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The IATC journal/Revue de l'AICT – December/Décembre 2016: Issue No 14

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“One in a Million”: Trailer with an introduction by Steve Wilmer

“One in a Million”: Trailer with an introduction by Steve Wilmer

This trailer for a forthcoming documentary film is based on an interview conducted in October 2016 with Samee Ullah, a Pakistani refugee in Berlin who acted in the play Letters Home developed by Refugee Club Impulse. In the interview, Samee

cs2-admin December 24, 2016March 5, 2022 Special Topic Read more

Unheard Voices, Unseen Faces: Staging Stories of Male Refugee Youth

Unheard Voices, Unseen Faces: Staging Stories of Male Refugee Youth

Rosanna Jahangard and Kate Duffy* (Phosphoros Theatre)   In the summer of 2015, three young refugee men approached their housing Key Worker to say that they had stories they wanted to tell, that they thought they were funny and wanted

cs2-admin November 2, 2016March 5, 2022 Special Topic Read more

Refugee Narratives: Case Farmakonisi or The Justice of the Water

Refugee Narratives: <em>Case Farmakonisi or The Justice of the Water</em>

Zafiris Nikitas* Theatre of Reality Anestis Azas is an acclaimed Greek director working in Greece and other areas of Europe, especially Germany. He works alone but also as a duo with director and actor Prodromos Tsinikoris. These two directors have

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The State at Play? Notions of State(less)ness in Contemporary Interventionist Performances

The State at Play? Notions of State(less)ness in Contemporary Interventionist Performances

Anika Marschall* In events such as the war in Syria, the genocide and persecution of Christians in Iraq, or the heavily reported drowning of many refugees[1] near Lampedusa—making the island’s name a catchphrase for the failures of European immigration policy—different

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Fugitive Performance: Nicolas Stemann’s Die Schutzbefohlenen and the Medial Matrix of Refugee Theatre

Fugitive Performance: Nicolas Stemann’s <em>Die Schutzbefohlenen</em> and the Medial Matrix of Refugee Theatre

Ralf Remshardt* Nicolas Stemann’s production of Elfriede Jelinek’s text Die Schutzbefohlenen, at the 2015 Berlin Theatertreffen, began with, perhaps, the most overworked gesture of intermedial theatre: as the audience entered, a live feed flickered on monitors around the auditorium, while

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(Un)making Boundaries: Representing Elfriede Jelinek’s Charges (the Supplicants)

(Un)making Boundaries: Representing Elfriede Jelinek’s <em>Charges (the Supplicants)</em>

Silke Felber* Human categorizations, which are based on dominant differences such as ethnicity, national and religious affiliation and gender, are used to distinguish people from one another, or to subsume them into social collectives according to the characteristics they share.

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In Transit: Wajdi Mouawad’s Scorched in Bremen, Germany, as Theatre of Anticipation

In Transit: Wajdi Mouawad’s <em>Scorched</em> in Bremen, Germany, as Theatre of Anticipation

Yana Meerzon* and Daniel Meyer-Dinkgräfe**   Introduction  Any person coming to Germany who is persecuted politically or in another way in their home country (as in Syria by the terror militia of the so-called “Islamic State”) has the right to

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Refugees in German Documentary Theatre

Refugees in German Documentary Theatre

Katrin Sieg* Germany received over a million asylum seekers in 2015, and for one halcyon moment last summer, basked in the international community’s admiration of its “welcome culture.” Cultural institutions there played an active part in spurring public discussions concerning

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“We Accuse Europe”: Staging Justice for Refugees, Migrants and Asylum Seekers in Europe

“We Accuse Europe”: Staging Justice for Refugees, Migrants and Asylum Seekers in Europe

Jamie H. Trnka** Beneath the stark lighting of the black box theatre in Stockholm’s Kulturhuset, actor Per Burell walks from his seat on stage left to the center podium to read the testimony of Kenan, a 45-year-old father of five

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Authenticity and Otherness: Reflecting Statelessness in German Postmigrant Theatre

Authenticity and Otherness: Reflecting Statelessness in German Postmigrant Theatre

Jonas Tinius* But can the untranslatable be voiced at all? How to articulate the leftover inexpressibles of translation? Is it perhaps to be glimpsed in a back-to-front crazy word, an image’s shimmer, the flick of a gesture, the intimacies of

cs2-admin October 31, 2016March 19, 2023 Special Topic Read more

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