and literary theory. [ABSTRACT FROM AUTHOR]

An essay is presented on the dramatic increase in theatre and performances enacted in urban spaces for the years 2007 to 2013 in Germany and Switzerland. A discussion on the meaning of a city in relation to people and life, the definition of public sphere in terms of its relationship with people and spatial configuration, and the influence of a public sphere is also provided. The author also discusses the city as an open-ended system that promotes diversity and affective structures.

The article discusses the 2013 Theatertreffen, a theater festival held in Berlin, Germany on May 3-20, 2013.

The administrative archive of Habima, nowadays Israel's national theater, resides at the Israeli center for the documentation of the performing arts at Tel Aviv University. The majority of the documents, which date from the 1920s and early 1930s, were written in German, and involve prominent German Jewish businessmen and intellectuals. This archival corpus is surprising, because the profile of Habima is generally associated with the Eastern European-Soviet theatrical heritage and with the revival of Hebrew. This article seeks to present the nature of this collection and to reevaluate its contribution to the study of German Jewry as well as to the history of Hebrew theatre. [ABSTRACT FROM AUTHOR]

Copyright of Zeitschrift für Öffentliche und Gemeinwirtschaftliche Unternehmen (ZÖgU) / Journal for Public & Nonprofit Services is the property of Nomos Verlagsgesellschaft mbH & Co. KG and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article describes the practices of organizing artistic activities away from the traditional patterns of institutional landscape. The general regularities, typical of independent art, are illustrated on the example of a non-institutional theatre in Germany (so-called „Freie Szene") and supplemented with a discussion of its features inscribed in the local context. Through the introduction of comparison with the situation of the independent art initiatives within the performing arts in Poland, the unique element characteristic of this type of theatre is underlined and pointed to its relationship with the culture management mechanism used in each country. At the same time, an important element in the analysis is the assumption according to which the focus was placed on the non-economic aspects, in order to take into account the wide range of factors that affect the ability to create theatre by independent groups. The observation of the achievements of German art groups leads to the belief that what is particularly important for the independent scene is an organizational model based on proven solutions used in repertory theatres and in creative associations exclusively oriented on project work. Combining independent initiatives with the publicly subsidized theatres and festivals leads to the establishment of new ways of creating, displaying and distributing stage works and additionally blurs the boundary between independent culture and the one associated with the institutions. Background of this reflection is a relationship shaped by cultural centers dedicated to supporting independent theatre with the audience - both in Poland and in Germany - and the issue of the impact of cultural policies on the possibilities of developing independent culture. [ABSTRACT FROM AUTHOR]

The article's intention is to draw a critical analysis on the theatrical systems developed at the German institution of Bauhaus during 1919 - 1933, focusing on the main issue of reshaping the stage and, if possible, the whole theatre architecture both in concept and transposition. It is an analysis of the idea to create the formal total theatre by eliminating (or not) the human factor - leading to the mechanical performance and the concept of the redesigning the place of performance within its intimate geometrical structures, a process that will lead eventually to a totally new structure and perception of the future theater performance. [ABSTRACT FROM AUTHOR]

The following text is the transcript of an experimental panel discussion that took place on 9 July 2010 at the conference ‘Performing the Future’ hosted by the interdisciplinary research centre Performing Cultures at the House of World Cultures in Berlin. A working group on the subjects of synchronization and participation organized the two-part session that began with a presentation by Irit Rogoff about audiences and participation entitled ‘The Implicated’, followed by a response by Kai van Eikels. The second part of the session opened with a Pecha Kucha presentation by six artists and curators and concluded with the discussion transcribed below. Since we wanted to discuss new forms of collectivity inside and outside the art world that break down the traditional divide between ‘performer’ and ‘audience’, it did not seem appropriate to place our guests on a podium. Instead, we encouraged them to distribute themselves among the audience, leaving the podium empty. We did not chair the panel either. After exchanging initial information, everybody – guests, working group members, audience members – became ‘The Implicated’. Microphones were passed around to whoever wanted to say something. Although some necessary edits have been made, this transcript tries to remain true to the dynamics of the discussion, at times meandering, at times becoming personal when particular people are addressed. We'd like to express our thanks to all participants. KAI VAN EIKELS AND BETTINA BRANDL-RISI [ABSTRACT FROM PUBLISHER]

The provenance research at Vienna University Library has lead to some volumes of the library Richard Gustav Busch being located in the Theatre, Film and Media Studies Library of the University of Vienna. In 1943 the library Richard Gustav Busch arrived as a lawful loan of the city of Münster at the newly founded Central Institute for Theatre Studies of Vienna University, which was led by Heinz Kindermann. Between 1945 and 1958 the library Richard Gustav Busch was considered property of the Austrian state. Only in 1958, with the passing of the 1957 treaty between the Republic of Austria and the Federal Republic of Germany concerning the regulation of relations concerning property rights ("Vertrag zwischen der Republik Österreich und der Bundesrepublik Deutschland zur Regelung vermögensrechtlicher Beziehungen" - Vermögensvertrag), the legal possibility of returning the holdings came about. The Busch library was returned in 1968. In 2010 it was complemented by the volumes found as part of the University Library's provenance research, which were also returned. [ABSTRACT FROM AUTHOR]

In official European political discourse, borderlands, particularly those between old and new EU Member States, are positioned as ‘meeting spaces’ in which the idea of a unified Europe can be brought to life. In academic Border Studies, these ‘meeting spaces’ are theorised as ‘in-between’, ‘transitional’ and full of ‘liminal potential’ for change. However, both policy and theory seem to present a simplistic and uniform image of borderlands which lacks grounding in empirical research. This article argues that the study of cross-border culture reveals a more complex reality. It explores how the concept of liminality is playfully incorporated into and problematised in a German-Polish-Czech cross-border theatre production: Dreiland (2007). It looks first at the collaboration behind this trinational project before examining the themes, language and aesthetics of the play. It argues that the play successfully stages liminality, but also uncovers competing border narratives of nationhood and globalisation. The close reading of Dreiland therefore reveals gaps in European policy and academic theory and demonstrates the need for further study of cross-border culture, thereby setting the agenda for future research. Im offiziellen europapolitischen Diskurs werden Grenzregionen und vor allem diejenigen zwischen alten und neuen Mitgliedsstaaten der EU als ‘Räume der Begegnung’ positioniert, in denen die Idee eines vereinigten Europas ins Leben gerufen werden kann. In der wissenschaftlichen Grenzforschung werden diese Begegnungsräume als ‘dazwischen’, ‘im Übergang’ und voll mit ‘liminalem Transformationspotential’ theoretisiert. Trotzdem scheint es, dass sowohl die Politik als auch die Theorie ein zu einfaches und uniformes Bild von Grenzgebieten darstellen, dem eine empirische Grundlage fehlt. In diesem Artikel wird behauptet, dass die Analyse grenzüberschreitender Kultur eine kompliziertere Realität aufzeigt. Die spielerische Aufnahme der Idee der ‘Liminalität’ in die deutsch-polnisch-tschechische Theaterproduktion Dreiland (2007) und die Problematisierung dieses Konzepts auf der Bühne werden untersucht. Zunächst wird die Zusammenarbeit hinter diesem trinationalen Projekt erörtert, bevor die Analyse die Themen, die Sprache und die Ästhetik des Theaterstücks aufgreift und bearbeitet. Es wird behauptet, dass es dem Stück gelingt, die Liminalität auf der Bühne darzustellen, aber auch dass die alternativen Grenzdiskurse des Nationalismus und der Globalisierung eine gleichermaßen wichtige Rolle spielen. Die Analyse der einzelnen Aufführung von Dreiland soll dementsprechend die Lücken in der europäischen Politik und in der wissenschaftlichen Theorie aufzeigen und den weiteren Forschungsbedarf im Bereich grenzüberschreitender Kultur nachweisen. [ABSTRACT FROM AUTHOR]

This conversation with members of abok, the first German-speaking theatre company devoted to the production of African and African-European theatre texts, gives an insight into the complex realities of 'performing "Africa"' and negotiating Black professional theatre identities in Germany. [ABSTRACT FROM AUTHOR]

This article offers a survey of theatre festivals in Germany (and Austria) in 2007. It pays particular attention to new work and to innovative directors, and concludes with an overview of the Romanian season at the Heidelberger Stückemarkt. [ABSTRACT FROM AUTHOR]

Copyright of Hellenic Studies / Etudes Helleniques is the property of Centre for Hellenic Studies & Research Canada-KEEK and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Equally suspicious of old didacticisms and current relativisms, British political theatre has found a new assertiveness in verbatim plays, composed using direct quotations from testimonies and documents. Whilst the reliance on authenticity underpinning this form needs to be - and has been - problematized, the vigour of 'real' voices on stage radically tests the assumptions of postmodern theory. This article proposes an alternative framework, based on the philosophy of Jurgen Habermas, the leading figure of the Frankfurt School's second generation and a known challenger of postmodernism. Habermas has elaborated a critique of modernity that retains those aspects of the modern project still offering a qualified promise of emancipation. This approach leads to a better understanding of the residual potential of political theatre in the present age. From the seminal notion of the 'public sphere' (the locus, distinct from state and market, where private individuals gather together as a public to debate matters of common concern) to the later emphasis on 'reconstruction' (an attempt to explain the presumably universal bases of rationality), Habermasian theory proves effective where deconstructive strategies show their limits. This analysis revisits the concept of the public sphere as it has evolved and then applies it to recent verbatim productions by Out of Joint Theatre Company and the Tricycle Theatre, exploring both political and aesthetical elements. The author's contention is that verbatim theatre, in expanding the public sphere and promoting an intersubjective version of truth, is able to take political theatre beyond the confines of postmodernism. [ABSTRACT FROM AUTHOR]

Of the three major directors who dominated the German stage during the 1970s and 1980s and are still active today, Claus Peymann is probably the least well-known outside Germany, where his contemporaries Peter Zadek and especially Peter Stein have much more familiar names. This is true despite the fact that Peymann has been since 1995 the director of the Berliner Ensemble, surely the best known stage in Germany, and before that served for more than a decade at the head of the Vienna Burgtheater, another of Europe's leading theatres. Peymann's career has been one of the most turbulent in the modern German theatre, more marked by scandals and controversies, political and artistic, than the careers of any rival theatre leader in Europe. This essay provides and overview of this career, discussing Peymann's contributions and how he interacted with the social and artistic concerns of the German and Austrian stage during the past half century, from the engaged student theatre of the 1960s, though his involvement in the Baader-Meinhof affair in Stuttgart in the 1970s and his triumphs and scandals first in Bochum and then in Vienna in the 1980s and early 1990s, to his current position in the Berlin theatre scene as director of the Berliner Ensemble. The essay also discusses Peymann's importance in the development of such major modern German language playwrights as Peter Handke, Thomas Bernhard, and Peter Turrini. [ABSTRACT FROM AUTHOR]

The author builds on recent geographical approaches to the investigation of scientific experimentation. While a number of studies have explored the various sites of scientific practice and the role of space in the constitution of experimental matters of fact, far less attention has been directed toward the cultural geographies of experimental science and the extra scientific zones in which modes of experimental practice were themselves developed and contested. Drawing on the reception of professional psychiatry in interwar Berlin (1919–1933), the author traces an alternative set of ‘experimental systems’ which seized on and countered the credibility of psychiatric expertise. The focus is on a series of modernist experiments in interwar Germany which actively reconfigured psychiatric science as a series of critical aesthetic interventions themselves tasked with performing ‘scientific experiments’. The paper is triangulated around three case studies, which chart the multiple traffickings between psychiatric experimentation and modernist art. The first revisits the traumatic reenactments of Berlin Dada in the broader context of mechanized war, rationalized work, and metropolitan life. The second explores the psychotechnical techniques that were crucial to the operations of Brechtian epic theatre, and the third case study explores the relationship between clinical therapy and modernist fiction as it came to characterize the work of Alfred Döblin during the 1920s. The paper concludes with further reflections on the significance of the ‘modern experimental turn’. [ABSTRACT FROM AUTHOR]