Kreuzige ihn!"- Eine Blick-Akt-Analyse der Passion Christi am Beispiel von Hermann Nitschs Kreuzigungsaktionen
The article discusses Hermann Nitsch's 'Kreuzigungsaktionen' as a re-enactment of the Passion of Christ, arguing that they differ from 'traditional' representations in reception and invert their meaning. By making use of Christian symbols, Nitsch himself places his actions i...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | German |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Interlibrary Loan: | Interlibrary Loan for the Fachinformationsdienste (Specialized Information Services in Germany) |
| Published: |
2019
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| In: |
Forum modernes Theater
Year: 2019, Volume: 30, Issue: 1, Pages: 178-192 |
| Online Access: |
Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
| Parallel Edition: | Electronic
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| Summary: | The article discusses Hermann Nitsch's 'Kreuzigungsaktionen' as a re-enactment of the Passion of Christ, arguing that they differ from 'traditional' representations in reception and invert their meaning. By making use of Christian symbols, Nitsch himself places his actions in the context of Christian mediation and ancient G reek theatre theory, referring to Aristoteles' terms of eleos and phobos. In this way, he seems to presuppose an analogy between catharsis and compassion based on corporal-ritual practices. While the Passion Play represents the corporal suffering, Nitsch tries to create an all-surrounding, all-sensual experience that allows the participant to 'take part' in the crucifixion. But whom is the participant to identify with? In analysing interactions of spectators, participants and performers using Adam Czirak's 'Gaze-Act-Theory', the article shows how 'denied gazes' disqualify Nitsch's work from evoking compassion and thus from being a re-enactment of the Passion. |
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| ISSN: | 2196-3517 |
| Contains: | Enthalten in: Forum modernes Theater
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| Persistent identifiers: | DOI: 10.1353/fmt.2019.0012 |