Stanca Scholz-Cionca
Fellow
Chair of Japanese Studies at the University of Trier. She has taught in Munich, Berlin, and Oslo. Main fields of research: Japanese literature, comparative literature, and theatre, (especially nô, kyôgen, and contemporary avant-garde theatre). She has organized various conferences and symposia pertaining to Japanese theatre in international contexts.
THIS AUTHOR WROTE
Chair of Japanese Studies at the University of Trier. She has taught in Munich, Berlin, and Oslo. Main fields of research: Japanese literature, comparative literature, and theatre, (especially nô, kyôgen, and contemporary avant-garde theatre). She has organized various conferences and symposia pertaining to Japanese theatre in international contexts.
October 5, 2009
Are the terms "interweaving/entwining" acquiring the status of key concepts in contemporary performing arts? Both terms (and others related to them, such as Brecht’s "visible knots" or Michel Vinaver's "interlacs" are increasingly felt as powerful metaphors, especially in connection to postmodern and transcultural practice, as they point to the discontinuous, fragmented, heterogeneous and processual character of the arts rather than to an alleged unity of monolithic structure, as implied in the idea of "Gesamtkunstwerk" or Peter Brook's "yoghurt culture" (both of which stand suspected of hegemonic thinking). "Interweaving", however, alludes not only to intertextual and intermedial connections, but also to intercultural links inherent in every performative event.