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Felix Stenger

since 2021 PhD student at DFG-Graduiertenkolleg 2638 „Normativity, Critique, Change“

 

2018-21 Master of Arts in Theatre studies at FU Berlin, thesis on „Entfremdung in Eigenregie. Begründungszusammenhänge eines postdisziplinären Entfremdungsbegriffs in den Künsten“

 

2016 –19 Tutor at the Institute for theatre studies, FU Berlin

 

2016 –19 Student advisor for the undergraduate program of Theatre studies, Film studies, and Music studies at the Institute for theatre studies, FU Berlin

 

2012-14 Student assistant in the Collaborative Research Center 626 “Aesthetic Experience and the Dissolution of Artistic Limits”, FU Berlin (subproject B2: “Aesthetic Experience as Experience of Liminality”, Supervision: Prof. Fischer-Lichte)

 

2012 Student assistant in the archive of the Institute for theatre studies, FU Berlin

2010-18 BA in Theatre studies, German philology and Philosophy at FU Berlin, thesis on „Tanz/Subjekt/Tod. Historische Avantgarde zwischen Thanatologie und utopischem Vorschein am Beispiel Mary Wigmans und Valeska Gerts“


Memberships

  • Gesellschaft für Theaterwissenschaft (GTW)
  • International Federation for Theatre Research (IFTR)
  • Deutsche Gesellschaft für Ästhetik (DGÄ)
  • Gewerkschaft Erziehung & Wissenschaft (GEW)

 

Affirmation and Alienation. Postdisciplinary subjectification in contemporary theatre (working title)

My reflections begin with the observation that the normative appeals of post-Fordism, which seek to affectively and emotionally involve rather than subjugate its subjects, can be formalized aesthetically. After all, the arts no longer stand in opposition to capitalist value creation. On the contrary, the latter skims the former’s practices and techniques for creative, emotional and communicative potentials.

I argue that contemporary theatre like that of Susanne Kennedy or The Agency reflects this situation in an aesthetic re-establishment of alienation: it tends to be slick and to desire surfaces, it relies on aesthetic phenomena and techniques of the digital. The subjects staged in this alienated manner do not suffer under the damaging and limiting experiences of Fordist alienation, quite the contrary: they withdraw from post-Fordism’s affective mobilization by tactically affirming alienation.

My dissertation project circles this positive potential of alienation. Can moments of alienation be understood as aesthetic equals to moments of self-expression and self-realisation? I argue that these moments do contain a resisting impulse, which works against the all too smooth engagement of subjects in post-Fordist settings by performing and stabilizing a (re-)normativizing function in an allegedly norm-free realm. Finally, I aim to present a reformulation of the concept of alienation with the help of contemporary aesthetic strategies.

Further research interests:

  • historic avant-gardes, aesthetic imaginations in late romanticism and Life Reform
  • staging strategies of national socialism
  • socialist theatre theory of Weimar Republic and the GDR
  • postoperaist theory
  • theories und practices of incomprehension

Publications

  • Zwischen letzten Gründen liegen. Gedanken zu Parzelle 62 von Barbara Lenartz. In: Lenartz, Barbara: Katalog zu Parzelle 62. Berlin 2020, S. 9.
  • „Am Anfang“. Die Kritik und ihre Aporien, der Tod und seine Abschaffung am Beispiel Valeska Gerts. In: Ebert, Olivia; Holling, Eva; Müller-Schöll, Nikolaus; Schulte, Philipp; Siebert, Bernhard; Siegmund, Gerald [Hrsg.]: Theater als Kritik. Theorie, Geschichte und Praktiken der Ent-Unterwerfung.Bielefeld 2018, S. 437-446.

Presentations

  • „Tanz und Arbeit.“ Vorlesung zusammen mit PD Dr. Kai van Eikels im Rahmen der Ringvorlesung „Perspektiven der Tanzwissenschaft“, organisiert von Prof. Gabriele Brandstetter, am Institut für Theaterwissenschaft der FU Berlin, 23.11.2016.
  • „Am Anfang.“ Aporien der Kritik im Angesicht des Todes am Beispiel Valeska Gerts Tanz Tod. Vortrag im Rahmen des 13. Kongress der Gesellschaft für Theaterwissenschaft „Theater als Kritik“ in Frankfurt am Main und Gießen, 06.11.2016.
Freie Universität Berlin
Humboldt Universität zu Berlin
Universität der Künste Berlin
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