Privacy, emotion and political activism in the post-migrant theatre of Sasha Marianna Salzmann ; Intimidad, emoción y activismo político en el teatro posmigrante de Sasha Marianna Salzmann

Abstract

As Pavis (2016) argues, privacy has resurfaced in different forms and names in the current theatre. This work breaks down some of these forms of privacy and emotion in theatre studies, and then analyse their presence and articulation in the monologists of two works by Sasha Marianna Salzmann (n.1985): Muttersprache Mameloschn (2011) and Meteoriten (2016). The examination of Salzmann's modestes — who is one of the representatives of the so-called post-migrant theatre in Germany — shows that privacy in their works is not only about reversing the economy of the representativeness of minorities in a multicultural society. The emotion here abandons its traditional association with 'pathos' and 'inability to act' (Didi-Huberman 2016) and represents a form of political activism, building theatre as the smallest cell of a fairer society (Salzmann 2015). Faculty of Humanities and Education Sciences ; As Pavis (2016) argues, intimacy has resurfaced under different forms and names in current theater. This article makes a general introduction to posmigrant theatre in Germany, breaks down some of these forms of intimacy and emotion in theatre studies, and then analyzes its presence and articulation in the monologues of two works by german-language playwright Sasha Marianna Salzmann (n.1985): Muttersprache Mameloschn (2013) and Meteoriten (2016). The examination of the monologues of Salzmann -who is one of the representatives of the so-called German Postmigrant Theatre- exhibits that intimacy in their works is not only about reversing the representational economy of the minorities in a multicultural society. The use of emotion in her theatre abandons its traditional association with the "pathos" and the "Impossibility of Acting" (Didi-Huberman, 2013:26), and represents a form of political activism, which builds theatre as the smallest cell of a fairer society (Salzmann 2015). ; As Pavis (2016) argues, privacy has resurfaced in different forms and names in the current theatre. This work breaks down some of these forms of ...