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
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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