Heiner Goebbels

Aesthetics of Absence

Texts on Theatre
Herausgeber: Collins, Jane; Gronemeyer, Nicole / Übersetzer: Roesner, David

• Gebundenes Buch

Produktbeschreibung

First Published in 2014. Routledge is an imprint of Taylor & Francis, an informa company.

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Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.

Produktdetails

• Verlag: Taylor & Francis
• Seitenzahl: 154
• Erscheinungstermin: 1. März 2015
• Englisch
• Abmessung: 249mm x 175mm x 15mm
• Gewicht: 454g
• ISBN-13: 9780415831031
• ISBN-10: 0415831032
• Artikelnr.: 41361633

Autorenporträt

Heiner Goebbels is a professor at the Institut für Angewandte Theaterwissenschaft of the Justus-Liebig-University Gießen, President of the Hessische Theaterakademie, and Artistic Director of the Ruhrtriennale - International Festival of the Arts.

Inhaltsangabe

Contents
List of Illustrations
When a Tree is Already Being Mentioned, You Don't Also Have to Show It
A Preface
Aesthetics of Absence
How it all began
PART I: Texts on Work(s)
Description of a Picture, Table-Parties and Comparative Degrees
About the opera Landscape with Distant Relatives
'Some Things You Only Remember, Because They Don't Have Anything To Do With
Anything'
Questions on constructing Eraritjaritjaka
Real Time In Oberplan
A Theatre of Deceleration
Peculiar Voices
On working on I Went to the House But Did Not Enter
The Space as Invitation
The spectator as the object of art
PART II: Texts on Artists
'But I wanted this to be a narrative'
Jean-Luc Godard as a composer
What We Don't See, Attracts Us
Four theses on Call Cutta by Rimini Protokoll
The Mystery Of Signs
For Robert Wilson
Trust No Eye
For Erich Wonder
'To Comprehensively Build Up A Society With Modest Prosperity'
The Ensemble Modern as an example
PART III: Texts on Education
Research or Craftsmanship?
Nine theses on the future of an education for the performing arts
If I Want An Actor To Cry, I Give Him An Onion
On working with actors
A Giant Wooden Pistol
Theory and Practice in Gießen
Organising Hearing and Seeing
The Practical Study of Theatre
Compromise Is a Bad Director
Theatre as museum or laboratory
Appendix
Biography

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Contents

List of Illustrations

When a Tree is Already Being Mentioned, You Don't Also Have to Show It

A Preface

Aesthetics of Absence

How it all began

PART I: Texts on Work(s)

Description of a Picture, Table-Parties and Comparative Degrees

About the opera Landscape with Distant Relatives

'Some Things You Only Remember, Because They Don't Have Anything To Do With Anything'

Questions on constructing Eraritjaritjaka

Real Time In Oberplan

A Theatre of Deceleration

Peculiar Voices

On working on I Went to the House But Did Not Enter

The Space as Invitation

The spectator as the object of art

PART II: Texts on Artists

'But I wanted this to be a narrative'

Jean-Luc Godard as a composer

What We Don't See, Attracts Us

Four theses on Call Cutta by Rimini Protokoll

The Mystery Of Signs

For Robert Wilson

Trust No Eye

For Erich Wonder

'To Comprehensively Build Up A Society With Modest Prosperity'

The Ensemble Modern as an example

PART III: Texts on Education

Research or Craftsmanship?

Nine theses on the future of an education for the performing arts

If I Want An Actor To Cry, I Give Him An Onion

On working with actors

A Giant Wooden Pistol

Theory and Practice in Gießen

Organising Hearing and Seeing

The Practical Study of Theatre

Compromise Is a Bad Director

Theatre as museum or laboratory

Appendix

Biography

Rezensionen

"This book will have a wide appeal for scenographers, designers, theatre makers, students and academics who are interested in the interplay of theatre objects directly from the perspective of an exemplary practitioner of the form. [...] a welcome and stimulating perspective."

- Theatre, Dance and Performance Training

"A significant contribution to shifting the margins and the centre of the discourse on practice."

- Ed McKeown, Critical Perspectives on Contemporary Art and Culture