Bibliography: Markus Wessendorf

 

Publications:                      

  

 

“Postmodern Drama Post-9/11: Adriano Shaplin’s Pugilist Specialist and David Hare’s Stuff Happens.” Drama and/after Postmodernism. (Contemporary Drama in English 14.) Ed. Christoph Henke and Martin Middeke. Trier: Wissenschaftlicher Verlag, 2007. (Forthcoming.)

 

“Richard Maxwells postdramatiske teater (= Richard Maxwell’s Postdramatic Theatre).” Norsk Shakespeare—og teatertidsskrift (Oslo) 1/2006: 29-33. (For the original English text, click here.)

 

Review of Neil Blackadder’s Performing Opposition: Modern Theater and the Scandalized Audience and Klaus Wannemacher’s Erwin Piscators Theater gegen das Schweigen: Politisches Theater zwischen den Fronten des Kalten Krieges (1951-1966). The Brecht Yearbook 31 (2006): 375-377.

 

Review of Ingjerd HoĎm’s Theatre and Political Process: Staging Identities in Tokelau and New Zealand. The Contemporary Pacific 18.2 (2006): 471-473.

 

“Culture of Fear: Uncomfortable Transactions between Performance and Terrorism,” in International Journal of the Humanities 3.3 (2006): 217-228.

 

“Beyond His Plays: Brecht’s Relevance for American Theatre,” in Communications (International Brecht Society), Vol. 34, June 2005, 59-60.

 

“Contemporary Drama in Hawai’i: Representations of Displacement and Diaspora in Edward Sakamoto’s Obake and Victoria Nalani Kneubuhl’s Ola Na Iwi,” in Staging Displacement, Exile, and Diaspora. (Contemporary Drama in English 12.) Ed. Anja Müller-Muth and Christoph Houswitschka. Trier: Wissenschaftlicher Verlag Trier, 2005, 95-110.

 

“Theatre as an Allegory of Unreadability: The Wooster Group’s The Road to Immortality Part Three: Frank Dell’s The Temptation of Saint Antony,” in The Wooster Group and Its Traditions. Ed. Johan Callens. Brussels: Peter Lang/Presses Interuniversitaires Européennes (Series: “Dramaturgies: Texts, Cultures, and Performances”), 2004, 129-140.

 

“Mahagonny and the Tourist Gaze,” in The Brecht Yearbook 29. Published by the International Brecht Society. Madison: University of Wisconsin Press, 2004, 84-96.

 

Review of Martin Puchner’s Stage Fright: Modernism, Anti-Theatricality, and Drama, in The Brecht Yearbook 29. Published by the International Brecht Society. Madison: University of Wisconsin Press, 2004, 427-430.

 

“The (Un)Settled Space of Richard Maxwell’s House,” in Modern Drama 44:4 (2001), 437-457.

 

“’I’ll Shine in the Back Yard. Bright Like a Beacon.’ Introduction.” Barking Dogs. By Norman Price. Brisbane: Playlab, 2002.

 

“Ein Gespenst geht um in Foremans Theater – ‘Jetzt, da der Kommunismus tot ist’ (= A Spectre Haunts Foreman’s Theatre—‘Now That Communism Is Dead’),” essay for Vienna Festival 2001 publication.

 

"Im Dickicht der Vorstädte: Richard Maxwells House und Showy Lady Slipper (= In the Jungle of the Suburbs: Richard Maxwell's House and Showy Lady Slipper)," essay for Vienna Festival 2000 publication.

 

"Theater auf der Höhe der Medientechnik (= Theatre at the Height of Media Technology)," in Medieninszenierungen im Wandel. Interdisziplinäre Zugänge. Ed. Rüdiger Ontrup and Christian Schicha. Münster: LIT, 1999, 38-49.

 

"Richard Maxwell, Hausmeister und Pausenwart (= Richard Maxwell, Super and Supervisor)," in Theater der Welt 1999 in Berlin. Arbeitsbuch. Ed. Joachim Fiebach. Berlin: Theater der Zeit/International Theatre Institut, 1999, 136-7.

 

"Richard Foreman's Hotel Fuck: Theatre at the Turn of the Century. An Interview by Markus Wessendorf," in Theater der Welt 1999 in Berlin. Arbeitsbuch, 138-144.

 

"'I'm Happy, You're Happy.' Richard Foremans Hotel Fuck," in Theater der Zeit, March/April 1999, 54f.

 

Die Bühne als Szene des Denkens: Richard Foremans Ontological-Hysteric Theatre (= The Stage as a Scene of Thinking: Richard Foreman's Ontological-Hysteric Theatre). Berlin: Alexander Verlag, 1998, 311 pp.

 

Gabriele Brandstetter, Helga Finter, Markus Wessendorf (Eds.): Grenzgänge: Theater und die anderen Künste (= Crossing Boundaries: Theatre and the Other Arts). Tübingen: Narr, 1998, 393 pp.

 

"Selbstorganisation und Interaktivität in Performance (= Self-Organization and Interactivity in Performance)," in Grenzgänge, 1998, 135-143.

 

"Richard Foreman's Theatrical Deconstruction of the Neo-Ritualistic Theatre of the Sixties," in Anthropological Perspectives. (Contemporary Drama in English 5.) Ed. Werner Huber and Martin Middeke. Trier: Wissenschaftlicher Verlag, 1998, 121-129.

 

"Rezension von Patrice Pavis' The Intercultural Performance Reader (= Review of Patrice Pavis' The Intercultural Performance Reader)," in Forum Modernes Theater, no. 2/98, vol. 13, 207-210.

 

"Ein Konzert findet statt. Klangkonzepte in deutschen Performances der Gegenwart (= A Concert Happens. Sound Concepts in Contemporary German Performance)," in Kaleidoskopien. Vol. 2: Surround. Ed. by the Theatre Department at Leipzig University. Summer 1997, 75-85.

 

"Szenen aus einem rauhen Leben. Die masochistische Performance-Ästhetik des Ron Athey (= Scenes in a Harsh Life. The Masochistic Performance Aesthetics of Ron Athey)," in Theater der Zeit, January/February 1996, no. 1, 22-25.

 

"Mystische Shows auf dem Theater: Grundzüge der neueren Theaterarbeit von Richard Foreman (= Mystical Shows on Stage: Basic Elements of the Later Theatre Work of Richard Foreman)," in Forum Modernes Theater, no. 2/93, vol. 8, 181-187.

 

"Der implizite Medienbegriff in Bertolt Brechts Lehrstück Die Maßnahme (= The Implicit Media Theory of Bertolt Brecht's Learning Play The Measures Taken)," in Zeitschrift für Literaturwissenschaft und Linguistik, no. 22/1992, vol. 85, 150-158.

 

Research assistantship on Daniel Gerould's The Guillotine: Its Legend and Lore, New York: Blast Books, 1992.

 

Die Ästhetik der Wooster Group. Dekonstruktion als theatrale Praxis (= The Aesthetics of The Wooster Group. Deconstruction as Theatrical Practice). Thesis. Giessen: Department of Applied Theatre Studies, 1991, 131 pp.

 

  

Unpublished Manuscripts:

 

"Some Observations on the Impact of Globalization on the Performing Arts," presented at the Fall 2002 Speakers Series of the International Cultural Studies Certificate Program at the University of Hawai‘i at Manoa. Unpublished manuscript, 18 pp.

 

"The Uncanny in August Strindberg's Chamber Plays," a paper I presented at the Second Annual Strindberg Symposium at Marymount Manhattan College in January 2000. Unpublished manuscript, 11 pp.                 

 

"A Short History of Richard Foreman's Ontological-Hysteric Theatre," a paper I presented at the Copenhagen symposium on Richard Foreman's theatre work in September 1999. Unpublished manuscript, pp 11.

 

"Ein kurzer Abriß der austral-asiatischen Performance (=  A brief outline of Austral-Asian performance),” a paper I presented at the Berlin conference of the German Society of Theatre Studies in November 1998. Unpublished manuscript, 13 pp.

 

"Kabbalah and Gnosticism in Richard Foreman's Ontological-Hysteric Theatre," a paper I presented at the Tel Aviv   conference of the International Federation of Theatre Research in June 1996. Unpublished manuscript, 10 pp.

 

"Bodies in Pain: Towards a Masochistic Perception of Performance—the Work of Ron Athey and Bob Flanagan," a paper I presented at the Montreal conference of the International Federation of Theatre Research in May 1995. Unpublished manuscript, 10 pp.

 

 

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