Stefan Hulfeld

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Stefan Hulfeld (born March 22, 1967 ) is a Swiss theater scholar .

biography

Stefan Hulfeld completed his basic studies in German , philosophy and Latin at the University of Bern . In addition to his subsequent studies in theater studies (also in Bern), he pursued practical theater activities in Berlin , Graz and Avignon . In 1999 Hulfeld received his doctorate (summa cum laude) and in 2006 he qualified as a professor with the writing Theater History as a Cultural Practice? A contribution to the history of knowledge about theater. Since October 2006, Stefan Hulfeld has been professor for theater and cultural studies at the Philological and Cultural Studies Faculty of the University of Vienna . From October 2012 to September 2014 he was head of the institute for Theater, Film and Media Studies and from October 2012 to September 2016 Vice Dean for Research of the Faculty of Philological and Cultural Studies at the University of Vienna.

Teaching and science

With a focus on older European theater history , theater theory , commedia all'improvviso , theater history and dramaturgy of the 18th century, the history of theater historiography and contemporary drama , Stefan Hulfeld deals with fundamental questions of theater theory and history . The research of Rudolf Münz (1931–2008) on theatricality and the structure of theatricality is sometimes the basis of his discussions. They make a theater-historical reflection on conceptual uses and constructions indispensable. There are also the two questions of how one can talk about theater and what it can mean when people talk about 'the' theater:

«The» theater: a terminological cuckoo egg that nips the perception of diversity and thinking about the various manifestations and functions of theatrical interactions in the bud. «The» theater is also one that received state subsidies from the 19th century onwards because of its noble intentions in the area of ​​humanity and that was the only form of theater to enjoy cultural and political species protection. From today's point of view, the debates about a unity of the plot or a unity of the place in the drama seem to be a purposeful diversionary maneuver when trying to realize the “unity of the theater”. As little success was granted to this request in theater practice, the triumph seems to be more lasting on a terminological level. «The» theater as a signature for the fact that until today it has not been possible to counter the myth of the «Enlightenment theater history» with the enlightenment of theater history.

In this context, Hulfeld's concept of "theatrical interactions" represents an essential model to be able to think and speak about different types of theater (in a structure of "theater play", "live theater", "art theater" and "non-theater") without having to limit oneself only to institutionalized theater forms.

The relevance of historical and historiographical references and contextualizations with regard to 'contemporary' theater forms is shown by Hulfeld with the term "contemporary theater history", which can be read as an alternative to the otherwise strongly predominant concentration on performativity in discourses on theater studies. Understanding "theatrical or cultural practices" as theories represents a possibility for Hulfeld to avoid one-sided perspectives, "in that what defines culture does not have to be brought to a common denominator, in dealing with the" theatrical "in practice as well in reflection, in the life process as well as in the area defined as art, in amateur and professional theater. " And Hulfeld counts both theater history and historiography as part of a "cultural practice":

One thing is clear, however: books with titles such as «European theater history», «World history of theater» etc. will continue to be written and sold. This continues to communicate that «the» theater history exists as a series of paradigmatic innovations or epoch-specific achievements, however much this may be relativized in prefaces etc. This point of view can only be countered by publications that have the promise of synthesis inscribed in the title, but which deliver it with completely different constructions and thus draw attention to the nature of theater history and historiography as a cultural practice.

Considering this problem, Hulfeld explicitly elaborates in his considerations on the Commedia all'improvviso and its different manifestations as well as transformations which relativize the subsumption under the term Commedia dell'arte ; d. H. Which 'commedia' is spoken of in such standardization and unification: "That of Ciarlatano Monferino? Or that of Ser Maphio, Zan Ganassa, Tristano Martinelli, Giovan Battista Andreini, Antonio Riccoboni, Domenico Biancolleli, Evariste Ghérardi, Louis Riccoboni, Joseph Felix von In short, Carlo Goldoni, Maurice Sand? "

Publications

author

  • Introduction to reading the Scenari più scelti d'istrioni. In: Stefan Hulfeld (Ed.): Scenari più scelti d'istrioni. Italian-German edition of the one hundred Commedia all'improvviso scenarios from the Corsiniana collection. With the collaboration of Demis Quadri, Sebastian Hauck and Stefano Mengarelli. With 102 colored illustrations. Vienna University Press at V&R unipress, Göttingen 2014, ISBN 978-3-8471-0080-5 , pp. 9–112.
  • Memory of tomorrow. Theater historiography. In: Gerda Baumbach, Veronika Darian, Günther Heeg, Patrick Primavesi, Ingo Rekatzky (eds.): Snapshot Theater Studies. Leipzig lectures. Theater der Zeit, Berlin 2014, ISBN 978-3-95749-028-5 , pp. 105-106.
  • Modernist Theater. In: David Wiles, Christine Dymkowski (Eds.): The Cambridge Companion to Theater History. Cambridge University Press, Cambridge 2013, ISBN 978-0-52176-636-4 , pp. 15-32.
  • Authorship and improvisation game. Plautus' Menaechmi in the Italian Commedia all'improvviso. In: Corinna Kirschstein, Sebastian Hauck (Ed.): Actors and their practices in discourse. Essays. Leipziger Universitätsverlag, Leipzig 2012, ISBN 978-3-86583-532-1 , pp. 376-409.
  • Improvisational comedy. Drama and mask play in the 16th-18th centuries Century. In: Peter W. Marx (Ed.): Handbuch Drama. Theory, analysis, history. JB Metzler, Stuttgart / Weimar 2012, ISBN 978-3-4760-2348-3 , pp. 224-230.
  • '… Huge now that triumphantly throws its four months against two millennia into the balance…'. Krähwinkel 1848 or theater history from the perspective of an outmoded comedian. In: Gerda Baumbach (ed.): On the way to Pomperlörel - criticism of "the" theater. Leipziger Universitätsverlag, Leipzig 2010, ISBN 978-3-86583-422-5 , pp. 254-279.
  • Spoken theater. Genesis of a historical category, aporias in practice. In: Ulrike Landfester , Caroline Pross (Ed.): Theatermedien. Theater as a medium - media of the theater. Haupt, Bern / Stuttgart / Vienna 2010, ISBN 978-3-258-07562-4 , pp. 71–91.
  • Acting techniques of the Commedia all'improvviso. In: Thomas Drescher (Ed.): Basler Jahrbuch für Historische Musikpraxis. Improvisational practice from the Middle Ages to the 18th century. Volume 31. Amadeus, Winterthur 2009, ISBN 978-3-905786-07-1 , pp. 95-106.
  • Imaginary public. The theater of the humanists and that of the Medici festivals. In: Erika Fischer-Lichte , Matthias Warstat (ed.): Staging Festivity. Theater and festival in Europe. Francke, Tübingen 2009, ISBN 978-3-7720-8318-1 , pp. 245-259.
  • Paris 1697/1716. New scenes from the old Théâtre Italy . In: Stefan Hulfeld, Andreas Kotte , Friedmann Kreuder (eds.): Theater historiography. Continuities and breaks in discourse and practice. Francke, Tübingen 2007, ISBN 978-3-7720-8212-2 , pp. 89-114.
  • Theater historiography as a cultural practice. How knowledge about theater is created. Chronos, Zurich 2007, ISBN 978-3-03-400848-8 .
  • together with Andreas Kotte : A book with five seals. Reflections on the Spencer Collection Image Codex Ms. 180. In: Michael Stolz, Adrian Mettauer, Yvonne Dellsperger, André Schnyder, Hendrik Kuschel (eds.): Book culture in the Middle Ages. Writing - image - communication. De Gruyter, Berlin 2005, ISBN 3-11-018922-4 , pp. 295-312.
  • together with Werner Wüthrich : Bertolt Brecht and Switzerland. Chronos, Zurich 2003, ISBN 3-03-400564-4 .
  • The imagined whole in theater history. Reflections on the reception of Molières Malade imaginaire . In: Hans-Peter Bayerdörfer (Ed.): Voice, Sounds, Tones. Synergies in the scenic play. Narr, Tübingen 2002, ISBN 978-3-8233-5230-3 , pp. 507-518.
  • Taming of masks, preservation of faces. Theater and theatricality in Solothurn 1700-1798. Chronos, Zurich 2000, ISBN 3-905314-11-8 .
  • Public drinking in spite of and as a punishment. Theoretical Problems of Finding Theater in Council Minutes of the 18th Century. In: Gabriele Brandstetter , Helga Finter, Markus Weßendorf (eds.): Grenzzüge. The theater and the other arts. Narr, Tübingen 1998, ISBN 3-8233-5224-5 , pp. 351-360.
  • Bourgeois theater in Solothurn 1753 to 1755. In: Andreas Kotte (Hrsg.): Probing to the theater. Ten contributions to the history of theater in Switzerland. Inquiries on the theater. Theaterkultur-Verlag, Basel 1995, ISBN 3-908145-24-4 , pp. 143-196.

editor

  • Scenari più scelti d'istrioni. Italian-German edition of the one hundred Commedia all'improvviso scenarios from the Corsiniana collection. With the collaboration of Demis Quadri, Sebastian Hauck and Stefano Mengarelli. With 102 colored illustrations . Vienna University Press at V&R unipress, Göttingen 2014, ISBN 978-3-8471-0080-5 .
  • Mask and Kothurn . International contributions to theater, film and media studies. Theater / Science in the 20th Century. Contributions to specialist history (together with Birgit Peter). 55th year, issue 1/2, Böhlau, Vienna 2009, ISBN 978-3-205-78338-1 .
  • Theater historiography. Continuities and breaks in discourse and practice (together with Andreas Kotte and Friedmann Kreuder). Francke, Tübingen 2007, ISBN 978-3-7720-8212-2 .

Web links

Individual evidence

  1. ↑ Biography Hulfelds ( Memento of 26 April 2012 at the Internet Archive )
  2. ↑ u: cris entry . Entry on Stefan Hulfeld on the u: cris portal of the University of Vienna, accessed on October 22, 2016.
  3. ^ Rudolf Münz: Theatricality and Theater. On the historiography of theatrical structures. Schwarzkopf & Schwarzkopf, Berlin 1998.
  4. ↑ Stefan Hulfeld: Taming the masks, preserving the faces. Theater and theatricality in Solothurn 1700-1798. Chronos, Zurich 2000, p. 563.
  5. ↑ Stefan Hulfeld: Taming of the masks. 2000, pp. 379-397.
  6. ↑ Stefan Hulfeld: Taming of the masks. 2000, pp. 397-401.
  7. ↑ See Stefan Hulfeld: Theater historiography as a cultural practice. How knowledge about theater is created. Chronos, Zurich 2007, pp. 350–357.
  8. ^ Stefan Hulfeld: Theater historiography . 2007, p. 357.
  9. ^ Stefan Hulfeld: Theater historiography . 2007, p. 354.
  10. ^ Stefan Hulfeld: Theater historiography . 2007, p. 323.
personal data
SURNAME Hulfeld, Stefan
BRIEF DESCRIPTION Swiss theater scholar
DATE OF BIRTH March 22, 1967