Bøger i Theater (Transcript Verlag) serien

Narrative strategies, immersion, interaction, participation, identification, multimodality, characters and the connection between physical and fictional or virtual worlds: the fields of inquiry into the complex relationship between live performance and video games are numerous and diverse. For the first time, this collection brings together international researchers and artists to explore this relationship in a variety of essays. The contributors to this volume focus on reciprocal inspirations, appropriations and transfers applied by theatre artists, game designers and researchers. They analyze several artistic forms such as VR performance, immersive theatre, speedrunning or Game-Theatre.

The clandestine festival QueerBeograd created spaces of critique and transformation in order to foster a politics of interconnectedness. Ivana Marjanovi explores the festival's transnational activist cabaret between 2006 and 2008, which was devised, directed and produced by Jet Moon, a founding member of the QueerBeograd collective. This pioneering study demonstrates how the process of staging QueerBeograd Cabaret created a shared space between queer, anti-fascism and No Borders politics, contributing to the advancement of the intersectionality perspective beyond identity. The study thus investigates historical genealogies of gender and political difference in the former and post-Yugoslav space, bringing these into relation with global social and art movements.

While Ibsen's plays were not performed with great frequency in Romania, historical sources suggest that he had a significant impact on national acting and staging practices. To address this contradiction, Gianina Druta investigates the performance history of Henrik Ibsen in the Romanian theatre between 1894 and 1947, combining Digital Humanities and theatre historiography. This investigation of the European theatre culture and the way in which the foreign influences on Romanian theatre were distilled by local Ibsenites provides new insights into processes of cultural transmission. Thus, this study presents an unpredictable and uniquely European landscape that escapes essentialist definitions.

In recent years there has been a shift in how diversity and representation are discussed in the German cultural sector. The PostHeimat network, a three-year-long experiment in networked solidarity between major public German theatres and migrant actors and directors, discusses in this volume how to think about Heimat after migration. The contributions document the emergence, frictions, and difficulties in migrant theatre initiatives, being reflexive, research-based, and driven by cultural-policy-developing components. Emerging from encounters and plays, this study incorporates the critical perspectives of practitioners, scholars, activists, and artists from these initiatives and does not shy away from a frank reflection on failure and disappearance.