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Photo for Nina Tecklenburg

Nina Tecklenburg

Germany
PhD in Theater Studies
Freie Universität Berlin

Prof. Dr. Nina Tecklenburg is a performance maker and scholar of theater and performance. Since 2002, as a performer, co-director and dramaturge, she has realized a host of projects with diverse artists and performance groups, among others Interrobang (of which she is a founding member), She She Pop, Gob Squad, Lone Twin Theatre, Baktruppen, Rabih Mroué. Works she has (co-)created have been shown at the Public Theater NYC, Hebbel am Ufer Berlin, The Barbican London, Wiener Festwochen, Esplanade Singapore, Heidelberger Stückemarkt, Kunsten Festival des Arts Brussels, Theatre de la Ville Paris, Sophiensaele Berlin, Volksbühne Berlin and many more.

From 2017-18 she was a guest professor at Ernst Busch Academy of Dramatic Arts Berlin. She has taught at the Freie Universität Berlin, University of Hildesheim, Bern University of the Arts, and Berlin University of the Arts (UdK). She received her PhD in Theater Studies at Freie Universität Berlin in 2012 and has published, among others, in The Drama Review, Theatre Research International, Performance Research. The English translation of her book about new narrative practices in contemporary theater (Performing Stories. Erzählen in Theater und Performance) will be published by Seagull Books in cooperation with Chicago University Press (forthcoming).

Research and Teaching Interests

Theory and history of performance art, postdramatic theater, performance and art practice as research, narrative theory, autobiography, applied theater, artistic approaches and methods in devised theater, theater after the postdramatic (new book project)

Publications (selected)

Performing Stories. Erzählen in Theater und Performance, Bielefeld (transcript) 2014.
English translation published by Seagull Books in cooperation with Chicago University Press, enactments series edited by Richard Schechner, forthcoming.

Die Aufführung. Diskurs – Macht – Analyse, co-edited with Adam Czirak, Erika Fischer-Lichte, Torsten Jost, Frank Richarz, Munich (Fink) 2012.

„Alles offen. Multioptionale Dramaturgien in den Arbeiten von Interrobang“, in: Postdramaturgien, ed. by Jan Deck, Sandra Umathum, submitted.

„Partizipative Games, Hypertext-Performances, immersive Theaterinstallationen. Neue Erzählformen im Theater und in Arbeiten von Interrobang“, in: Theater und Algorithmen, ed. by Ulf Otto, Berlin (Alexander Verlag), submitted.

„Biografisches Theater – überall. Kritik einer Bühnenpraxis“, in: Biografieren auf der Bühne, ed. by Melanie Hinz, Norma Köhler, Christoph Lutz-Scheurle, München (kopaed), submitted.

„’Zukunft als Erfahrung ermöglichen’ Ein Gespräch über Theorie und Praxis der (P)reenactments“, together with Doris Kolesch and Sven Lindholm, in: Performance zwischen den Zeiten. Reenactment und Preenactment in Kunst und Wissenschaft, ed. by Adam Czirak, Sophie Nikoleit and others, Bielefeld (transcript) 2019, p. 23-26.

„Zaczarowana rzeczywistość, zapośredniczony kontakt. Historia Gob Squad“, transl. Paweł Schreiber, in: Didaskalia, Nr. 115-116, 2013, S. 11-25.

“Everybody’s Life and Times. Zum autobiografischen Erzählen im Theater”, in: festival journal, Foreign Affairs of Berliner Festspiele, 2013, p. 20-23.

“Reality Enchanted, Contact Mediated: A Story of Gob Squad”, in: The Drama Review (TDR), Vol. 56, No. 2 (T214) 2012, p. 8-33.

“Mythos Ereignis – Mythos Aufführung. Künstlerische Reenactments als Entmythisierungsverfahren”, in: Theater als Zeitmaschine. Zur performativen Praxis des Reenactments, ed. by Ulf Otto, Jens Roselt, Bielefeld (transcript) 2012, p. 79-100.

“To the Stories! Thoughts on Narrative in Lone Twin Theatre”, Good Luck Everybody. Lone Twin. Journeys Performances Conversations, ed. by Carl Lavery and David Williams, Aberystwyth (Performance Research Books) 2011, p. 313-19.

“Entangled Within Stories: Towards a Narrative Theory of Performance”, in: Worlds in Words. Storytelling in Contemporary Theatre and Playwriting, ed. by Małgorzata Sugiera and Mateusz Borowski, Newcastle (Cambridge Scholars Publishing) 2010, p. 45-60.

“The Potential of the End(ing): Anticipated Nostalgia in To the Dogs by Lone Twin”, in: Theatre Research International, Vol. 34, No. 2, ed. by Freddy Rokem, 2009, p. 124-130.

“How to do Art with Shit. Ekel als ästhetische Erfahrung”, Auf der Schwelle. Kunst, Risiken und Nebenwirkungen, ed. by Erika Fischer-Lichte, Robert Sollich, Sandra Umathum, Matthias Warstat, Munich (Wilhelm Fink) 2006, p. 247-259.

“Die Versuchungen des Ekels. Über Aufmerksamkeitsdynamiken in Herriët van Reeks und Geerten Ten Boschs ‚Feminine Follies 2’”, in: Wege der Wahrnehmung. Authentizität, Reflexivität und Aufmerksamkeit im zeitgenössischen Theater, ed. by Erika Fischer-Lichte, Barbara Gonau, Sabine Schouten, Christel Weiler, Berlin (Theater der Zeit, Recherchen 33) 2006, p. 153-165.

Further links
Interrobang website

Contact
Prof. Dr. Nina Tecklenburg
Theater and Performance
Email: n.tecklenburg[at]berlin.bard.edu​​​