Eva Krivanec

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Eva Krivanec (born February 13, 1976 in Vienna ) is an Austrian theater scholar . Her main research interests are the history of theater and entertainment culture in the 19th and 20th centuries. Century.

Life

Eva Krivanec studied philosophy, political science, theater studies and German at the universities of Vienna, Paris III and Coimbra (Portugal) from 1994 to 2002 . After working as a research assistant on various projects, from 2006 to 2011 she worked as a research assistant and research assistant at the Institute for Theater, Film and Media Studies at the University of Vienna in research and teaching with a focus on the history of popular culture. Since 2013 she has been a Humboldt Post-Doc Fellow at the Institute for German Literature at the Humboldt-Universität zu Berlin with a habilitation project under the working title “Experimental field of entertainment culture. Aesthetics and history of theatrical entertainment in Europe's metropolises, 1860–1930 ”.

From 2001 to 2003 she was editor and author of the Viennese magazine Context XXI .

Her book Kriegsbühnen , published in 2012 . Theater in the First World War builds on her dissertation from 2009. Her comparative study focuses on the performances in the four European cities of Berlin, Lisbon, Paris and Vienna from 1914 to 1918. She examines how the war influenced "theater genres, schedules, plays and productions". It is one of the merits of her publication to have “collected countless pieces from the time of the First World War”. The extent of the material corpus, in which Krivanec has recorded 90,000 data records, is considerable. Eva Krivanec's investigation has set new standards in addition to that by Martin Baumeister on the front theater. What they both have in common is that they dare to step into the social and political environment of the stage scene, despite their theater science foundation. It is about "the theater as a social practice and not just about stage art as a cultural end in itself".

Eva Krivanec lives in Berlin and has two children. Since the winter semester 2017/18 she has been working as a junior professor at the Bauhaus University Weimar.

Awards

  • DOCAward 2010 from the University of Vienna and the City of Vienna for excellent research achievements in the context of their dissertation.

Fonts

monograph

Reviews:
Historical magazine . Volume 296, Issue 3, June 2013, pp. 848ff. ISSN  0018-2613 , doi: 10.1524 / hzhz.2013.0288
H-Soz cult. 11th of June 2013.
sight points. 14, 2014, Review Journal for the Historical Sciences, No. 6, June 15, 2014.
German Studies Review. Volume 37, Number 1, February 2014, pp. 198–200 (abstract)
Austrian History Yearbook. Volume 45, April 2014, pp. 258–260. doi: 10.1017 / S0067237813000854

Book contributions

  • Multimedia war propaganda. Spectacle, Variété and cinema in the First World War. In: Henri Schoenmaker et al. (Ed.): Theater und Medien / Theater and the Media. Transcript, Bielefeld 2008, ISBN 978-3-8376-1064-2 .
  • “I'm a Jew after all. I have nothing against Austria. ”Jewish characters in Vienna's entertainment theater during the First World War between stigmatization and appropriation. In: Petra Ernst, Gerald Lamprecht (ed.): Conceptions of the Jewish. Collective designs in transition. Studienverlag, Innsbruck 2009, ISBN 978-3-7065-4346-0 .
  • "Laughed sick and healthy again ..." Jewish entertainment theater in Vienna and Berlin from 1910 to 1918. In: Christine Haug et al. (Ed.): Popular Judentum. Media, debates, reading material. Max Niemeyer, Tübingen 2009, ISBN 978-3-484-65176-0 , pp. 103-120. (available on Google Books )
  • Entertainment theater as a medium for negotiating gender roles in the First World War. In: Martina Thiele et al. (Ed.): Media - War - Gender. Springer VS, 2010, ISBN 978-3-531-92342-0 , pp. 135–152 ( Springer Link )
  • The bombing was a couplet. On Viennese entertainment culture during the war. Catalog for the exhibition “JUBEL & ELEND, Living with the Great War 1914–1918”. Bad Schallaburg 2014, pp. 316–321.
  • Was on stage. Home Front Entertainment in European Metropolises 1914–1918. In: Joachim Bürgschwentner, Matthias Egger, Gunda Barth-Scalmani (eds.): Other Fronts, Other Wars? First World War Studies on the Eve of the Centennial. Brill, 2014, ISBN 978-90-04-24365-1 , pp. 370-388.
  • Travesty at the front. In: Julia B. Köhne et al. (Ed.): My comrade - the diva. Theaters at the front and in WWI prison camps. edition text + kritik , Munich 2014, ISBN 978-3-86916-366-6 , pp. 101–115.
  • Displaced speech. Ventriloquism as a popular attraction and the fascination of the friendly and ghostly. In: Lorenz Aggermann et al. (Ed.): "Learning to live with the ghosts". The ghostly as figure, metaphor and perceptual dispositive in theory and aesthetics . Neofelis Verlag , Berlin 2015, ISBN 978-3-943414-47-9 , pp. 331-345.

items

Individual evidence

  1. ^ Institute for German Studies, University of Vienna
  2. Habilitation projects , Institute for Theater, Film and Media Studies, University of Vienna ( Memento of the original from January 31, 2016 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.  @1@ 2Template: Webachiv / IABot / tfm.univie.ac.at
  3. 22nd EUROPEAN CULTURAL DAYS KARLSRUHE 7.-25. MAY 2014
  4. Edith Raim: Review of: Eva Krivanec: Kriegsbühnen. In: see points . June 14, 6, 15, 2014.
  5. ^ Nic Leonhardt: War stages. Review. In: H-Soz-Kult, June 11, 2013.
  6. Boris Slamka: The seriousness of the hour. The United City Theater in Frankfurt am Main 1914–1918. LIT Verlag, Berlin et al. 2014, ISBN 978-3-643-12579-8 , p. 16.