focused on Owen Sheers The Two Worlds of Charlie. In her talk, she focused on the role of photography as a technique of memory and testimony and how indigenous theatre has re-used colonial and ethnographic photography to re-tell the past from an indigenous perspective. In the final paper of the panel on Utopian Histories: Transforming Past Ideals in Stoppards Plays, Christopher Innes (University of Toronto) assessed Tom Stoppard s plays with regard to their ideologies of hope and the merging of past and present. Contributors to the Section "Shakespeare on Stage" might wish to draw attention to the special requirements of the Renaissance stage, Shakespeare's particular stagecraft or the achievements of past and contemporary theatre companies. In the rest of her talk, she discussed. These plays adopt transnational points of view and delineate Eastern Europe as a transcultural community affected by migration and the need to rewrite European history against earlier Eurocentric visions.
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After this stimulating workshop, the fifth panel on Truth and Action History and Performance concluded the conference with three papers. Papers in both sections might focus on national, European or international interpretations of Shakespeare's plays or might wish to explore particular achievements by selected companies, directors or actors. In the first keynote of the conference that followed on the next morning, Una Chaudhuri (New York University) took the route of eco-criticism to talk about how human history is put into perspective when considering large-scale and often incommensurable events like climate change. She differentiated between historical time which is often thought to be external and objective and personal temporalities which are concerned with subjective perceptions of time. Many of these plays pluralize the past and challenge hegemonic historiography from gendered, postcolonial, and ecological perspectives, and they use forms such as verbatim or memory plays, staged biographies, or enactments on location. In her paper Historical Simulacra and Intermedial Infotainment Maria Marcsek-Fuchs (University of Braunschweig) took on a gendered view onto history with Jessica Swale s Blue Stockings and its stage version for the Globe Theatre (2013). Zieht sich ein weiterer Bogen zu den berühmten Beweisen des Fundamentalsatzes der Algebra durch Gauß und den genialen Ideen des jungen Galois. All in all, the 23rd annual conference of the German Society for Contemporary Theatre and Drama in English showed the impressive breadth and lively debate surrounding issues of history and its transformations on contemporary Anglophone stages around the globe. Caryl Churchill s, far Away (2000) as a starting point, she concentrated on how tiny acts of a private nature like the use of plastic bags are connected to momentous developments that affect everyones lives in an increasingly global system. Defining historical agency as the capacity to affect public events recorded in history, she focused on plays that discussed how historical agency is denied to women.