Die Lehrveranstaltung will einen Überblick über zentrale Texte, Konzepte und Diskurse der Performancetheorie seit den 1950er Jahren aber auch ihrer Vorläufer geben. Im Mittelpunkt steht die Frage, wie Klang, Körper, Raum, Handlung und Inszenierungen unser Verständnis von Kunst, Kultur und Gesellschaft geprägt und erweitert haben.  Anhand ausgewählter Positionen aus Theorie und Praxis der Kunst (u.a. Allan Kaprow), Anthropologie und Ritualtheorie (u.a. Victor Turner, Richard Schechner) sowie der Sprechakttheorie und Sprache (u.a. J. L. Austin, Jacques Derrida) werden unterschiedliche Perspektiven auf den Begriff der Performance erarbeitet und vor allem in den Arbeiten der amerikanischen Avantgarde seit Mitte des letzten Jahrhunderts diskutiert.  Die Lehrveranstaltung richtet sich an Studierende aller Fachbereiche, insbesondere an diejenigen, die selbst mit performativen Formaten arbeiten oder daran interessiert sind. Bereitschaft zur Lektüre von Texten, zum Ansehen von Performances und Kunstwerken sowie zur aktiven Diskussion wird vorausgesetzt. Im Sommersemester folgt ein zweiter Teil, der zeitgenössische Theorien (u.a. Judith Butler, Karen Barad, Jon McKenzie) in den Blick nimmt und nach den Ambivalenzen performativer Praktiken fragt. Die Teilnahme an den beiden Teilen ist unabhängig voneinander möglich, wird aber nur bedingt empfohlen. Sprache: Deutsch (mit englischen Texten und optionalen englischen Sitzungen). ------------------------------------------------------------------------------------------------ This course aims to provide an overview of key texts, concepts, and discourses in performance theory since the 1950s, as well as its precursors. The focus is on how sound, body, space, action, and staging have shaped and expanded our understanding of art, culture, and society.  Using selected positions from art theory and practice (including Allan Kaprow), anthropology, and ritual theory (including Victor Turner and Richard Schechner), as well as speech act theory and language (including J. L. Austin and Jacques Derrida), different perspectives on the concept of performance will be developed and discussed, particularly in the works of the American avant-garde since the middle of the last century.  The course is aimed at students from all disciplines, especially those who work with performative formats themselves or are interested in them. A willingness to read texts, view performances and artworks, and engage in active discussion is required. The summer semester will feature a second part that examines contemporary theories (including Judith Butler, Karen Barad, Jon McKenzie) and questions the ambivalences of performative practices. Participation in the two parts is possible independently of each other, but is only recommended to a limited extent. Language: German (with English texts and optional English sessions).

Austauschformat für alle Studierenden, die an performativen, szenischen, installativen und anderen Formaten mit Aufführungscharakter arbeiten. Alle Arbeitsstände sind willkommen: erste Ideen, Skizzen und konzeptuelle Überlegungen genauso wie erste praktische Umsetzungsversuche und Tryouts, Zwischenstände, bis hin zu weit entwickelten Arbeiten oder Abschlussprojekten. Eine besondere Betonung liegt auf der Neugier der künstlerischen Ansätze der anderen und die Bereitschaft, diese gemeinsam zu erkunden. Künstlerische Praxis bedeutet immer auch, den eigenen Arbeitsprozess sichtbar zu machen und zu teilen: Wie kann ich über die eigene Arbeit zu sprechen, sie zur Diskussion zu stellen und die Gedanken und Perspektiven anderer einzubeziehen. Es gehört aber genauso dazu, sich selbst mit den Arbeiten anderer auseinanderzusetzen, sie zu betrachten, Fragen zu stellen und konstruktiv Feedback geben. Die Teilnehmenden sind eingeladen, ihre individuellen und kollektiven Projekte oder künstlerischen Praktiken in einer festen Gruppe vorzustellen und gemeinsam theoretisch und praktisch zu reflektieren. Neben der Besprechung der einzelnen Arbeiten und Fragestellungen der Studierenden soll es auch Raum geben, allgemeine Themen zur Umsetzung der Projekte zu diskutieren: - Projekt- und Produktionsleitung  - Förderformaten und -institutionen, Akquise von Projektgeldern, Antragsstellung (von der - Konzeption bis zur Abrechnung) -  technische Grundlagen: Erstellen eines Technical Riders, Spielstättenbesichtigung,  -  Kennenlernen der technischen Ausstattung der Hochschulbühne(n) und Aufführungsräume Die Probebühne wird zu zwei unterschiedlichen Terminen angeboten. Beide Termine stehen den Studierenden aller Fachbereiche offen und unterscheiden sich bis auf den Durchführungszeitraum nicht. Die Themen der jeweiligen Sitzung werden dabei individuell auf die Bedürfnisse und Fragen der Studierenden angepasst. Ein Wechsel innerhalb der Probebühenformate während des Semesters wird nicht empfohlen.  Die Probebühne kann nach Bedarf der Teilnehmenden auf Deutsch oder auf Englisch stattfinden. ------------------------------------------------------------------------------------------------------ Probebühne is the stage without a stage: a constant exchange format for all students working on performative, scenic, installation and other formats with a performance character. All stages of work are welcome: initial ideas, sketches and conceptual considerations as well as initial practical implementation attempts and tryouts, interim results, right through to highly developed works or final projects. There is a particular emphasis on curiosity about the artistic approaches of others and a willingness to explore them together. Artistic practice always means making one's own work process visible and sharing it: how can I talk about my own work, put it up for discussion and incorporate the thoughts and perspectives of others? But it is just as important to engage with the work of others, to look at it, ask questions and give constructive feedback. Participants are invited to present their individual and collective projects or artistic practices in a fixed group and to reflect on them together, both theoretically and practically. In addition to discussing the students' individual work and questions, there will also be space to discuss general topics related to the implementation of the projects: - Project and production management  - Funding formats and institutions, acquisition of project funds, application process (from   conception to accounting) - Technical basics: creating a technical rider, venue inspection,  -  familiarisation with the technical equipment of the university stage(s) and performance spaces Probebühne is offered on two different weekly dates. Both dates are open to students from all departments and do not differ except for the time period in which they take place. The topics of each session are individually tailored to the needs and questions of the students. Changing Probebühnen formats during the semester is not recommended. The rehearsal stage can be held in German or English, depending on the needs of the participants.

Probebühne is the stage without a stage: a constant exchange format for all students working on performative, scenic, installation and other formats with a performance character. All stages of work are welcome: initial ideas, sketches and conceptual considerations as well as initial practical implementation attempts and tryouts, interim results, right through to highly developed works or final projects. There is a particular emphasis on curiosity about the artistic approaches of others and a willingness to explore them together. Artistic practice always means making one's own work process visible and sharing it: how can I talk about my own work, put it up for discussion and incorporate the thoughts and perspectives of others? But it is just as important to engage with the work of others, to look at it, ask questions and give constructive feedback. Participants are invited to present their individual and collective projects or artistic practices in a fixed group and to reflect on them together, both theoretically and practically. In addition to discussing the students' individual work and questions, there will also be space to discuss general topics related to the implementation of the projects: - Project and production management - Funding formats and institutions, acquisition of project funds, application process (from conception to accounting) ? Technical basics: creating a technical rider, venue inspection, ? familiarisation with the technical equipment of the university stage(s) and performance spaces Probebühne is offered on two different weekly dates. Both dates are open to students from all departments and do not differ except for the time period in which they take place. The topics of each session are individually tailored to the needs and questions of the students. Changing Probebühnen formats during the semester is not recommended. The rehearsal stage can be held in German or English, depending on the needs of the participants.

Probebühne is the stage without a stage: a constant exchange format for all students working on performative, scenic, installation and other formats with a performance character. All stages of work are welcome: initial ideas, sketches and conceptual considerations as well as initial practical implementation attempts and tryouts, interim results, right through to highly developed works or final projects. There is a particular emphasis on curiosity about the artistic approaches of others and a willingness to explore them together. Artistic practice always means making one's own work process visible and sharing it: how can I talk about my own work, put it up for discussion and incorporate the thoughts and perspectives of others? But it is just as important to engage with the work of others, to look at it, ask questions and give constructive feedback. Participants are invited to present their individual and collective projects or artistic practices in a fixed group and to reflect on them together, both theoretically and practically. In addition to discussing the students' individual work and questions, there will also be space to discuss general topics related to the implementation of the projects: - Project and production management - Funding formats and institutions, acquisition of project funds, application process (from conception to accounting) ? Technical basics: creating a technical rider, venue inspection, ? familiarisation with the technical equipment of the university stage(s) and performance spaces Probebühne is offered on two different weekly dates. Both dates are open to students from all departments and do not differ except for the time period in which they take place. The topics of each session are individually tailored to the needs and questions of the students. Changing Probebühnen formats during the semester is not recommended. The rehearsal stage can be held in German or English, depending on the needs of the participants.

This course aims to provide an overview of key texts, concepts, and discourses in performance theory since the 1950s, as well as its precursors. The focus is on how sound, body, space, action, and staging have shaped and expanded our understanding of art, culture, and society. Using selected positions from art theory and practice (including Allan Kaprow), anthropology, and ritual theory (including Victor Turner and Richard Schechner), as well as speech act theory and language (including J. L. Austin and Jacques Derrida), different perspectives on the concept of performance will be developed and discussed, particularly in the works of the American avant-garde since the middle of the last century. The course is aimed at students from all disciplines, especially those who work with performative formats themselves or are interested in them. A willingness to read texts, view performances and artworks, and engage in active discussion is required. The summer semester will feature a second part that examines contemporary theories (including Judith Butler, Karen Barad, Jon McKenzie) and questions the ambivalences of performative practices. Participation in the two parts is possible independently of each other, but is only recommended to a limited extent.

Die Lehrveranstaltung Szenische Miniaturen ist als fortlaufende Reihe konzipiert, die jedes Semester neue inhaltliche Schwerpunkte setzt. Sie kombiniert einen theoretisch-historischen Teil mit der praktischen Umsetzung kleinerer konzertanter oder szenischer Arbeiten, die aus der theoretischen Auseinandersetzung heraus entstehen (können). Im Mittelpunkt des Wintersemesters steht die Frage nach dem Potenzial von Performances, alternativer Konzertformen, Klanginszenierungen, musikalischer Inszenierungen oder (experimenteller) Musiktheaterprojekte jenseits klassischer Bühnen oder Aufführungssituationen. Ausgehend von theoretischen und reflexiven Zugängen, wie etwa der Lektüre und Diskussion künstlerischer Arbeiten, werden eigene Konzepte entwickelt, die für den öffentlichen Raum, den Stadtraum gedacht sind, in ihm stattfinden oder ihn thematisieren. Darüber hinaus betrachten wir, wie Inszenierungsmechanismen von Stadtmarketing über Großveranstaltungen oder architektonischen Setzungen nicht nur Teil künstlerischer Praxis sind, sondern gerade auch in der städtischen Planung und gesellschaftlichen Interessen erlebbar werden. KW 41 (07.10.2025): Kurze Vorbesprechung (1 Stunde) – organisatorische Einführung, Vorstellung des Seminarplans. Beginn der inhaltlichen Sitzungen ab KW 42. Die Lehrveranstaltung richtet sich an Studierende aller Fachbereiche, insbesondere an diejenigen, die selbst mit performativen Formaten arbeiten oder daran interessiert sind. Bereitschaft zur Lektüre von Texten, zum Ansehen von Performances und Kunstwerken sowie zur aktiven Diskussion wird vorausgesetzt.

Mary Ruefle On beginnings: "In life, the number of beginnings corresponds exactly to the number of endings: no one who begins their life will not also end it. In poetry, the number of beginnings exceeds the number of endings so greatly that we cannot even imagine it. Not every poem is completed – one poem is abandoned, another catches fire and is carried away by the wind, which may be an ending, but it is the ending of a poem without an ending." Based on Mary Ruefle's lecture: On beginnings, the course Loose ends invites students from all disciplines to develop artistic works from the end. Instead of leaving the end to chance, exhaustion or the audience, it is consciously conceived as a creative element: When, how and under what conditions should a work end? And how do planned and open endings actually differ in art, music and performance? What aesthetic and dramaturgical means create an ending? And when is a work actually over, and who determines that anyway? What political or social dimensions can an ending have?What aesthetic and dramaturgical means create an ending? And when is a work actually finished, and who decides that anyway? What political or social dimensions can an ending have? In Loose Ends, texts are read, artistic examples are discussed, and short practical exercises are carried out. We will decide together during the semester whether there will be an internal presentation.

The graphic score Treatise by British composer Cornelius Cardew (1936–1981), described by him as “a long continuous drawing”, comprises 193 pages without conventional musical parameters: no information on instrumentation or number of performers. It is considered exemplary for the genre. Cardew first studied piano, cello and composition at the Royal Academy of Music in London and continued his training in 1957 with a scholarship at the HfMT Cologne, where he devoted himself to electronic music. In 1958, he was répétiteur for the European premiere of John Cage's piano concerto, then assistant to Karlheinz Stockhausen. After returning to London in 1961, he worked as a graphic designer and began to incorporate graphic and verbal notation into his compositions. In 1969, he founded the experimental Scratch Orchestra together with Howard Skempton and Michael Parsons, which existed until 1972 and included both professional artists and amateurs. Cardew became internationally known not only for his avant-garde works, but also for his left-wing political views and his role in contemporary music. He himself writes about the work: Treatise is a graphic score composed without reference to any set of rules for interpretation. It was begun in 1963 and remains incomplete; the hundred pages currently finished constitute slightly more than half of the entire work. The length of the score justifies the absence of an interpretation system; the graphic material is treated in such detail that an interpretation (musical or otherwise) can develop almost unconsciously in the reader's mind as they read the score. During the two-week open topic block, we will work together to develop a performance version of the graphic score, which can be presented internally at the university at the end.