Abstract
In the second half of the twentieth century, plays and directing practices in East and West Germany expressed the desire to break with the legacy of the thoroughly racialized National Socialist past. Curiously, at the same time, the very word ‘race’ tended to be absent from the German stage only to reappear in the first two decades of the twenty-first century, which have been marked by questions of race and casting. By examining Dea Loher’s Innocence, Roland Schimmelpfennig’s The Golden Dragon and Wolfram Lotz’s The Ridiculous Darkness, this chapter examines recent German theatrical history by placing questions of race, representation and racialized structures at the centre rather than the margin of the perspective. The chapter will also discuss the work of theatre practitioners of Colour, including Nurkan Erpulat and Jens Hillje’s Crazy Blood in relation to the legacy of the Verfremdungseffekt, and Olivia Wenzel’s work in relation to Afrofuturist performance techniques.
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