Theater of Trans-lation. Dynamics and Constellations of Translating and Degrading in Theater and Performance of the 21st Century

该项目从跨学科扩展文学和戏剧研究的角度调查了德语地区当代戏剧形式及其制度环境的谩骂（有辱人格、侮辱性）动态的表现、表现和反映。因此，它位于当前对“谩骂”的研究领域，追求的总体目标是将戏剧作为一个共振空间或谩骂过程的唤起场来分析，在这个共振空间或领域中，谩骂星座的相互作用可以被情感地、感知地和反射地把握。具体地说，21世纪戏剧侮辱的转变是由戏剧的媒介化及其日益增加的（社会）文化多样性造成的。从跨地域性和跨文化性的角度来看，戏剧作为社会冲突情境（如移民、代际、不平等、技术化）的本地化和中间分离的翻译区域受到关注。工作假设是，在媒介、时空、文化、语言或话语翻译的动态与退化之间存在联系。这种联系在三个工作领域（A， B， C）中进行处理：A致力于其在媒介美学和文化政治过程之间的紧张领域中的理论规范，从而连接其他两个工作领域，探索在分析当前戏剧形式(B)和制度政治(C)中贬低翻译过程的概念假设，并就其界面对它们提出质疑。虽然在之前的研究中已经调查了关于边缘化位置的视觉化以及在谩骂凝视制度的基础上对谩骂的重新谈判，该项目还为自己设定了分析性突出声音和可理解性方面的任务，这些方面在声学-听觉的范围内运作。一方面，从字面意义上讲，这与对其他语言、声音和声音（例如带口音、方言、社会口音或“行话”）频谱中的挪用和错位、暴露和可耻的矫揉造作的戏剧动态的调查有关。另一方面，“不可理解”的艺术和文化政治实践（如剧院拒绝与“新右派”讨论，反之亦然，或关于“取消文化”的争议）成为焦点。我们期望深入了解作为挪用的翻译的谩骂潜力，但也深入了解在翻译和跨文化操作的翻译事件中变得明显的谩骂过程的非结论性。

The project investigates the representation, performance and reflection of invective (degrading, insulting) dynamics of contemporary theatrical forms and their institutional environments in the German-speaking area from a transdisciplinarily expanded literary and theater studies perspec-tive. It is thus located in the current field of research on "invectivity" and pursues the overarch-ing goal of analyzing theater as a resonance space or field of evocation of invective processes, in which invective constellations of interaction can be grasped affectively, perceptively, and reflex-ively. Specifically, transformations of theatrical invectivity in the 21st century are examined, which result from the mediatization of theater and its increasing (socio-)cultural diversity. From the perspective of translocality and transculturality, the theater as a locally situated and medial-ly dissociated area of translation of social conflict situations (e.g. migration, generation, inequali-ty, technicization) comes into focus. The working hypothesis is that there is a connection be-tween dynamics of medial, spatio-temporal, cultural, linguistic or discursive translations and those of degradation. This connection is dealt with in three work areas (A, B, C): A is dedicated to its theoretical specification in the tension field between medial-aesthetic and cultural-political processes and thus connects the two other work areas, which explore the conceptual assumption of degrading translation processes in analyses of current theater forms (B) and insti-tutional politics (C) and question them with regard to their interfaces. While the theatrical ne-gotiation of invectivity has been investigated in previous research with regard to the visualiza-tion of marginalized positions as well as on the basis of invective gaze regimes and located in the register of the visual, the project also sets itself the task of analytically highlighting the aspects of voice and intelligibility operating in the register of the acoustic-auditive. On the one hand, this is connected - in a literal sense - to the investigation of theatrical dynamics of appropriation and dislocation, exposure and shameful affectation in the spectrum of other languages, voices and sounds (e.g. speaking with accent, dialect, sociolect or "jargon"). On the other hand, art- and cultural-political practices of the "unintelligible" (such as the theaters' refusal to discuss with the "New Right" and vice versa, or controversies about "Cancel Culture") come into focus. Insights into the invective potential of translation as appropriation are expected, but also into the in-conclusiveness of invective processes that becomes obvious in translationally as well as transcul-turally operating translation events.