Abstract
In 2006, Feridun Zaimoglu and Gunter Senkel’s Black Virgins (Schwarze Jungfrauen), a controversial semi-documentary play about Muslim women, became the first play by a Turkish-German playwright to be featured on the front cover of Germany’s influential theatre magazine Theater heute (Theatre Today). This success marked the arrival of a new movement in German theatre: “postmigrant theatre”, a movement which aims to redress the lack of postmigrant representation on German stages. Where initially the “authenticity” of the representation of the postmigrant subject appeared in need of legitimisation, this chapter shows that by 2010 the inclusion of Black Virgins and other “postmigrant” plays in state-funded repertoires had arguably become a source of justification for the continued relevance of German theatre.
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