Im Anschluss an die Neuinszenierung von Luigi Nonos azione scenica Intolleranza 1960 war ich als Expertin zum Roundtable „Unbequeme Positionen“ eingeladen, über dieses beeindruckende Stück zu diskutieren, das viele politische und ästhetische Fragen berührt, die auch heute relevant sind. Nono thematisiert mit seinen Mitstreiter*innen Fragen der Migration, des Exils und Zurückkehrens, des politischen Widerstands und des Überlebens in katastrophalen Zeiten. Ästhetisch entwirft er mit dem Stück eine neue Form des Musiktheaters, die Szenische Aktion, die gewohnte Hierarchien von Theater und Musik, von Sehen und Hören, von räumlichen Trennungen in Frage stellt und der Beginn einer Suche nach neuen Formen ist.

Der Roundtable war außerdem mit Regisseur Marco Štorman, dem Sänger der Hauptrolle, Sean Panikkar, und den Moderator*innen Johanna Wall (Chefdramaturgin Komische Oper) und Prof. Dr. Clemens Risi (Theaterwissenschaft, Friedrich-Alexander-Universität Erlangen-Nürnberg).

I was honoured to be part of the discussion on improvisation and ethics – as a part of the artistic research project by Christopher A. Williams, Caroline Gatt and Joshua Bergamin. Together with anthropoligist Jonas Tinius and members of the Splitter orchestra, Magda Mayas, Sabine Vogel and Steve Heather, we discussed on different layers, where improvisation encounters ethics – on the relational plane (between single musicians or between musicians and audience members) as well as on the aesthetic plane.

https://improv-ethics.net/main#body-item&encounter-2-with-splitter-orchester-akademie-der-kunste-berlin

Sounding Fragilities. An Anthology brings together essays, discussions and interventions on contemporary music, dance and music theatre to offer a polyphony of new approaches to listening, watching, composing and performing.

Sounding out the relationality, brittleness, fragility, transitoriness, and beauty of live performance, this anthology stresses the urgency of coming together and interacting as a foundation for human and political relations; an urgency intensified by the current overlapping crises in politics, health and ecology.

https://www.wolke-verlag.de/musikbuecher/lehmann-palme-sounding-fragilities/

In my contribution to this book I trace hidden connections between Adorno’s aesthetic theory and the performance dance art from the 1960s US avantgarde – as conceived and performed by members of the Judson Dance Theater.

Als Gast und in Zusammenarbeit mit der Veranstaltungs- und Radioserie Wutpilger Streifzüge, der ACC Galerie Weimar und der Gruppe Minus Leipzig war ich eingeladen zu Vorträgen über Luigi Nonos Musiktheater im Mai 2021. https://radiocorax.de/aspekte-des-musiktheaters-von-luigi-nono/

Zum Nachhören: ein Gespräch über Nonos Stück Al gran sole carico d’amore (1975). https://www.mixcloud.com/aergernis/wutpilger-streifz%C3%BCge-072021-al-gran-sole-carico-damore/

Ein Text über Vocaloide, Gender und Cyberspace; erschienen im peer-reviewed Journal denkste: Puppe. Just a bit of: doll. (1/2021) DOI: http://dx.doi.org/10.25819/ubsi/9992

At the upcoming conference of the International Federation of Theatre Research I will present a talk on LIGNA’s performance 2,3, viele Gänge (Hamburg 2018). The title of the talk is LIGNA: on how not to forget, and I will investigate how local knowledges of a nearly vanished city quarter can be approached with the means of an audiowalk / performance. The Hamburg Gängeviertel (a quater with small alleyways) was a quarter where a mixed bunch of people lived: from small merchands to day laborers, from sex-workers to the Swing Youth, and where the first Jewish reformist temple was built. Most of this quarter has been destroyed throughout the last 100 years, so how can this barely visible traces and hidden stories be remembered and connected to the lives of today’s audiences?

The talk is presented at General Panel 5, on June 15th, 22.15-23.30 pm (CEST).

 „Klirr, sssssst. Ein Streifzug durch die Szene des experimentellen Musiktheaters in Berlin“, Theater der Zeit 3 (März 2021), S. 21-23.

Talk on February 11th as part of the lecture series „fragility of sounds“.

In this talk, I will explore the theatrical dimension of experimental listening situations, including reflections on the impact of anti-pandemic-constraints on live performances from the experimental scene. Among others, I will talk about Berlin-based experimental Splitter orchestra‘s project Code of silence (2020/21).

https://www.splitter.berlin/