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Grenzgänger des DDR-Theaters
Series: Theater, 111

of colonialism and oppression. Post-colonialism has brought with it new problems of corruption, dictatorships and conflicts between religious and ethnic grouping. There are often stark economic inequities within countries. In my own country, South Africa, these contrasts are extreme and inequality is rising; 41% of children live in the poorest 20% of households, while only 8% of children live in richest 20% of households. Alongside poverty come a host of deeply-rooted social problems, which are often interconnected. Artistic E xperiences and Commercial


upheavals in the former socialist countries in the 1990s, independent theatre has been concerned with reorganising itself in public theatre life after a difficult time characterised by government interference and censorship. Also in those European countries in which, up until the middle of the 1970s, dictatorships were in place, in Portugal, Spain and Greece, independent theatre existed under specific conditions, and its history took its own particular course there. In all European countries, the relationship of the independent theatres to the repertory theatres

continuation of life, however, here this familiar movement enters into a strange dialogic combination with the solemn choir music. Instead of invoking a false nostalgia for an Zaire as an im- aginary homeland, Faustin’s personal memories evoke the political presence of Kisangani in a transnational setting. Hence, the performance is not only a funeral to Kabako, but becomes an accusation against the auto-chauvinism of African nationalist discourse and its horrors of dictatorship and civil war crimes in the face of human dignity. Throughout the performance there is a

Aneignungsweisen des Publikums«. In: Hoff/Wiedemann (Hg.): Serie, S. 19-27. Mikos, Lothar (1998): »Die Inszenierung von Privatheit: Selbstdarstellung und Diskurspraxis in Daily Talks«. In: Herbert Willems/Martin Jurga (Hg.): Insze- nierungsgesellschaft: ein einführendes Handbuch. Opladen: Westdeutscher Verlag, S. 435-451. Saul, John Ralston (1993): Voltaire’s Bastards: The Dictatorship of Reason in the West. New York: Vintage Books.

knowledge also have power, they are not necessarily the people who actually ›know‹. Rather, the history of the power of knowledge shows that control is essential for the production of knowledge and its dissemination. This is illustrated, for example, by the power of the Church in the Middle Ages, the machinery of power employed in dictatorships and, albeit in a different way, by the media in globalised media societies. It is also true for all societies that knowledge does not remain static, but is in a permanent state of flux. The constant process of change in soci

, dass sie beide Mitglieder einer Seite im Internet waren und sie an die gleiche Sache glaubten. Sie standen einen Meter auseinander und trugen schwarz.“ 62 Ebd. 63 Es bleibt festzustellen, dass eine gewisse Homogenität der Protestierenden vor allem in Be- zug auf ihr Alter dennoch bestand. Trotzdem es sich bei den Teilnehmenden überwiegend um jüngere Menschen handelte, stand eine Teilnahme jedoch allen offen. 64 Vgl. Amr Hamzawy, „From Dictatorship to Democracy“, in: The Cairo Review of Political Affaires, abrufbar unter:

philosopher-King is to be replaced by the party… or rather, it is the party that is to act as the master of the proletariat insofar as it alone has the intelligence to interpret, for the oppressed classes, the true nature of their oppression: “the organisation of the vanguard of the oppressed”27, (as he puts it, describing the ‘dictatorship of the proletariat’.) The problem is, in this way, the proletariat are cast in the role of the ignoramus; they subsist in a state of infantilism, incapable of attaining a consciousness of the true nature and aims of the revolution

konstatieren. 22 | Wie in Kapitel 2.1.2 ausführlich beschrieben, folgt diese Arbeit terminologisch Poschmann, die anstelle des Begrif fs des Dramas für „Theater text“ (Poschmann, 1997: 40) plädier t. 23 | Von George stammt zudem eine der wenigen englischsprachigen Monografien, die sich mit brasilianischem Theater um die Jahrtausendwende befassen: In Flash and Crash Days: Brazilian Theatre in the Post-Dictatorship Period (2000) untersucht er das Werk von Regisseur und Dramatiker Gerald Thomas sowie der Autorinnen Maria Adelaide Amaral und Edla van Steen. 24 | Im Ibidem

mime in order to convey stories about his personal life and experience. He received his first formal theater training at L’Atelier Théâtral du Centre Kisangani (1991–93), which spurred an interest in exploring a career in the field. Linyekula’s life and early career were marked by years of travelling and migration, when Zaire under Mobutu’s late dictatorship became an increasingly dangerous and difficult place to live and work. Linyekula first migrated to Nairobi. Living as a clandestine migrant worker, however, he was soon arrested by the police and pushed