Assessment Centres as a Theatrical Device

Florian Evers, M.A.

This case study, "Assessment Centres as a Theatrical Device", is one of the two main research areas of subproject Corporate Theatre. Even within the context of academic research on applied theatre, a theatre studies approach to the subject of the assessment centre appears to be a largely unexplored field. For a considerable time now, theatre studies has been focusing on varieties of theatricality in everyday life and other media phenomena, thereby broadening its focus to sociological and psychological dimensions.


The 'Good Pain'. Artistic Practice in Conflict Zones

Kristin Flade, M.A.

“Transforming is what art does, but photography that bears witness to the calamitous and the reprehensible is much criticized if it seems ‘aesthetic’; that is, too much like art,” writes Susan Sontag in “Regarding the Pain of Others”. Particularly when art, not only photography, is created in areas of conflict and war it is not only a witness to suffering, but also an important societal factor for addressing, even reworking, traumatization and other societal crises.


Theatre in Education in Southern Africa

Dr. Julius Heinicke

The title of Julius Heinicke's project, “Theatre in Education in Southern Africa”, conjures many connotations, some of which have a bitter aftertaste: Theatre for Development, Applied Theatre, HIV/AIDS, NGOs, Aid for Developing Countries … Theatre in Education is met with a critical eye not only because it is often associated with injustice, social challenges, and illness, but also because the term 'development' – and other concepts connected with it – is deeply implicated in (neo)colonial power structures.


Stagings of Therapy in Psychological and Artistic Practice

Dr. Joy Kristin Kalu

Different aspects of therapy and counselling seem to be increasing in popularity within the realms of contemporary art, theatre, performance, and popular culture. The guiding theme for dOCUMENTA (13) in 2012 was “Collapse and Recovery”. In Kassel, a large number of works focused on personal as well as political crisis and artistic, often performative, strategies of regeneration, many of which borrowed approaches from therapy. In many experimental theatre productions, too, therapeutic settings or therapeutic methods have been used exhaustively since the 1990s.


Theatre as a Tool for Communication Management

Fabian Lempa, M.A.

Since the early 1990s, a particular convergence between business and theatre has occurred in Germany. Newly established, professional corporate theatre makers have increasingly been hired by companies and business organizations to utilize theatre methods and events, in order to improve employee communication, to facilitate the exchange of diverse forms of information, or to increase the motivation and improve the moods of staff. In this context, these theatre makers use and combine ideas and concepts from the theatrical avant-garde (especially Moreno, Brecht, Boal, and Johnstone).


Social Theatre in Urban Youth Culture Contexts

Dr. Janina Möbius

“Something is rotten in the State of Mexico…” This is the opening phrase of a staging of Shakespeare's play in the outskirts of Mexico City, where marginalized youth present their version of Hamlet to neighbours and friends in the barrio. Janina Möbius's case study “Social Theatre in Urban Youth Culture Context” will investigate governmental and private cultural initiatives that try to provide new perspectives to youth in the periphery of Mexico City.


Embodied Relations

Lilian Seuberling, M.A.

Theatre and therapy often have the capacity to work towards reconnecting society and individuals with parts that split off or were lost during crisis. Lilian Seuberling's research deals with the question of how to initiate processes of transformation and integration in therapy forms that use theatre methods – such as Gestalt therapy, psychodrama, and drama therapy.


Performing Arts in Greece Today: An Aesthetics of Exodus

Dr. Natascha Siouzouli

Natascha Siouzouli's research focuses on the here-and-now of the performing arts in Greece. She is conducting real-time observation, which will eventually shape her research questions and hypotheses. Beginning with a description of the atmosphere, in which art making currently takes place, she will try to position various artistic phenomena in this context.