Theatre and Migration

International Study Conference (April 2-3, 2025), Università degli studi di Bergamo.

Study funded by Unione Europea-NextGenerationEU Piano Nazionale di Ripresa e Resilienza (PNRR) M4 C2 INVESTIMENTO 1.1 BANDO PRIN 2022 (D.D. MUR n. 104 del 02/02/2022)-CUP: F53D23007920006

Aufeinander folgende Epochen und klare geografische Grenzziehungen bestimmen seit Jahrhunderten das Koordinatensystem der Kunst. Mit ihm lassen sich museale Sammlungen strukturieren und universitäre Lehrstühle bzw. Professuren voneinander abgrenzen. Auch individuelle Forschungsprofile werden meist an diesen Koordinaten ausgerichtet. Aktuelle methodische Ansätze wie die gender, queer und postcolonial studies, die Netzwerkforschung und ökokritische Fragen problematisieren dagegen solche Grenzziehungen und ihre blinden Flecken oder überschreiten sie. Ausgehend von einem klar definierten Platz im Koordinatensystem der Kunst-Frühe Neuzeit, Italien-möchten wir in einem eintägigen Workshop daher folgende Fragen ansprechen: Wie kann der skizzierte Zwiespalt in Forschung und Lehre überbrückt werden? Wie finden sich Studierende in einer Mischung von Epochen und Länderkunstgeschichte mit aktuellen methodischen Positionen zurecht? Welchen Stellenwert hat für sie die Kunst der Frühen Neuzeit aus Italien und wie haben sie im Studium Zugang zu ihr gefunden? Poster-und Kaffeepause 15:30

a review of:
Fucking Truffaut by Bliadski Circus Queelektyw
direction: Roza Sarkisian, music: Alexandra Malatskovska, wideo: Magda Mosiewicz & Antonina Romanova, costiums : Babcia, Kiju Klejzik & Vrona (Arek Koziński), scenography: Kiju Klejzik, dramaturgia: Krysia Bednarek, curators and producers : Agata Siwiak and Dominika Mądry
produkcja: Fundacja Reszka, koprodukcja: Teatr Dramatyczny im. Gustawa Holoubka, Maxim Gorki Theater w Berlinie

premiere: 11 November  2023 at Maxim Gorki Theater in Berlin; Polish premiere: 27 December 2023 in the Dramatyczny Theatre in Warsaw

This is a review of three plays: Ivan Franko National Academic Drama Theatre in Ivano-Frankivsk
Dziady by Adam Mickiewicz
translation: Viktor Humeniuk, direction: Maja Kleczewska,
premiere: 27 May 2023

CHORUS OF WOMEN Foundation; Powszechny Theatre in Warsaw; Maxim Gorki Theater; Festival d'Avignon; Maillon, Théâtre de Strasbourg - Scène européenne; SPRING Performing Arts Festival; Tangente St. Pölten - Festival Für Gegenwartskultur
Mothers. A song for a war time
concept, direction: Marta Górnicka, libretto: Marta Górnicka and ensemble, premiere: 29 September 2023

Teatr Współczesny in Szczecin
I will tell you tomorrow by Liuba Ilnytska
director: Nina Khyzhna, script and dramaturgy: Liuba Ilnytska, premiere: 23 June 2023

In recent years, the Polish-Ukrainian border has become a field for reflection on the causality of situated knowing, which I understand as the possibility of diagnosing and learning about the world through art in the given context. The situated knowing enables to encounter and negotiate different local epistemologies in order to overcome top-down and supposedly objective perceptions of Central and Eastern Europe. In the performances I am discussing, three variants of this negotiation are outlined: Undermining the border-activated dualistic thinking about the division into a supposedly developed Western Europe and a backward Eastern Europe by activating the memory of the forced resettlement of ethnic minorities; expanding the field of recognition of the language of the dominant culture or resisting its epistemic violence by including minority languages in it; and finally, giving a stage voice to war refugees in order to build their subjectivity or create the conditions for a free critique of the Western episteme. The above-mentioned case studies are based on performances made in the last few years by artists from Poland, Ukraine and the Polish-Ukrainian borderland.

This article undertakes to inscribe considerations on the cultural mobility of Ukrainian drama and theater in Poland after 24 February 2022 into research on theater multilingualism and multiethnicity in the context of contemporary migration. It focuses on the peformative strategies of Ukrainian dramatic texts presented in Poland under the extraordinary circumstances resulting from Russia’s full-scale attack on Ukraine. The author analyzes selected performative readings of dramas translated into Polish, as well as theater projects carried out in Poland by Ukrainian artists, in order to explore the various architectures of intercultural encounter involved in artistic activities and enhancement of the agency of Ukrainian incomers, also through the empowerment of their language. As the most important element of the architecture of intercultural encounter she identifies various strategies of crac-king the field of linguistic recognition, which situates phenomena discussed in the Polish context within the broader framework of research on the performativity of language and its corporeal materiality, as well as the performance of refugeeism.

The paper interrogates the value and meaning of the concept of intangible heritage as defined in the Convention for the Safeguarding of Intangible Cultural Heritage established by UNESCO in 2003 as an embodied practice and from a decolonial perspective. The reflection focuses particularly on the case of the play Xajoj Tun Rabinal Achí by the indigenous Quebec company Ondinnok, which in 2010 staged in Montreal a theatrical reworking from the 15th-century Guatemalan Mayan drama Rabinal Achí, which predates the Hispanic colonial conquest and was declared in 2005 by UNESCO to be one of the masterpieces of the oral and intangible heritage of humanity.

This article focuses on Louis  Zwiebel, a prompter and playbroker that mediated and transported Yiddish theatre plays across the Atlantic Ocean. Within the annals of Yiddish theatre, Zwiebel is considered a marginal figure: he was neither a star actor or singer, nor an innovator of the Yiddish stage. Zooming into Zweibel’s practice, this article depicts the backstage work of a theatre agent and mediator. Considering the logic and business of theatre, its backstage practices and working modes as essential components of the stage, thе article aims to understand Zwiebel’s act of mediation, and his role in the ‘global’ spatial circulation and transformation of Yiddish theatre during the first decade of the 20th century. I begin by depicting the Yiddish theatre transatlantic network during the first decade of the 20th century and the context under which Zwiebel operated. I then turn to explore Zwiebel’s act of mediation as an example of the modus operendi of the Yiddish theatre network, and discuss his transformative impact upon the theatre he mediated. I conclude the article by pointing at the implications of the mediation practice on the concept of authorship as conceived in the early years of the popular Yiddish theatre culture.

Mit »Spielwiesen des Globalen« liegt der zweite Band der Reihe itw : im dialog – Forschungen zum Gegenwartstheater vor. Das vom Institut für Theaterwissenschaft der Universität Bern (ITW) initiierte Format »itw : im dialog« will die bislang punktuell betriebene nationale und internationale Forschung zum Gegenwartstheater bündeln und neue Forschungsperspektiven eröffnen. Mit wissenschaftlichen Symposien und praxisorientierten Workshops, welche seit 2014 am ITW stattfinden, wird der Dialog zwischen Wissenschaft, Kunst und interessierter Öffentlichkeit gefördert. Die Bände der Reihe itw : im dialog – Forschungen zum Gegenwartstheater erscheinen zeitnah zu den Symposien, um einerseits die Befunde umgehend in den akademischen Diskurs zum Gegenwartstheater einzuspeisen und andererseits diese Debatten, Anregungen und Erkenntnisse auch einem breiten Publikum zugänglich zu machen. Anhand der theatertheoretischen sowie theaterhistorischen Reflexionen, welche zum Teil auf Inszenierungsanalysen...

Drawing on the recent UK-based theatre project Migrations: Harbour Europe, the chapter examines migrant theatre initiatives that practice resistance, political responsiveness and solidarity while resisting established narratives and fostering new aesthetics of migration and refugeedom. Migrations: Harbour Europe project was developed by the migrant theatre collective Legal Aliens Theatre in collaboration with Migrant Dramaturgies Network. Musca argues that Migrations: Harbour Europe functions as a site for public discourse, positioning migrant identities and experiences firmly in the socio-political realm and advocating a rethinking of contemporary societies as migration societies in which asylum-seeking and refugeedom are structural issues rather than temporary ‘crises’.

Articoli, codice etico, revisori e guida per gli autori sul sito: http://comunicazionisociali.vitaepensiero.it Articles, ethical statement, reviewers, authors guidelines: http://comunicazionisociali.vitaepensiero.com Dall'annata 2009, «Comunicazioni Sociali» ha adottato il sistema di double blind peer review La rivista è in fascia A Anvur per le aree L-ART/05, L-ART/06, SPS/08 Pubblicata con il supporto del Dipartimento di Scienze della Comunicazione e dello Spettacolo e dell'Alta Scuola in Media Comunicazione e Spettacolo, Università Cattolica del Sacro Cuore / Published with the support of the

ITA L'articolo indaga 'The Trojan Women Project', una sperimentazione di cinque anni conclusa nel dicembre 2019 con lo spettacolo presentato a La MaMa Experimental Theatre Club a New York City, che ha visto coinvolti artisti provenienti da diversi paesi, assieme ad attori, musicisti e designer della compagnia di New York, in un lavoro sulla rielaborazione della storica produzione diretta da Andrei Serban nel 1974 a La MaMa. 'The Trojan Women Project' è stato proposto a comunità con una recente storia di conflitto, con l'intento di approcciare problematiche socio-politiche attuali attraverso il teatro. I laboratori condotti con gli artisti in Guatemala, in Cambogia e Kosovo sono stati focalizzati sulla ricerca, attraverso il suono e il gesto, di un linguaggio comune, proseguendo le precedenti ricerche di Serban e della musicista Elizabeth Swados con la Great Jones Repertory Company, ma prima ancora di Peter Brook, sul linguaggio universale. Danze e musiche tradizionali sono state integrate nella rappresentazione e hanno facilitato lo scambio culturale e artistico grazie anche alla riproposta delle modalità del lavoro svolto negli anni Settanta. Nello scoprire una naturale identificazione con le donne di Troia e le loro vicende, gli artisti appartenenti alle compagnie provenienti dai tre paesi hanno trovato nella tragedia greca un luogo d'incontro e condivisione in cui elaborare la sofferenza e l'oppressione derivate dal vissuto del conflitto. Un obbiettivo pienamente in linea con l'impegno di La MaMa per la creazione e diffusione di un nuovo modo di fare teatro.

Quella delle “danze del cavallo”, comunemente conosciute in Indonesia come jaranan, kuda  lumping o jathilan, è una famiglia di performance musicali di matrice cerimoniale nella quale un gruppo di artisti guidati da un pawang–figura analoga, in quanto non perfettamente coincidente, a quella dello sciamano –e accompagnati da un ensemble di musicisti, si sottopongono a possessioni volontarie ad opera degli spiriti degli antenati. Nel presente articolo –che si completerà con una seconda parte nel prossimo numero di questa rivista –l’autore problematizza la versione sundanese di tale fenomeno: il kasenian réak. L’analisi si sviluppa nel solco della tensione polare tra i concetti di tradizione e innovazione, turistificazione e ortodossia, performance artistica e rituale cerimoniale che la pratica ha vissuto evolvendo fino ad oggi dalla nascita dell’Indonesia indipendente e dalle politiche culturali conseguenti.

Migration has been a phenomenon throughout human history. However, as a result of economic hardship, conflict and globalization, the number of people now living outside their country of birth is higher than ever. It has also become a key focul point for the media. Even though irregular immigration constitutes only a minor part of the total immigrant population in the EU, it is the one most spectacularized by the media. This over-mediatization of the phenomenon leads to a consistent discrepancy between the perception and the reality of the issue, and this distance has favored the shift of migration issues from 'low politics' to 'high politics', fueling an emergency management and a securitarian approach. We live in a deeply mediatized world. Media have an important role in influencing political attitudes and in framing public debates towards migration and asylum. In the last decade, the representation strategies and discursive practices enacted by a wide range of state and non-state actors have been presenting irregular migrants crossing borders as an 'emergency' to be managed in terms of a wider social, cultural and political 'crisis'. These media representations have outstripped the reality of the crisis. As a consequence, the public anxiety about migration and asylum-seeking in Europe, is increasingly shaped by the political rhetoric of Europe as being besieged by people fleeing conflict or seeking a better life. Institutional and political actors have stoked public anxieties and security concerns, endorsing emergency narratives, aggressive policing and militarized border control, which in turn has generated a fertile breeding ground for xenophobic, populist reactions. On the other side, it is now widely recognized that culture, media and the arts have been transformed by migration and mobility. These recent cultural and aesthetic transformations have offered another way of seeing identity, politics and society. The EU Member States and the EU itself, have been summoned to meet these challenges. There has been growing recognition of the ways in which media, the arts and performative practices are able to facilitate intercultural dialogue among migrant and host communities-thereby empowering their participation in social life-, and to promote an understanding of the affirmative role of cultural diversity (different ethnic, cultural, religious and linguistic backgrounds and heritage) within European societies, and also of the need to question the boundedness of identities and cultures. These critical processes lead us to address the possibilities of a transcultural dialogue-one that opens up the ideas of belonging and sets up new positions for speaking that do not intersect with ethnic and national identities. Media, performing arts and culture can foster innovative practical actions, and also alternative imaginaries on social phenomenon and spaces of collective participation. Indeed, different "liberal" and "applied" arts (film, theatre & performance, photography, crafts, architecture, design, etc.) as well as emerging cross-media forms (interactive and social media, games, street art, circus and performative practices, etc.), have a pivotal role to play in this direction. Despite this high potential for opening up new perspectives the policies in the EU are caught in old traps: national cultural policies affect cultural productions by institutionalizing the process of othering through rhetorical discourses and hegemonic representations; the projects and practices in this field are often vital but fragmented and contained within specific areas and territories; the skills and professional figures associated with these processes are poorly defined and have no particular training centres; and finally, the evaluation methods of the initiatives are variable and lack consistent protocols. The combination of all these factors produces a fundamental weakness in a sector that in any case, remains extremely lively and promising.

In the summer of 2017, Szabolcs Musca and Graça P. Corrêa followed the production process of Passajar, an immersive participatory theatre project collaboratively created by four theatre-makers and refugees from Congo, Iran, Iraq, Syria and Zimbabwe. Developed under the curatorship of Portuguese choreographer Madalena Victorino for Festival Todos in Lisbon, this multilingual experimental work focused on representing migrant experiences through a postdramatic artistic gaze. The production refused the forms of testimonial theatre and with it the contradictory role of facilitators, opting instead for a multidimensional fictional aesthetics practice. In this article the authors explore how Passajar performance and dramaturgical processes address difference in actual creative practice; and what are the ‘refugeedom’ aesthetics and ethical affects being generated by working with refugee participants. Similar to a growing number of non-verbatim migrant theatre initiatives, Passajar switched from the real to the fictitious via non-realistic representations and processes of abstraction. Arguably, this practice went against victimhood narratives, but does suspending traditional means of identification and empathy help develop new understandings on migration, or, on the contrary create detachment in audiences? What are the ethical consequences to audiences and refugee participants alike? Drawing upon philosophical concepts by Henri Bergson, Baruch Spinoza and Gilles Deleuze, the article examines how they critically contribute towards a discussion of the dramaturgies of alterity and empathy that were deployed in Passajar. By reflecting on both rehearsal process and final production, it reveals the ethical affects of Passajar, as well as transformative alternatives for migrant representation beyond the stage.

Prompted by recurring nationalist appropriations of the term Heimat and its enduring colonial connotations in the German context, we felt the urge to reopen the notion, to trouble it collectively, to shift its meaning beyond singular interpretations. Beyond Heimat, in this case: PostHeimat, does not mean abandoning the possibility of connecting to the term, but going through it, across it, and to find other and new meanings that signal a pluralistic re-appropriation of the notion. PostHeimat, then, is a departure point to reflect on concepts like identity-formation, nation, racism, and colonialism, and to move to an understanding of home that is non-discriminatory , does not equate nation with ethnicity or language, and deeply recognises a post-migrant social theory. PostHeimat becoming points towards an emergent and as of yet incomplete idea. It stands for a heterogeneous process that resists forming a new canon, a new Leitkultur. PostHeimat proposes itself more as a conversation, one that does not shy away from admitting less uttered experiences. In doing so, it seeks to form part of a critical social imagination, a new ethics for a diverse commons.

This statement was drafted by the research group of the PostHeimat network during and after Encounter #04 at the Maxim Gorki Theater in March 2020.

https://www.postheimat.com/research-en/

Weddings are a necessary cultural ritual world-wide – a celebrated rite of passage.
In multi-ethnic South Africa these ritual embrace both traditional and popular
cultural practices. Just as there are 11 official languages spoken in South
Africa, so too are there variations of traditional wedding practices. In South
Africa it has become customary to have two wedding celebrations, one which
incorporates traditional practices and the other which follows the white wedding
norms of popular culture presented as a transcultural experience.
The potential of a wedding as an inherent performative theatre experience is
unmistakable: the tenets of dramatic tension, symbolism, and climax are all present
but are not tied to a predetermined text. To therefore recreate this ritualistic
event as a postdramatic theatre performance offers an integrated live/d experience
as an experimental immersive work of art that simultaneously is sensorial
and emotive by triggering memories or fantasies of comparable weddings.
Therefore, this article considers the relevance of rituals found at white weddings as
popular culture within the montage staging process of creating the production
nupt[r]ials (2015). This is an original immersive theatre experience devised by
the Tshwane University of Technology (TUT) Department of Drama and Film
and staged at the Breytenbach Theatre in March 2015.

The open-ended durational performance The Foreigner is a personal response to the migration question currently involving Europe, Africa, and the Middle East. The work explores and questions notions of identity and territoriality, reality and virtuality, through the anonymity and vulnerability of the artist, and the active participation of the audience in the performance process. The artist’s body worked as a mirror that reflected personal ideas, constructs, and emotions of the visitors, who experience and interpret the image of the Foreigner according to their personal histories and past experiences. The result is a multiplicity of perspectives on migration and beyond.
KEYWORDS: migration, performance art, identity, vulnerability, participation.

The potential of a wedding as an inherent performative theater experience is unmistakable: where the tenets of dramatic tension, symbolism, and climax are all present but are not tied to a predetermined text. To therefore recreate this ritualistic event as a postdramatic theater performance offers an integrated live/d experience as an experimental immersive work of art that simultaneously is sensorial and emotive by triggering memories or fantasies of comparable weddings and intentionally posing an opportunity for intellectual impact. Thereby, this article considers the relevance of rituals found at white weddings as popular culture within the montage staging process of creating the production: nupt[r]ials (2015).

In warping (re)conceptual theatre the creative process for the artist/performer/creator becomes as imperative to the outcome as the product is to the spectator – the full comprehension or inherent meaning transpires through the combination of these in performance and theater-making. The meaning of an artistic work does not only reside in that work, but also in the presentation by the performer (artist) and the perception by the spectator.  The creative process conceptualised then performed within specific socio-cultural and personal-cultural contexts is therefore essential to the transfer of meaning. The social and political thematic context in which performance is created in turn is equated to postdramatic strategies.

In her book Theatre and Migration, Emma Cox observes how ‘migration is, at its heart, about encounters with foreignness—with foreign people, and with foreign places’ (Cox 2014: 3). Consequently, ‘theatre of migration pays attention to imagining the contact zone between those who arrive and those who lay claim to ownership or custodianship over a territory. But who does the imagining?’ (2014:4-5). Moreover, what are the ethics of such encounters and the dramaturgical politics of such imagining? This lecture wishes to map the interferences between ethical and creative/ aesthetic practices of staging and performing migration, refugeedom and asylum in a contemporary context. I will look at ethical positions and qualities in artistic processes and aesthetic modalities of migrant representation in contemporary theatre and performance in Europe and beyond.

Es war einmal ein Reich, das war so groß, wie es sich fühlte. Es lebten dort zahlreiche Hofgelehrte und, neben den Übrigen, drei Empowerment-Expertinnen. Sie waren drei von vielen, die Empowerment für und mit jenen machten, die als „die Anderen“ markiert und damit geschwächt wurden. Für jene gab es wenig Selbstverständlichkeiten, dafür viele besondere und ganz unterschiedliche, niedergeschriebene und unausgesprochene Regeln und Gesetze. Denn jene waren nicht alle gleich, auch sie wurden ungleich gemacht. Es ereignete sich also, dass die drei von den Hofgelehrten gefragt wurden, auf dem schwarzen Brett etwas über ihre wichtige Arbeit mit „den Anderen“ zu veröffentlichen.

This article is concerned with the European public theatre system’s relationship with migration. Focusing on the Portuguese theatre landscape and especially Lisbon, the essay will map some of the major issues regarding theatre and migration today, identifying both systemic failures and structural and aesthetic shifts in the public theatres’ engagement with migrant communities. Contemporary performative approaches will be surveyed with a special emphasis on initiatives that go against crisis narratives and position migration as a structural component of society rather than a temporary challenge. The article proposes a shift from aesthesized theatre practices towards activist aesthetics, a politically responsive, participatory and durational practice that would not only introduce counter narratives on migration, but it would be instrumental in re-thinking our national cultural, literary and theatrical canons.

This conversation traces the creation of Todos Festival, one of the most important international socially engaged multi-arts festivals in Southern Europe. In dialogue with artistic director, Madalena Victorino, the festival will be portrayed as a space for encounter and performative exploration of difference, linking marginalised migrant and minority communities to Lisbon’s theatre scape and cultural ecology. We discuss modalities of transfiguring difficult (local) realities into performance on the interface between centres and peripheries.

Vor dem Hintergrund gegenwärtiger Migrationsbewegungen nimmt dieses interdisziplinäre Symposium, das wissenschaftliche Perspektiven, NGO-Vertreterinnen und -Vertreter sowie Kunstschaffende zusammenbringt, Erfahrungen von Fremdheit und Grenzvorstellungen in den Blick.
An der Erfahrung ‚des Fremden‘, das einem laut dem Theaterwissenschaftler Günther Heeg nicht in fernen Ländern und Kulturen begegnet, sondern im Inneren der vermeintlichen Eigenen, entzünden sich transkulturelle Theater­praktiken. Wird demnach unter einer Grenze die durch eine Trennlinie oder eine Trennfläche ermittelte Abgrenzung zwischen Fremdem und Eigenem verstanden, so vermittelt die Idee einer Grenze nicht nur die Begrenzung und den Schutz von Räumen (vor Fremden). Zugleich weisen bestimmte Verhaltensformen von Menschen Grenzen auf. Bezogen auf Migrationsphänomene macht das Grenzverständnis aus allen Menschen Fliehende: Während die einen vor unerträglichen Lebensumständen in ihren Herkunftsorten fliehen und geographische Grenzen überschreiten, fliehen die anderen vor den Grenzen eigener Verantwortung und Handlungsmöglichkeit. Aufgrund der gegenwärtig rasant wachsenden Migrationsbewegungen sowie der damit einhergehenden Fremdheitserfahrung weist somit das jeweilige Verständnis von Grenzen und Fliehenden eine Doppelartikulation auf, die dieses interdisziplinäre Symposium in den Mittelpunkt rückt.

Nach Hans-Thies Lehmann kann postdramatisches Theater als eine Konzeptualisierung von Kunst nicht als Repräsentation, sondern als Erfahrung des Realen (Zeit, Raum, Körper) verstanden werden (Lehmann: Postdramatisches Theater, 1999, S. 241ff). Außerdem weisen die Körperzentriertheit und die performativen Verflechtungen von Ritual-(Theater)Kunst-Realität in postdramatischen Formen stark auf ältere bzw. außereuropäische performative/rituelle Theaterformen hin. In diesem Zusammenhang schlägt Lehmann in Pia Janke / Teresa Kovacs (Hg.): „Postdramatik“. Reflexion und Revision eine „stärker transkulturell orientierte Betrachtungsweise“ vor. Er betont, dass „das dramatische Theater Europas eine Sonderentwicklung“ sei, weshalb ihm „die Relativierung des spezifisch europäischen Theatermodells durch transkulturell orientierte Forschung überaus wichtig“ erscheine (Janke / Kovacs, 2015, S. 45). Die Tagung eruiert die ästhetische und wissenschaftliche Reichweite dieser Sachlage.

Served as a co-moderator at Internationaler Workshop 'Gespräch mit Kunsthistorikern: Die Designforschung und kulturelle Nachhaltigkeit' (International Workshop 'Discussion with Art Historians: Design Research and Cultural Sustainability'), Keio University (Mita Campus), 7 February 2018.

慶應義塾大学・ウィーン大学合同ワークショップ「美術史家と語る：デザイン研究と文化のサステナビリティ」（2018年2月7日、於：慶應義塾大学三田キャンパス）において共同進行役を務めた。

In der Umbruchzeit des ausgehenden 18. Jahrhunderts fokussiert der Beitrag das Themenkomplex der Raumbeziehungen in E.T.A. Hoffmanns Roman Lebensansichten des Katers Murr (1819/ 21). Der Beitrag bemüht sich zum einen um eine Bestandsaufnahme der konkret-topografischen Raumkonfigurationen, insbesondere der Schauplätze, Naturerscheinungen und Gegenstände, die in Hoffmanns Roman vorkommen. Zum anderen nimmt er die räumlichen Parameter des Geschlechterdiskurses bei Hoffmann in den Blick, und zwar mit Hauptakzent auf die nuancierten Geschlechterkodierungen des Raumes und die jeweiligen Brüche dieser Kodierungen. Daraus geht hervor, dass der Roman wörtlich und figürlich ‘Zwischenräume’ zum Vorschein kommen lässt, in denen die binäre Dialektik maskulin-feminin hinterfragt werden kann