Retelling performances, collecting things, reading traces, mapping memories, gaming autobiographies: in European and Anglo-American theater since the turn of the millennium, a range of new nonliterary narrative practices such as these have taken root. Unable to be subsumed under a well-established narratological, dramatic, or postdramatic perspective, they call for a reexamination of the relationship between performance and narration.
Performing Storiesseeks to reconceptualize narrative against the backdrop of innovative theater formats such as collective storytelling games, theater installations, extensive autobiographical performances, immersive role-playing, and audio-video walks.
Nina Tecklenburg’s focus lies on narration less as literary composition than as sensate, embodied cultural practice—a participatory and open process that fosters social relationships. She gives central importance to the forces of narration that create and undo culture and politics. A foundational new book,
Performing Storiespresents a groundbreaking transdisciplinary perspective through new approaches that are stimulating to performance studies, narrative and cultural theory, literary criticism, and game and video studies.
I. PERFORMING STORIES: AN INTRODUCTION
1. Origin Story Number One
2. Historical Contexts
2.1 Illusion, Distance, Presence, Interaction:
Stations of Narrative in Twentieth-Century Theatre
2.2 Wired Narration and Narrative Self-Performance
3. Terminological Foundations
3.1 Narrating: How to Do Things with Stories
3.2 Narrative Performances. Challenging Terminological Presuppositions
4. Protagonists, Plots, Methods
II. (THEORETICAL) SCENES OF NARRATIVE
1. A Walk-In Crime Story (Uwe Mengel)
2. Perspectives from Theatre Studies and Narratology
2.1 Between Drama and Performance: Narration as Deviation and Exclusion
2.2 BetwelcQ