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Touching this dreaded sight
(2020)
Ausgehend von der in Shakespeare zweimal wiederkehrenden Phrase „Touching this dreaded sight“ widmet sich der Beitrag mithilfe ausgewählter Stellen aus Shakespeares Hamlet und The Tempest der Wirkkraft des frühneuzeitlichen Theaters. Er geht der Frage nach, wie Zuschauer*innen eines Stückes aus der Distanz be-troffen und ge-rührt werden. Um dem nachzudenken, wie diese Distanz zwischen dem Visuellen, dem Schauen im Theater, und dem Haptischen, der Berührung, überbrückt werden kann, helfen frühneuzeitliche Vorstellungen von theatraler Ansteckungskraft und Hans Blumenbergs Konzept menschlicher Betreffbarkeit.
Catastrophic Spectacle
(2018)
The wood-engraving with the caption “The first sight of Paris”, published in Cassell’s History of the War between France and Germany 1870–1871 (1873), does not depict a spectacular catastrophe. As its title already indicates, it rather illustrates a constellation of sight. What there is to see is not so much a spectacular vista but the fact that one sees – and the way how this works. I would therefore like to use the wood-engraving to analyse the basic setting that is formative for every constellation of ‘spectacle’. This prepares for the second step, which brings in the notion of catastrophe: I will argue that the spectacle of catastrophe which has gained prominence especially in the nineteenth century is not merely a phenomenon of representing catastrophe, but involves the constellation of spectacle as such. Spectacular catastrophes perform and derive their force from a catastrophe of spectacle – this is what the following
will elaborate on.