Abstract
Abstract While the conversation with Philip Auslander – printed in this issue – mainly revolved around the theoretical and medial conditions of the relationship between performance and document with regard to performance documentation, this interview with the Lebanese artist Rabih Mroué sheds light on his artistic approach to documents and archives, related to historical and current political events in the Middle East. Departing from one of his latest pieces The Pixelated Revolution (2012), the question is raised of how theatre and performance have the potential to engender a reflection on the mediation and mediality of memory and on how we engage with images of war and death, their use and misuse for political and ideological purposes and create possible counter-narratives.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
