New Dramaturgies in Contemporary Vienna: Wiener Wortstaetten, Elfriede Jelinek's Die Schutzbefohlenen, and Die schweigende Mehrheit: Wiener Wortstätten, Elfriede Jelinek's Die Schutzbefohlenen, and Die Schweigende Mehrheit

Inge Arteel, Evelyn Deutsch-Schreiner

Research output: Contribution to journalArticlepeer-review

2 Citations (Scopus)

Abstract

This article presents three distinct examples of Viennese theatre's engagement with recent waves of migration and refuge-seeking: the collective Wiener Wortstaetten offers migrants and refugees a platform on which to present themselves as the authors of their own stories; Elfriede Jelinek's Die Schutzbefohlenen, a rewriting of Aeschylus's The Suppliants, was inspired by the eviction of refugees from the Votivkirche in Vienna; and the artistic collective Die schweigende Mehrheit opened up the stage to refugees as co-creators and actors in their production of Jelinek's text. While these three cases represent different positions in the contemporary theatre scene and display distinct views on dramatic authorship, each demonstrates a firm belief in the theatre as a site of intercultural speech agency, particularly suited to reflect on the lived experiences of mobility, migration, and refuge. Moreover, all three cases interrogate the status of German as a stage language and its adoption by non-German speakers.

Original languageEnglish
Pages (from-to)352-379
Number of pages28
JournalModern Drama
Volume61
Issue number3
DOIs
Publication statusPublished - 1 Sep 2018

Keywords

  • Intercultural theatre
  • Migration
  • Monolingualism
  • Multilingualism
  • Viennese theatre

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