Chapter: Die 360-Grad-Drehung des Kopfes: Ma€ und Transgression in Biped von Merce Cunningham

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Home > Das Experiment der Grenze: ästhetische Entwürfe im Neuesten Musiktheater / > Die 360-Grad-Drehung des Kopfes: Ma€ und Transgression in Biped von Merce Cunningham

Das Experiment der Grenze: ästhetische Entwürfe im Neuesten Musiktheater / |

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Das Experiment der Grenze: ästhetische Entwürfe im Neuesten Musiktheater /

Die 360-Grad-Drehung des Kopfes: Ma€ und Transgression in Biped von Merce Cunningham

Chapter Info

Authors

Katja Schneider

ARI Id

1674852316841_51105502

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Chapters/Headings	Author(s)	Pages	Info
"Ich bin SCHATTEN": zur Performanz der Abwesenheit in Heiner Goebbels' Black on white	Jörg von Brincken
"Ob ich auch wandle durch das Tal des Schattens": Heiner Goebbels' Black on white im Lichte der Bewegung	Franziska Weber
Die 360-Grad-Drehung des Kopfes: Ma€ und Transgression in Biped von Merce Cunningham	Katja Schneider
InLichtRäumen: Dimensionen der Wirklichkeitserzeugung in William Forsythes Limb's theorem	Gerald Siegmund
Vorstellung, Wahrnehmung und Darstellung: die Grenze der Narration im Musiktheater Voyeur	Jörg Mainka
Offene Felder-vernetzte Codierungen in Helmut Lachenmanns Mädchen mit den Schwefelhölzern	Barbara Zuber
Auf dem Lost Highway von David Lynch zu Olga Neuwirth	Fabienne Liptay
Musikalisches Vexierbild oder Meisterwerk?: Reflexionen zu Heiner Goebbels' Eraritjaritjaka	Wolfgang Rathert
Multiple Reflexionen des Realen: die künstlerische Struktur in Eraritjaritjaka von Heiner Goebbels	Jürgen Schädler.
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