Abstract

In its function as a Cold War partition, the Iron Curtain rarely recalls theater unless it is to allude to the vague sense of drama in the era's politics. To reconsider its relationship to the stage, this article uncovers a short-lived plan to turn the divide into a meaningful location of West German theater of the late 1950s and early 1960s—the period usually associated with creative stagnation. Along the spuriously explored Czechoslovak–West German border, I argue, the border was mobilized to infuse canonical works with new strategic significance and make a case for site-specific performance.

pdf

Additional Information

ISSN
2164-8646
Print ISSN
0149-7952
Pages
pp. 87-108
Launched on MUSE
2014-04-02
Open Access
No
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.