SPIELART 2011 18.11. – 4.12.
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Miriam Althammer | 05.12.2011

Festival is over

Tilmann Broszat, Leiter des Festivals:„Spielart ist so jung wie nie, das konn... more


Miriam Althammer | 04.12.2011

Laboratorische Gemeinschaften

Fast drei Wochen lang war DO TANK das Labor des Festivals. Internationale Kü... more


Miriam Althammer | 02.12.2011

You take what you want from Theatre

If you need to deconstruct something to the point of kitty litter then please... more


New communities / criticism of the concept of community
04.12. | 11:00 - 19:00
Akademietheater im Prinzregententheater
Entrance € 5,00 (box office)
entrance only on the hour

In English and German language


Program will be updated.

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11:00 Time
Yael Bartana
We shall be strong in our weakness
+Short Teaser
The Jewish Renaissance movement in Poland is a political art organization, which focuses on the creation of solidarity in the diaspora communities. The film MARY KOSZMARY will be shown during the lecture, and the lecture will include reports on the process of the transformation of "social fictions" into "social facts," and on the current activities of the JRMIP, in particular the plans for a congress in Berlin.


Yael Bartana (b. 1970) is the artistic director of JRMIP. In her work she deals with national ceremonies, public rituals, and the construction of collective identity.

12:00 Time
Matteo Pasquinelli
The insurrection of the knowledge society
+Short Teaser
Nowadays, Germany is a leader in intellectual capitalism: Thanks to the export of high-tech products, Germany's economy is booming. Indeed, the knowledge society is everything but immaterial. Marx himself referred to the "common intellect," "the fixed capital," personified by the industrial machinery. Today, intellectual capital can be easily accessed through digital networks and via the new type of knowledge workers. Marx' concept of an organic composition of capital is still useful to describe how this accumulation of knowledge operates behind the scenes of financial capitalism.


Matteo Pasquinelli works as an author, curator and researcher. In his dissertation he dealt with new forms of conflicts in the knowledge economy and cognitive capitalism. He is the author of ANIMAL SPIRITS: A BESTIARY OF THE COMMONS (2008), and the publisher of the collection MEDIA ACTIVISM (2002) and of C’LICK ME: A NETPORN STUDIES READER (2007). He developed the art project URBANIBALISM with Wietske Maas.

13:00 Time
Sophie Wolfrum
+Short Teaser
The actual venue is in opposition to the global, social distortions mentioned in the program. On the one hand, they are integrated into it to very different degrees, and on the other hand, it offers resistance. In view of this, global / local is already an almost overused pair of terms. However, in view of this in the end strolls through the city, walkscapes, the studies of promenades and related practices are the means of research in order to not just discuss the location, but also to experience it directly. What do we discover on and around the square in Munich called Prinzregentenplatz over the course of a solid hour on a Sunday in December?


Sophie Wolfrum studied city and regional planning at the University of Dortmund, and she passed her final state examinations in urban development. She has administrative practices in Tanzania and Germany, and she has had a partnership with Professor Alban Janson in an office for architecture and urban development since 1989. She has been a professor of urban development and city and regional planning at the TU Munich since 2003.

14:00 Time
Laila Soliman
Knock knock knock until you die... no time for art?
+Short Teaser
"come back, leave? hear news, make news? die, living?‫ ‬
diaries, testimonies, sounds, movements, bullets, resistance 
and whatever makes a revolution
or is it all useless?"


Laila Soliman (b. 1981) is an Egyptian director, dramatic advisor and author. She lives and works in Cairo. Her most important works are RETREATING WORLD (2004); GHORBA, IMAGES OF ALIENATION (2006); EGYPTIAN PRODUCTS (2008); … AT YOUR SERVICE! (2009); SPRING AWAKENING IN THE TUKTUK (2010); NO TIME FOR ART, PART 1 & 2 (2011); and LESSONS IN REVOLTING (2011). She supervised the documentary work RADIO MUEZZIN by Stefan Kaegi as dramatic advisor.

15:00 Time
Ursula Biemann
Extraterritorial Communities
+Short Teaser
In her lecture EXTRATERRITORIAL COMMUNITIES, Ursula Biemann will talk about the formation of artists' and activists' groups that have developed in recent years in the Arabian world. The regional art scene is fragmented and for the most part determined (heteronomously) by discussions concerning art in the West, as well as by the enormous foreign investments in new art institutions. The artist will discuss two different aesthetic viewpoints on current changes in society and on the blossoming civil movements in the region.


The Swiss video essayist Ursula Biemann has supervised various contemporary art and research projects in the fields of geography and mobility. As a scientist at the Institute of Critical Theory (ith) at the Zurich University of the Arts (ZHdK). She has published numerous books, she is the co-publisher of the online platform ARTTERRITORIES, and she holds an honorary doctorate from the University of Umeo.

16:00 Time
Friedrich Wilhelm Graf
Religion als Vergemeinschaftung
+Short Teaser
Religion is never just an individual position or practice, but rather it is always a communal event as well. However, where religious concepts of individuals and groups collide in a plural world with multiple layers of diversification, a conflict is pre-programmed. The rarely violent struggles for sovereignty of interpretation are conducted within completely different communities.


Friedrich Wilhelm Graf (b. 1948) is a professor of systematic theology and ethics at the LMU Munich. His research focuses on the history of theological concepts from the 18th to the 20th centuries, ethics, and religious transformation processes in contemporary times. His publications include, among others, KIRCHENDÄMMERUNG. WIE DIE KIRCHEN UNSER VERTRAUEN VERSPIELEN, second edition, Munich (2011); and DER HEILIGE ZEITGEIST. STUDIEN ZUR IDEENGESCHICHTE DER PROTESTANTISCHEN THEOLOGIE DER WEIMARER REPUBLIK, Tübingen (2011).

17:00 Time
Jan Ritsema
Can you imagine: if this, then no longer, that?
+Short Teaser
Can you imagine: if this, then no longer, that?

And all this implies.
The absence of the logic of causality.
The absence of probability.
The absence of appropriation and fixation.
The absence of quantification.
The absence of laws of nature and society.
The absence of the “I understand’. Less language.
The absence of desire.
The absence of future.
The absence of imagination.
The absence of the ‘I’ and its institutions.
The absence of the private.

Can you imagine that in the absence of all this, that primitively holds us together we will be able to deal, ourselves, us, with the other and the things, favorably?
Can you imagine this and still think the technological standards sustain and develop?

I can.

Jan Ritsema


The theater of the Dutch director, dancer and playwright Jan Ritsema (b. 1945) oscillates between thought and play. He is not interested in theater as an illusion machine or reflection machine, but rather in the incarnate presentation of a subtle accumulation and entanglement of thoughts. Ritsema, who has worked with, among others, Meg Stuart, Boris Charmatz, and Jonathan Burrows, prefers to produce works by Heiner Müller. Ritsema's works, such as WEAK DANCE STRONG QUESTIONS; PIPELINES. A CONSTRUCTION; and BLINDSPOT, caused a furor.

18:00 Time
Hans-Thies Lehmann & Helene Varopoulou
Geminschaften des Bruchs - oder was haben Bourriaud, Rancière und Agamben dem Theater zu sagen? Ein Duo-Vortrag
+Short Teaser
Agamben allows us to see theater from the viewpoint of gestures. Whereas we usually live in the confinement of means-purpose relationships, in a theater of gestures we experience action for action's sake, the means as a means without a purpose: the aesthetics of pure means. Bourriaud teaches us about a more recent development in visual arts, where the comprehension of what art is is radically and radially transformed: Art does not work anymore primarily to produce an image or an object in the sense of something formed from a modified material. Instead, it has to do with the temporary actualization and/or reflection on something that has the name "relationship": relational aesthetics. Rancière accuses this thesis of being naive and utopian, and he teaches us that what is really political and at the same time really artistic can only be found where – as he says – Schiller's unsurpassable position has been realized, which says an artistic formation is the main objective, which enables an experience that paradoxically does not want anything, does not strive for anything, sustains its position, does not create any new relationships, but rather enables an experience of radical neutrality and thus measures anew the field of what is perceivable: the aesthetics of the redistribution of the sensual. All three do not speak, or only en passant, and not always with a very precise knowledge of theater. We ask ourselves what the real, imagined, desired communities in theater and in performance already know about all of this: Are new, pulsating communities actually imploding old ones?


Hans-Thies Lehmann was up until 2010 a professor of theater studies at the Goethe-Universität Frankfurt am Main. His publications include, among others, THEATER UND MYTHOS. DIE KONSTITUTION DES SUBJEKTS IM DISKURS DER ANTIKEN TRAGÖDIE (1991); POSTDRAMATISCHES THEATER (1999, as of this writing several editions have been published and it has been translated into 19 languages); DAS POLITISCHE SCHREIBEN. ESSAYS ZU THEATERTEXTEN (2002); HEINER MÜLLER HANDBUCH (co-publisher with Patrick Primavesi, 2003); and THEATER IN JAPAN (co-publisher with Eiichiro Hirata).


Helene Varopoulou is a critic, translator, theater studies scholar, and advisor to the Concert Hall Megaron in Athens. She was a consultant to the National Theater Athens from 1998 - 2008, and the director of the International Theater Festival Argos from 1994 - 1997. She has taught at universities in Athens; Thessaloniki; Patras; Frankfurt am Main; and Berlin. Numerous publications.

+Production and realization
production: SPIELART Festival München in cooperation with Allianz-Kulturstiftung, Institute for sociology LMU München (chair of Prof. Dr. Armin Nassehi), Bayerische Theaterakademie August Everding in cooperation with FestivalLAB. Kindly supported by Kulturreferat der Landeshauptstadt München. FestivalLAB is kindly supported by the European Commission.