دانلود کتاب Theatre of Real People: Diverse Encounters at Berlin’s Hebbel am Ufer and Beyond

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Cover page\nHalftitle page\nSeries page\nTitle page\nCopyright page\nDedication page\nContents\nList of Figures\nAcknowledgements\nIntroduction\n Setting the scene\n The Theatre of Real People mode and Authenticity-Effects\n Authenticity-Effects and the unfamiliar\n A new approach to Theatre of Real People and its social engagement\n Conceptual frameworks and methods\n Objects and structure of the analysis\n Notes\n1 A Historical Perspective on Theatre of Real People\n First wave: socially useful art and cultures of authenticity\n Second wave: counter-culture and theatricalization of everyday life\n Third wave: socio-economic crises, global mobility, and cultures of artifice\n2 Theatre of Real People at the HAU\n A realist credo\n Approaches to the real and Theatre of Real People at the HAU\n Note\n3 Theatre and Authenticity-Effects\n The idealizing approach to Authenticity-Eff ectsand its critics\n Sceptical approaches to Authenticity-Effects: potential invitations and outcomes\n Authenticity-Effects and recent German theatre theory and practice\n Comparing Authenticity-Effects withreality effects and V-effects\n4 Encounters with Cultural Diversity at the HAU\n Discourses about a changing world and the HAU\n Negotiating the opportunities and pitfalls of cultural encounter\n Note\n5 Berliners with an ‘Authenticity Guarantee’:Cultural Complexity in 100% Berlin and 100% City\n The individual versus the collective in 100% Berlin\n Celebrating the Hebbel Theater with 100% Berlin\n 100% City: an evolving format\n Developing a playful destabilization of Authenticity-Effects in 100% Melbourne\n Challenging audience expectations of authenticity\n Vulnerability and authenticity\n6 Meeting Unfamiliar Residents in Berlin: Playing with Frames of Reference in X-Apartments\n Removing clear frames of reference for the audience\n Ayşe Polat’s production: Frau Barthelmess’s flat in Reichenbergerstraße, Lichtenberg\n ‘Authentic’ encounters with diverse unfamiliar people in Lichtenberg\n Fatih Akın and Feridun Zaimoglu’s God’s Warriors (Gottes Krieger)\n Voyeurism and the unfamiliar close-by in X-Apartments 2004 and 2008\n7 Unsettling Journey into the Unfamiliar: Ambiguous Guides to the City in CallCutta: Mobile Phone Theatre\n Encounters with unfamiliar call-centre performers in India\n Encountering the unfamiliar within one’s own culture through a German-Indian story\n8 Getting Closer to the Subjects of Migration: Partial Proximity in Blackmarket No. 7 and Mr Dağaçar and the Golden Tectonics of Trash\n Blackmarket encounter with the (culturally)unfamiliar and an alternate economy\n Rimini Protokoll’s encounter with the precarious stranger\n Partial proximity, distance, and a destabilizing approach to Authenticity-Effects\n Inviting alternative encounters with the unfamiliar through (un)mediated dialogue, partially genuine texts, and semi-graspable language\n Overt artistry and partial proximity\nConclusion\n Authenticity-Effects and encounter with the unfamiliar at the HAU\n Theatre of Real People and socio-political potential: some criticisms and opportunities\nBibliography\nIndex