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Playing Soldiers at the Edge of Imagination. Hotel Modern and the Representation of the Unrepresentable
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Maaike Bleeker
Veröffentlicht/Copyright:
6. April 2011
With their performances The Great War (life in the trenches during the First World War), and Kamp (Auschwitz), as well as their short video History of the World Part Eleven, the Dutch theatre company Hotel Modern raises important questions concerning the core of the claims that some events cannot be adequately represented, or should not be represented at all. Hotel Modern uses theatre as a critical vision machine, in order to undermine seemingly self-evident modes of looking; they confront us, their audience, with the way we are implicated in what we believe we see. Hence they suggest that resistance to representation might in fact be a manifestation of what Alain Badiou has called the ‘passion for the real’.
Published Online: 2011-04-06
Published in Print: 2011-April
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Artikel in diesem Heft
- Introduction. Performing Cultural Trauma in Theatre and Film. Between Representation and Experience
- Hitchcock, the Holocaust, and the Long Take: Memory of the Camps
- Playing Soldiers at the Edge of Imagination. Hotel Modern and the Representation of the Unrepresentable
- On the Charge of Memory. Auschwitz, Trauma and Representation
- Mediating Memories. The Ethics of Post-9/11 Spectatorship
- The Violin Player, the Soccer Game and the Wall-Graffiti. Rhetorical Strategies in the Border-Regions between Israel and Palestine
- Mourning as Method. William Kentridge's Black Box/Chambre Noir
- “‘It's about us!’. Violence and Narrative Memory in Post 9/11 American Theatre
- Beyond Medusa. Recovering History on Stage
- Unclaimed and Unclaimable. Memories of the RAF
- Afterimages. Post-Holocaust, Posttraumatic, and Postcolonial Cinemas
- Das Warten auf den Herrensignifikanten oder: Die Verhandlung von Zufall, Zeichen und Notwendigkeit in Thomas Pynchons The Crying of Lot 49 als Kritik des Indizienparadigmas
- Von der “(Un)Möglichkeit, sich in die Fremde hineinzuleben”. Kulturelle Assimilation als Desintegration am Beispiel von Ilija Trojanows Roman Der Weltensammler
- Rezensionen
- Liste der Mitarbeiter
Artikel in diesem Heft
- Introduction. Performing Cultural Trauma in Theatre and Film. Between Representation and Experience
- Hitchcock, the Holocaust, and the Long Take: Memory of the Camps
- Playing Soldiers at the Edge of Imagination. Hotel Modern and the Representation of the Unrepresentable
- On the Charge of Memory. Auschwitz, Trauma and Representation
- Mediating Memories. The Ethics of Post-9/11 Spectatorship
- The Violin Player, the Soccer Game and the Wall-Graffiti. Rhetorical Strategies in the Border-Regions between Israel and Palestine
- Mourning as Method. William Kentridge's Black Box/Chambre Noir
- “‘It's about us!’. Violence and Narrative Memory in Post 9/11 American Theatre
- Beyond Medusa. Recovering History on Stage
- Unclaimed and Unclaimable. Memories of the RAF
- Afterimages. Post-Holocaust, Posttraumatic, and Postcolonial Cinemas
- Das Warten auf den Herrensignifikanten oder: Die Verhandlung von Zufall, Zeichen und Notwendigkeit in Thomas Pynchons The Crying of Lot 49 als Kritik des Indizienparadigmas
- Von der “(Un)Möglichkeit, sich in die Fremde hineinzuleben”. Kulturelle Assimilation als Desintegration am Beispiel von Ilija Trojanows Roman Der Weltensammler
- Rezensionen
- Liste der Mitarbeiter
