(Post)migrant Theatre in German Theatre History -(Dis)Continuity of aesthetics and narratives

该项目的目的是从德国戏剧研究的历史角度分析移民和移民后戏剧，并获得有关（后）移民戏剧的（不）连续性的美学和叙事特征的新知识。从移民戏剧的开端到当代后移民戏剧的发展，以及他们之间的关系和分歧。后移民戏剧被认为是移民戏剧的结果和延续，移民戏剧始于1955年所谓的外来工人招募协议。2008年Ballhaus Naunynstraße的开幕标志着移民戏剧发展的历史性时刻，因为（后）移民戏剧不再被视为业余和社会文化。通过这个项目，我假设移民戏剧可能与德国戏剧和德国戏剧史学的历史时刻有关。在德国戏剧史中缺乏语境化的主要原因是德国戏剧研究是德国人文学科中的一个小学科。由于德国戏剧研究的政治和社会现实性和现实意义，对德国戏剧研究进行历史性的修正是十分必要和重要的。该项目分为三个相互交织和纠缠的方法：通过口述历史的解释方法收集数据，通过数字地图对数据进行分类和系统化，以及（后）移民戏剧史的理论语境化。这三种不同的研究方法和技术的互补性为分析移民戏剧叙事的不连续性和美学提供了新的知识。后移民叙事的分析主要包括后移民叙事中的虚构叙事、后移民叙事中的想象叙事、后移民叙事中的传承叙事、后移民叙事中的流散叙事以及后移民叙事中的虚构叙事。对（后）移民美学的分析研究了身体，语言和手势，格式和观众的作用，这些在（后）移民戏剧中具有特殊的功能。

The aim of the project is to analyse migrant and postmigrant theatre from a historical perspective for the German theatre studies and to gain new knowledge on aesthetic and narrative characteristics of (post)migrant theatre in their (dis)continuity. It draws a line from the beginning of migrant theatre to the contemporary post-migrant theatre with their relations and fractions. Postmigrant theatre is been seen as a result and continuance of migrant theatre which started with recruitment agreement of so-called Guest-Workers in 1955. The beginning of postmigrant theatre by the opening of Ballhaus Naunynstraße in 2008 marks a historical moment in the development of migrant theatre since the (post)migrant theatre was no longer seen as amateurish and sociocultural. With this project I postulate that migrant theatre could have been relevant in previous historical moments for the German theatre and the German theatres historiography. The lack of contextualisation in German theatre history is mainly due to the fact that German theatre studies is a small subject within the German humanities. Because of its political and social actuality and relevance, a historical revision for the German theatre studies is very necessary and important. This project is divided into three interweaved and entangled methods: collecting Data thorugh the hermeneutic method of oral history, categorization and systematisation of the Data through digital mapping as well as theoretical contextualisation of (post)migrant theatre history. The three different methods and techniques for researching which are complemetary produce new knowledge for the analysis of (dis)continuity of narratives and aesthetics whithin the (post)migrant theatre. The analysis of (post)migrant narratives includes ascriptened, imagined and passed on, diasporic as well as invented postmigrant narratives. The analysis of (post)migrant aesthetics  investigates the role of bodies, languages and gestures, formats and audiences, which have a special function in the (post)migrant theatre.