Dramaturgie im zeitgenössischen Tanz ist ? positiv gemeint ? ein heißes Eisen. Idealerweise sind Dramaturginnen und Dramaturgen während der Erarbeitung eines Stücks die besten Freunde der Choreografen.
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Update: The German pavilion at this year's Venice Biennale is dedicated to Christoph Schlingensief who died in August last year, aged just 49. Regarded by many as a genius, for others he was a provocateur or merely a con artist. While still undergoing chemotherapy he travelled to Burkino Faso to oversee work on the opera village which is being built there on his instigation. His memoirs are due to be published in September. He talked to Thomas David about his obsession with Africa, the importance of disturbing the peace and why he didn't become the man he wanted to be.
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This year's theatre festival in Bregrenz hosted the world premiere of Mieczyslaw Weinberg's Auschwitz opera "The Passenger" from 1968. His biographer David Fanning introduces the life and music of this incredibly prolific composer, whose work somehow failed to emerge from the shadows of the Iron Curtain.
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The Hungarian magazines are thrilled to be able to read Herta Müller's "Everything I Own I Carry With Me". In the Blätter, Jürgen Habermas calls for an extension of human rights into the social sphere. In La regle du jeu, big name European intellectuals defend their Croatian colleague Predrag Matvejevitch, who faces imprisonment for describing an ultra-nationalist Croatian poet as the "Catholic Taliban". Slate wants to know whether Nabokov's poem "Pale Fire" was meant seriously or not. The TLS meets radical feminists with fabulous names - like the anarchist Voltairine de Cleyre. Przekroj looks at the two types of Turkish cinema. And in the NYT, Jay Rosen explains why the Internet is eroding America's most beautiful ideal.
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Mediapart decries the connivances of French politics and media. In the Nation, Colin Robinson picks a fight with Amazon. Osteuropa rolls out the red carpet for the composer Mieczyslaw Weinberg. The London Review remembers the media feeding frenzy around Tolstoy's deathbed. In Opendemocracy, the poet Tatiana Shcherbina feels the evil creeping back into Russia.
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The Swiss Magazin looks at the lawyers and doctors who are producing stewardesses and farmers. Caffe Europa shares Ulrich Beck's optimism about the religious mix of the future. The Boston Globe looks at the powerlessness of facts in the face of false convictions. In Le Monde, Michel Onfray trembles before the language of empire. The New Statesmen evaluates the new young supertaskers. The TLS reads a book about 19th anarchists. Outlook India and the NYT tackle terror in India, Pakistan and Yemen.
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Former East-German novelist Christa Wolf has spent a lifetime writing against forgetting and the repression of guilt. But the will to remember, it seems, has not been enough to prevent her from doing exactly that. Her biographer Jörg Magenau reviews her new autobiographical novel "Stadt der Engel", which ends in Death Valley. Perhaps 'dead end' would have been more to the point. Photo:©Susanne Schleyer
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The New Yorker wonders which is better equipped to determine the authenticity of a Leonardo da Vinci: the connoisseur or the forensic scientist. Polityka picks through the remains of the Fourth Republic. In The Observer, Claire Denis talks about shame and humiliation. In La regle du jeu, Roberto Saviano does not like what he sees in the eyes of his admirers. MicroMega has witnessed the birth of a political monster: illiberal democracy. The London Review of Books is looking for aliens to take care of our nuclear waste.
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