Abstract
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” (DidiHuberman, 2013:26), and represents a form of political activism, which builds theatre as the smallest cell of a fairer society (Salzmann 2015).
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