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Mimmi Woisnitza: The Stakes of the Stage: Piscator’s Scenography as a Practice of Critique and Benjamin’s Discontent with the “Zeittheater”
The Stakes of the Stage: Piscator’s Scenography as a Practice of Critique and Benjamin’s Discontent with the “Zeittheater”
(S. 297 – 324)
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Mimmi Woisnitza

The Stakes of the Stage: Piscator’s Scenography as a Practice of Critique and Benjamin’s Discontent with the “Zeittheater”

PDF, 28 Seiten, 0.0 MB

  • Ästhetik
  • Kritik
  • Philosophie

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Mimmi Woisnitza

Mimmi Woisnitza is a postdoctoral researcher at the Collaborative Research Center 1512 “Intervening Arts” at Leuphana University Lüneburg and Free University Berlin. As a theater scholar and cultural historian, her research focuses on revolutionary theater practices in the early twentieth century from a feminist perspective. Within CRC 1512, she is pursuing a project on the intersection of life and art in Latvian theater maker Asja Lācis’ relational theater practice and its reception.
Anna Kipke (Hg.), Iryna Kovalenko (Hg.), ...: Drafts in Action
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Marla Heid, Henning Podulski, ...: Gegen/Öffentlichkeiten
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Weitere Texte von Mimmi Woisnitza bei DIAPHANES
Sami Khatib (Hg.), Holger Kuhn (Hg.), ...: Critique: The Stakes of Form
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Sami Khatib (Hg.), Holger Kuhn (Hg.), Oona Lochner (Hg.), Isabel Mehl (Hg.), Beate Söntgen (Hg.)

Critique: The Stakes of Form

Broschur, 352 Seiten

PDF, 352 Seiten, 0.0 MB

Critique is a form of thinking and acting. It is determined by its objects, yet never accesses them immediately but is always mediated through its own forms of (re)presentation. Since the end of the 18th century, there has been a dynamization and fluidization of the understanding of form, as topoi such as the break, the marginalization, the tearing and opening indicate. However, these multifarious attempts to “build on the structure through demolition” (Benjamin) testify to the dependence of all articulation on the forms of (re)presentation [“Darstellung”]. As a philosophical problem, the question of form arises in critical theory from Marx to Adorno. Since the 1960s, literary practices have proliferated which generate their critical statements less argumentatively than through the programmatic use of formal means. At the same time, the writing self, along with its attitudes, reflections, affects and instruments, visibly enters the critical scene—whereas the theatrical scene as a stage of critique has been contested intensively during the 20th century. This volume examines how the interdependence of critique, object, and form translates into critical stances, understood as learnable, reproducible gestures, which bear witness to changing conditions and media of critical practice.

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