Heidi Liedke
Biographic Data
| ID | 4860614 |
|---|---|
| NAME | Heidi Liedke |
| GIVEN NAMES | Heidi |
| FAMILY NAME | Liedke |
| SIGNATURE | LIEDKE H |
| AFFILIATIONS | Goethe University Frankfurt |
| ORCID | 0000-0002-5735-8447 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 1 |
| FIRST PUBLICATION YEAR | 2018 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 0 |
On Collapsing Time and Withholding Endings, or Hopeful Failure
This article reads two of Caridad Svich’s recent plays, How It Ends (2024) and The Next One Hundred Years (2023) through the lens of Jack Halberstam’s concepts of ‘queer time’ and ‘queer failure’ (2005 and 2011) and also Rebecca Schneider’s conceptualization of the wave (2018) to argue that what emerges in Svich’s work is a specifically post-Covidian anti-dramatic form of theatre that only works by withholding an ending. After an engagement with …
Therapy-as-Theatre
This article examines how theatre works as a form of therapy using Duncan Macmillan’s Every Brilliant Thing and Branden Jacobs-Jenkins’s An Octoroon . Both depict fictional representations of psychotherapy but also use concepts from narrative therapy as developed by White and Epston (1990), such as the audience as witnesses and creators of their own story. We argue that therapy-as-theatre exerts a pull on the audience, which invites them to empat…
Last Gasp (WFH) by Peggy Shaw and Lois Weaver
Reviewed by: Last Gasp (WFH) by Peggy Shaw and Lois Weaver Heidi Łucja Liedke LAST GASP (WFH). Written and performed by Peggy Shaw and Lois Weaver. Directed by Lois Weaver. Movement by Morgan Thorson. Video design and editing by Nao Nagai. Sound design by Vivian Stoll. La MaMa Experimental Theatre Club, New York City. Streamed, December 6, 2020. When a global pandemic brings most areas of life to a halt, it is perhaps not surprising that self-ref…
The Tempest (2020) by Creation Theatre
Critique The Tempest par Creation Theatre, sous la direction de Zoe Seaton. Spectacle en ligne (uniquement). 11 avril – 10 mai 2020
Shakespearean Celebrity in the Digital Age
Muße und Moderne
'Muße und Moderne' stehen in einem spannungsreichen Verhältnis, das zeigen die hier versammelten Beiträge aus Philosophie, Kultur- und Literaturwissenschaft. Anhand von amerikanischen, englischen, deutschen und französischen Beispielen geben sie einen Überblick über philosophische, soziokulturelle und literarische Muße-Diskurse. Verstanden als Makro-Epoche, die um 1800 beginnt, sucht sich die Moderne auch bei der Muße von 'klassischen' Vorgaben a…
No prominent works on this page.
Muße und Moderne
'Muße und Moderne' stehen in einem spannungsreichen Verhältnis, das zeigen die hier versammelten Beiträge aus Philosophie, Kultur- und Literaturwissenschaft. Anhand von amerikanischen, englischen, deutschen und französischen Beispielen geben sie einen Überblick über philosophische, soziokulturelle und literarische Muße-Diskurse. Verstanden als Makro-Epoche, die um 1800 beginnt, sucht sich die Moderne auch bei der Muße von 'klassischen' Vorgaben a…
The Tempest (2020) by Creation Theatre
Critique The Tempest par Creation Theatre, sous la direction de Zoe Seaton. Spectacle en ligne (uniquement). 11 avril – 10 mai 2020
Shakespearean Celebrity in the Digital Age
Last Gasp (WFH) by Peggy Shaw and Lois Weaver
Reviewed by: Last Gasp (WFH) by Peggy Shaw and Lois Weaver Heidi Łucja Liedke LAST GASP (WFH). Written and performed by Peggy Shaw and Lois Weaver. Directed by Lois Weaver. Movement by Morgan Thorson. Video design and editing by Nao Nagai. Sound design by Vivian Stoll. La MaMa Experimental Theatre Club, New York City. Streamed, December 6, 2020. When a global pandemic brings most areas of life to a halt, it is perhaps not surprising that self-ref…
On Collapsing Time and Withholding Endings, or Hopeful Failure
This article reads two of Caridad Svich’s recent plays, How It Ends (2024) and The Next One Hundred Years (2023) through the lens of Jack Halberstam’s concepts of ‘queer time’ and ‘queer failure’ (2005 and 2011) and also Rebecca Schneider’s conceptualization of the wave (2018) to argue that what emerges in Svich’s work is a specifically post-Covidian anti-dramatic form of theatre that only works by withholding an ending. After an engagement with …
Therapy-as-Theatre
This article examines how theatre works as a form of therapy using Duncan Macmillan’s Every Brilliant Thing and Branden Jacobs-Jenkins’s An Octoroon . Both depict fictional representations of psychotherapy but also use concepts from narrative therapy as developed by White and Epston (1990), such as the audience as witnesses and creators of their own story. We argue that therapy-as-theatre exerts a pull on the audience, which invites them to empat…
Art (4 works) · Theatre and Performance Studies (3 works) · Art history (2 works) · Literature (2 works) · Narrative (2 works) · Political science (2 works) · Shakespeare, Adaptation, and Literary Criticism (2 works) · Visual arts (2 works) · 19th to 21st Century (1 work) · Advertising (1 work)