Mourning as Method. William Kentridge's Black Box/Chambre Noir
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Kristina Hagström Ståhl
William Kentridge's 2005 work Black Box/Chambre Noire was created as an “afterthought” to his production of Mozart's The Magic Flute. In Black Box/Chambre Noire, Kentridge examines the dark side of the Enlightenment ideals that informed The Magic Flute, as well as early twentieth-century European colonial endeavours. Tracing the history of Germany's genocide of the Herero population in Namibia, Black Box/Chambre Noire posits processes of historiographic erasure as constitutive of Europe's relationship to its own colonial legacy in Southern Africa. Kentridge's strategies for representing trauma, loss, and memory suggest that his incorporation of Trauerarbeit into the artwork shapes not only its content but also its form, technique, and method.
Articles in the same Issue
- 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
Articles in the same Issue
- 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
