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 Philosophie und...  
 M.A. Tanzwissen...  
 Lehrveranstaltung

Institut für Theaterwissenschaft (WE 7)

M.A. Tanzwissenschaft (SPO gültig ab WS 11/12)

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  • Theorie / Ästhetik

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    • 17501 Vorlesung
      Theorien der Schauspielkunst III (20. Jahrhundert bis Gegenwart) (Doris Kolesch)
      Zeit: Do 10:00-12:00 (Erster Termin: 16.10.2025)
      Ort: Hörsaal (Theaterwiss.) (Grunewaldstr. 35)

      Kommentar

      Die Vorlesung setzt die kritische Darlegung zentraler schauspieltheoretischer Texte und Konzepte des europäischen Theaters fort, welche in den letzten beiden Semestern vorgenommen wurde. Im Zentrum stehen schauspieltheoretische Überlegungen aus der ersten Hälfte des 20. Jahrhunderts (u.a. Stanislawski, Meyerhold, Brecht), aber auch Einflüsse auf das Schauspiel und die Schauspieltheorie z.B. durch Medientechniken bzw. andere Künste (Film, Internet, TikTok etc.) oder die aufkommende Performance-Kunst und das in diesem Zusammenhang vorgeschlagene Spektrum von acting und not-acting (Kirby). Aber auch jüngere Entwicklungen Ende des 20. und zu Beginn des 21. Jahrhunderts wie Fragen der Darstellung im postdramatischen Theater, chorische Auftritte, der Einsatz von Expert*innen des Alltags oder die Verweigerung virtuoser Schauspielkunst werden thematisiert, ebenso wie Fragen der Professionalisierung der Schauspielausbildung. Zudem werden exemplarisch außereuropäische Konzepte von Schauspiel erläutert. Die Vorlesung ist so konzipiert, dass sie auch ohne Besuch der ersten beiden Teile gut verfolgt werden kann.

    • 17502 Vorlesung
      “The personal is political”– Micropolitics in Dance and Performance (Kirsten Maar)
      Zeit: Mi 16:00-18:00 (Erster Termin: 15.10.2025)
      Ort: Hörsaal (Theaterwiss.) (Grunewaldstr. 35)

      Kommentar

      ‘The personal is political’ - this slogan of the second wave of feminism is to be expanded in an intersectional way and analysed in terms of its systemic entanglements of power and privilege. The seminar examines the tensions between the political and the personal or private and the affects that accompany these negotiations, as well as the tensions between artistic autonomy on the one hand and contextualisation on the other. How have artists, choreographers and dancers themselves understood their ‘politicality’, how does ‘the political’ express itself in choreographic form? Social and political changes only intervene in an understanding of choreography, among other things, but also in the material infrastructures of ‘operational choreography’ (Egert) and in our ‘social choreographies’ in performance and everyday movement (Hewitt). In addition to forms of resistance, protest and activism, we attempt to focus on a micropolitical multitude of interacting movements that permeate the artistic and social field and consider the collective structures that open up horizons for future possibilities for action. How do they express themselves in artistic works, but also in different modes of re/production, such as rehearsal, training, or pedagogical and mediating activities in the dance field? Which modes of relationship come into play here and how are they realised along their respective dispositives? The temporal focus is on the transition period from the 1960s to the 1970s, around 1989 and the early 1990s, as well as on recent developments since the 2010s.

    • 17570 Seminar
      „The personal is political“ – Micropolitics in Dance and Performance (Kirsten Maar)
      Zeit: Di 10:00-12:00 (Erster Termin: 14.10.2025)
      Ort: 103 Sitzungsraum (Grunewaldstr. 35)

      Kommentar

      The seminar is accompanying the lecture, but could also be attended independently of it. We will read texts, deepening the understanding of key concepts as well as following choreographic work ranging from the 1960s to our times. The students are taught about historical and contemporary dance, about body and movement concepts, performance analysis, methodological issues and current approaches in dance research. We will read and discuss texts by Lauren Berlant, Susan Best, Adriana Cavarero, Ann Cvetkovich, Denise Ferreira da Silva, Susan Foster, Nadine Georges-Graves, Jack Halberstam, André Lepecki, Kathrin McKittrick, Grada Kilomba, Bojana Kunst, Achille Mbembe, and others. Along with those close readings we will at the same time follow some movement and performance analyses as well as network and production analyses, taking a closer look at the work and their production of choreographers like Ishmael Houston Jones, Karen Finley, Mark Tompkins, Isabel Lewis, Boris Charmatz, Claire Cunningham, Jule Flierl, Liz Rosenfeld, Olympia Bukkakis, Agata Siniarska, Julia B Laperrière, Colleen Ndemeh and Olivia Hyunsin Kim.

  • Historizität / Historiographie

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    • 17501 Vorlesung
      Theorien der Schauspielkunst III (20. Jahrhundert bis Gegenwart) (Doris Kolesch)
      Zeit: Do 10:00-12:00 (Erster Termin: 16.10.2025)
      Ort: Hörsaal (Theaterwiss.) (Grunewaldstr. 35)

      Kommentar

      Die Vorlesung setzt die kritische Darlegung zentraler schauspieltheoretischer Texte und Konzepte des europäischen Theaters fort, welche in den letzten beiden Semestern vorgenommen wurde. Im Zentrum stehen schauspieltheoretische Überlegungen aus der ersten Hälfte des 20. Jahrhunderts (u.a. Stanislawski, Meyerhold, Brecht), aber auch Einflüsse auf das Schauspiel und die Schauspieltheorie z.B. durch Medientechniken bzw. andere Künste (Film, Internet, TikTok etc.) oder die aufkommende Performance-Kunst und das in diesem Zusammenhang vorgeschlagene Spektrum von acting und not-acting (Kirby). Aber auch jüngere Entwicklungen Ende des 20. und zu Beginn des 21. Jahrhunderts wie Fragen der Darstellung im postdramatischen Theater, chorische Auftritte, der Einsatz von Expert*innen des Alltags oder die Verweigerung virtuoser Schauspielkunst werden thematisiert, ebenso wie Fragen der Professionalisierung der Schauspielausbildung. Zudem werden exemplarisch außereuropäische Konzepte von Schauspiel erläutert. Die Vorlesung ist so konzipiert, dass sie auch ohne Besuch der ersten beiden Teile gut verfolgt werden kann.

    • 17502 Vorlesung
      “The personal is political”– Micropolitics in Dance and Performance (Kirsten Maar)
      Zeit: Mi 16:00-18:00 (Erster Termin: 15.10.2025)
      Ort: Hörsaal (Theaterwiss.) (Grunewaldstr. 35)

      Kommentar

      ‘The personal is political’ - this slogan of the second wave of feminism is to be expanded in an intersectional way and analysed in terms of its systemic entanglements of power and privilege. The seminar examines the tensions between the political and the personal or private and the affects that accompany these negotiations, as well as the tensions between artistic autonomy on the one hand and contextualisation on the other. How have artists, choreographers and dancers themselves understood their ‘politicality’, how does ‘the political’ express itself in choreographic form? Social and political changes only intervene in an understanding of choreography, among other things, but also in the material infrastructures of ‘operational choreography’ (Egert) and in our ‘social choreographies’ in performance and everyday movement (Hewitt). In addition to forms of resistance, protest and activism, we attempt to focus on a micropolitical multitude of interacting movements that permeate the artistic and social field and consider the collective structures that open up horizons for future possibilities for action. How do they express themselves in artistic works, but also in different modes of re/production, such as rehearsal, training, or pedagogical and mediating activities in the dance field? Which modes of relationship come into play here and how are they realised along their respective dispositives? The temporal focus is on the transition period from the 1960s to the 1970s, around 1989 and the early 1990s, as well as on recent developments since the 2010s.

  • Forschungspraxis

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    • 17580 Projektseminar
      Listening to your listening - exploring the musicality of movements and dancing musical gestures (Pi, Pol)
      Zeit: Termine siehe LV-Details (Erster Termin: 28.10.2025)
      Ort: DanceLab, AdK Berlin , Hörsaal FU Berlin (Grunewaldstr. 35)

      Kommentar

      I was surrounded by music long before I engaged with dance as a privileged language for connection. Between the ages of 6 and 31, I learned from practicing the flute recorder, solfeggio, rhythmics, harmony, choir singing, violin, viola, rabeca and Brazilian guitar, I learned from opera, baroque, classical, romantic and contemporary music, from Brazilian folk and traditional music too. And yet, it was only when I encountered physical theater, butoh and later so-called contemporary dance that everything really made sense. As a sort of revelation, one day I had the feeling that I could make better music with my movements than with my instruments. Over the years, I've learned that my relationship with movement is above all a musical one: what moves me is a taste for a playful relationship with time that is always being reinvented. How can we listen to and compose with the intensities, speeds, articulations, suspensions and rhythms that inhabit our movements? I'd like to continue to explore this question with the students, sharing tools and practices that have accompanied me for a long time or that we will invent together. I wish to explore possible translations for musical notions such as rhythm, tempo, nuance, timbre, articulation and ornament through individual and group movement research, but also invest the idea of listening as a practice of connecting to intuition. I have been working with non-ordinary states of consciousness for some years, a practice called Self-induced Cognitive Trance that could also be described as learning to listen to intuition. I don’t distinguish working with listening to our musicality from intuitive listening, they are for me both part of an ethics of always working from and with what is already there. Thus, both approaches to the act of listening will be intertwined during the semester. This shared research is an invitation to listen to what irresistibly calls us to movement – to learn collectively to give space and visibility to the musicality that is already in us, in our personal ways of engaging with movement, and to nurture and unfold them further.

  • Colloqium zur Masterarbeit

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    • 17592 Colloquium
      Colloquium für Masterstudierende und Promovierende (Gabriele Brandstetter)
      Zeit: Di 16:00-18:00 (Erster Termin: 14.10.2025)
      Ort: Seminar-/ Sichtungsraum 006 EG Altbau (Grunewaldstr. 35)
    • 17595 Colloquium
      Colloquium für Masterstudierende und Promovierende (Kirsten Maar)
      Zeit: Do 14:00-16:00 (Erster Termin: 16.10.2025)
      Ort: K 031 Seminarraum (Anbau Cinepoetics) (Grunewaldstr. 35)

      Kommentar

      Students will engage with current research topics and questions. They present their own specific research topics, contribute to discussions, and learn to explain conceptual and methodological decisions. Principles of rigorous academic work and good scientific practice are taken into account. Students also work on their academic writing and oral presentation.