Theatre as Dispositif. Aesthetics, Practice, and Epistemology of the Performing Arts

“作为处置者的戏剧”研究项目旨在将戏剧表演定义为一种处置者或装置。作为戏剧研究领域的主要研究对象，表演作为一种处置性的理解，向其历史上特定的美学、实践和认识论体制敞开了大门。该研究项目基于这样一个假设：自20世纪60年代以来，德国戏剧发展了三种不同的特征。因此，该项目由三个不同但相互依存的项目组成，它们整体上呈现了自20世纪60年代以来西德剧院的历史。每个部分都以一位有代表性的戏剧导演为基础：第一部分集中介绍了自20世纪70年代以来汉斯·纽恩费尔斯在美因河畔法兰克福城市剧院的作品基础上所谓的导演戏剧。当时，剧院正在进行一项实验，让在剧院工作的每个男孩都参与进来。第二部分是20世纪80年代和90年代的联合制作戏剧，将重点关注海纳·戈培尔的典范作品，而第三部分是差异的配置，从20世纪90年代末开始，与泽维尔·勒·罗伊和梅特·因瓦特森的作品有关。从他们的时间顺序来看，这三部作品揭示了从口头戏剧到音乐和舞蹈戏剧的重大转变，这种转变本身就对戏剧的产生、框架、表演和规范具有重要意义。虽然每一场演出都有自己的问题，但这三场演出都将涉及艺术家的生产模式，他们在排练期间的工作方法，他们工作的制度框架，以及围绕他们的工作产生的话语。作为一个整体，这三个角色提供了迄今为止未知的对戏剧表演构成的深刻理解。因此，研究项目“戏剧作为处置”为研究和理解戏剧的美学、实践和认识论条件及其与其他经济或社会学处置的关系的方法的发展做出了重大贡献。考虑到这四位艺术家，我们可以研究戏剧在生产、表演和接受方面的断裂和变化，这是迄今为止尚未解决的问题。因此，该研究项目对了解1945年后的西德戏剧做出了重大贡献。为了实现这一目标，该项目将查阅尚未被查阅和其文件尚未被研究的私人和公共档案。

The research project Theatre as Dispositif aims at defining theatre performance as a dispostif, or apparatus. Understood as dispositif, performance as the main research object in the field of theatre studies opens up towards its historically specifc aesthetic, practical, and epistemological regimes. The research project is based on the hypothesis that German theatre since the 1960 has developed three distinct dispositifs. Thus, the project is comprised of three distinct but interdependant projects which in their entirety present a picture of the history of West German theatre since the 1960s. Each section is based on one representative theatre director: The first dispositif focuses on the so called directors theatre on the basis of the work of Hans Neuenfels since the 1970s in the city theatre of Frankfurt am Main. At the time the theatre was involved in an experiment of institutional participation of everyboy working at the theatre. The second dispositif, the theatre of co productions in the 1980s and 1990s, will focus on the paradigmatic work of Heiner Goebbels, whereas the third section, the dispositif of difference, engages with the work of Xavier le Roy and Mette Ingvartsen since the late 1990s. Viewed in their chronology, the three dispostifs reveal a significant shift in genres from spoken word to musical and choreographic theatre, a shift that in itself is significant of how the dispisitfs produce, frame, perform, and regulate theatre. While each performance asks its own questions, all three dispositifs will deal with the artists modes of production, their working methods during rehearsal, the institutional frameworks they work in, as well as the discourses produced around their work. As an ensemble, the three dispositfs provide an hitherto unknown in depths understanding of the constitution of theatre performances. The research project Theatre as Dispositif thus makes a significant contribution to the development of a methodolgy to study and understand theatre in its aesthetic, practical, and epistemolocical conditions as well as its relation to other economical or sociological dispositifs. With these four artsits in mind, it is possible to research the ruptures and changes in production, performance, and reception of theatre which have not been dealt with as of yet. The research project thus makes a significant contibution the undestanding of West Geman theatre after 1945. In oder to achieve this, the project will consult private and public archives that have not yet been consulted and whose documents have not yet been studied.