Cross-cultural theater challenges audiences to reflect on the diversity and plurality of lived and aesthetic experience and on the processes of inclusion and exclusion. In Germany, the term post-migrant theater has recently emerged in association with the famed Ballhaus Naunynstrasse Theater in Kreuzberg, Berlin, which stages new plays on topics exploring both the challenges and potentialities of cultural interconnectedness. In the United States, cross-cultural theater has a different tradition and scope, due to the different immigration patterns, populations, and politics.INTERSECTIONS: Cross-Cultural Theater in Germany and the U.S. will bring together theater scholars and practitioners from Germany, Turkey, the United States and beyond for a multi-faceted exploration of the differences and commonalities in their respective traditions.
We are proud to welcome Turkish-German playwright, novelist, dramaturge, and actress Emine Sevgi Özdamar--without whom cross-cultural theater in Germany would be unthinkable--to present a reading and participate in our conversations. In the 1970s, she worked with Brecht disciple Benno Besson and Matthias Langhoff and later with Claus Peymann, one of the most renowned theater directors in Germany, at the Bochumer Theater. Her immense contributions include the short story collection Mutterzunge (Mother Tongue, 1990), featuring an epic version of her theater playKaragöz in Alamania (premiered in 1986), and her critically-acclaimed novel Das Leben ist eine Karawanserei (Life is a Caravanserai, 1992). These texts are milestones in fostering the recognition and acceptance of ethnically diverse literature in Germany.
Please join us for a diverse program of inter-cultural readings, performance, lectures, roundtable discussions and theater workshops.
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