Rosemarie Brucher
Biographic Data
| ID | 3853186 |
|---|---|
| NAME | Rosemarie Brucher |
| GIVEN NAMES | Rosemarie |
| FAMILY NAME | Brucher |
| SIGNATURE | BRUCHER R |
| ORCID | 0000-0002-9843-1292 |
| VERIFIED | No |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 3 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2013 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 0 |
Hence it Follows That the Actor Must Have a Double Personality
In the nineteenth century, dissociative states of consciousness became a central focus of research. Techniques such as hypnosis and suggestion, along with phenomena like somnambulism and trance, played a pivotal role in shaping consciousness theory. These insights were subsequently adopted by theater theorists to deepen their understanding of the actor's capacity for transformation and character portrayal. This article examines how theater theori…
Self-Injuring Body Art
Artistic self-injury, established as an art form since the late 1960s, polarizes the audience and still raises questions about the motivations behind such actions as well as about the narrative contexts in which they occur. While past research has focused on either specific performers or specific trajectories of violence in the contexts in which each artist was working, for instance, the Vietnam War (Kathy O'Dell), this article localizes artistic…
Ästhetische Travestie
This article addresses the coherencies linking subjectivity, power, and gender in the Austrian performance art of the late 1960s. It focuses especially on cross-dressing, that is, on performative gender-switching. Based on the confrontation of two exemplary works by Günter Brus and valie export , the following questions are crucial to this study: What kind of subjectivity is negotiated through this identification with “the other”? Furthermore, wh…
No prominent works on this page.
Ästhetische Travestie
This article addresses the coherencies linking subjectivity, power, and gender in the Austrian performance art of the late 1960s. It focuses especially on cross-dressing, that is, on performative gender-switching. Based on the confrontation of two exemplary works by Günter Brus and valie export , the following questions are crucial to this study: What kind of subjectivity is negotiated through this identification with “the other”? Furthermore, wh…
Self-Injuring Body Art
Artistic self-injury, established as an art form since the late 1960s, polarizes the audience and still raises questions about the motivations behind such actions as well as about the narrative contexts in which they occur. While past research has focused on either specific performers or specific trajectories of violence in the contexts in which each artist was working, for instance, the Vietnam War (Kathy O'Dell), this article localizes artistic…
Hence it Follows That the Actor Must Have a Double Personality
In the nineteenth century, dissociative states of consciousness became a central focus of research. Techniques such as hypnosis and suggestion, along with phenomena like somnambulism and trance, played a pivotal role in shaping consciousness theory. These insights were subsequently adopted by theater theorists to deepen their understanding of the actor's capacity for transformation and character portrayal. This article examines how theater theori…
Aesthetics (2 works) · Art (2 works) · Performative utterance (2 works) · Sociology (2 works) · Art, Politics, and Modernism (1 works) · Body Image and Dysmorphia Studies (1 works) · Communism, Protests, Social Movements (1 works) · Consciousness (1 works) · Dissociation (chemistry) (1 works) · Dissociative identity disorder (1 works)