Theatre of Anger

Theatre of Anger examines contemporary transnational theatre in Berlin through the political scope of anger, and its trajectory from Aristotle all the way to Audre Lorde and bell hooks.

Olivia Landry is an assistant professor of German at Lehigh University.

"Theatre of Anger is a confident and highly readable book, which stages a complex, multi-faceted take on its subject matter. It is well argued, engaging, and informative throughout, managing several trajectories of argument and exploration in a way that remains clear, helpful, and illuminating."

Katrin Sieg, Georgetown University :

"Olivia Landry's original study of the theatre of anger as a distinct genre makes an important and timely contribution to German studies, theatre studies, and to postcolonial and critical race studies. Scholars and students in these fields will find much to admire in the way she brings these fields into conversation."

Katrin Sieg, BMW Center for German and European Studies, Georgetown University:

"Theatre of Anger adds postmigrant Berliners to the rich, transnational history of radical movements that have used the stage to transubstantiate righteous, revelatory rage into resistance against social injustices and care for the vulnerable. Plays and performances hum with infectious energy, and Landry expertly plumbs the deep philosophical and political wells they tap."

Leslie A. Adelson, Cornell University, Author of The Turkish Turn in Contemporary German Literature: Toward a New Critical Grammar of Migration:

"From Aristotle and Lessing to the Maxim Gorki Theatre and Black Lives Matter, Olivia Landry situates the twenty-first-century phenomenon of Berlin’s ‘theatre of anger’ in incisive relation to affect studies, theatre history, and social justice movements today. Writing with intersectional verve and multidirectional erudition, she dramatically sharpens critical appreciation of German performance cultures and diverse aesthetic forms with which minoritarian subjects speak back to discrimination with transformative effect. Beyond twentieth-century predecessors in political theatre, and beyond postdramatic and postmigrant theatre too, the embodied outrage of live performance culture in contemporary Berlin is not merely representational but emphatically future-building."