{"id":1215,"date":"2015-06-04T15:29:15","date_gmt":"2015-06-04T15:29:15","guid":{"rendered":"http:\/\/guenter-berghaus.com\/?page_id=1215"},"modified":"2024-03-05T19:34:33","modified_gmt":"2024-03-05T19:34:33","slug":"lectures","status":"publish","type":"page","link":"https:\/\/guenter-berghaus.com\/?page_id=1215","title":{"rendered":"essays"},"content":{"rendered":"

CONFERENCE PAPERS AND INVITED LECTURES<\/strong><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
1980<\/td>\nNestroys Weltanschauung und Lebensphilosophie<\/em><\/td>\n<\/tr>\n
 <\/td>\nInternational Conference on „Der politische Nestroy“, Vienna<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1982<\/td>\nAndreas Gryphius und das politische Drama der Schlesischen Schule <\/em><\/td>\n<\/tr>\n
 <\/td>\nLecture at the University of Wroclaw<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1984<\/td>\nNestroy und die Wiener Gesellschaft, 1830-1860<\/em><\/td>\n<\/tr>\n
 <\/td>\nInternational Conference on „Viennese Popular Theatre“, London<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1984<\/td>\nDada Theatre as Anti-bourgeois Performance Art<\/em><\/td>\n<\/tr>\n
 <\/td>\nConference on „1916: A Watershed in German Art and Politics?“, Goethe Institut London<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1984<\/td>\nGirlkultur<\/em><\/td>\n<\/tr>\n
 <\/td>\nConference on „The Body: Physical Culture in Weimar Germany“, Goethe Institut London<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1985<\/td>\nFine Artists Working for the Theatre: Futurism, Dadaism, Bauhaus<\/em><\/td>\n<\/tr>\n
 <\/td>\nStudy Seminar on „Modernism and Postmodernism in the Theatre“, Birkbeck College, University of London<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1986<\/td>\nPopular Images and Social Reality of Female Workers in the <\/em>Weimar<\/em> Republic<\/em><\/td>\n<\/tr>\n
 <\/td>\nStudy seminar on „Feminism and the Arts in Weimar Germany“, Goethe Institut London<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1986<\/td>\nPerspectives on Critical Humour<\/em><\/td>\n<\/tr>\n
 <\/td>\nConference on „Cabaret, Caricature and Satire in Wilhelmine Germany“, Goethe Institut London<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1986<\/td>\n\u00dcber Syn\u00e4sthesie und die Idee eines Gesamtkunstwerkes<\/em><\/td>\n<\/tr>\n
 <\/td>\nLecture at the Johann-Wolfgang-Goethe Universit\u00e4t, Frankfurt<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1987<\/td>\nTheatre Performances in Internment Camps<\/em><\/td>\n<\/tr>\n
 <\/td>\nInternational Conference on „German Exile Theatre in Great Britain, 1933-45“, Architectural    Association, London<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1987<\/td>\nFeminism, Americanism and Popular Entertainment in <\/em>Weimar<\/em> Germany<\/em><\/td>\n<\/tr>\n
 <\/td>\nLecture at the Tisch School of the Arts, New York University<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1988<\/td>\nTheater als Gesamtkunstwerk: \u00dcber das Verh\u00e4ltnis von Wort, Musik und Szenerie in der B\u00fchnenkunst der Renaissance- und Barockzeit<\/em><\/td>\n<\/tr>\n
 <\/td>\nLecture at the Ludwig-Maximilians-Universit\u00e4t, M\u00fcnchen<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1989<\/td>\nGerman-Jewish Refugees in <\/em>Britain<\/em> and Their Contribution to Theatre and Music<\/em><\/td>\n<\/tr>\n
 <\/td>\nInternational Conference on „The History of German-speaking Jews in Great Britain“, Cambridge<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1989<\/td>\nZur Theorie und Praxis des Gesamtkunstwerks zwischen Romantik und Moderne<\/em><\/td>\n<\/tr>\n
 <\/td>\nHabilitationsvortrag at the Freie Universit\u00e4t Berlin<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1990<\/td>\nTheatre Performances at Renaissance Theatre Festivals: Multi-media Spectacles or Gesamtkunstwerke?<\/em><\/td>\n<\/tr>\n
 <\/td>\nInternational Conference on „Italian Renaissance Theatre Festivals“, University of Warwick<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1990<\/td>\nWorld Harmony and <\/em>Union<\/em> of the Arts in Renaissance Dance<\/em><\/td>\n<\/tr>\n
 <\/td>\nStudy seminar on „Early Renaissance Dance“, Salisbury Arts Centre<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1991<\/td>\nFrom <\/em>France<\/em> to <\/em>France<\/em>: An International Itinerary of the Avant-garde (1895-1925)<\/em><\/td>\n<\/tr>\n
 <\/td>\nInternational Conference on „Turning Points in Modern French Drama“, University of Bristol<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1992<\/td>\nUnanimism as a Source of Influence for Marinetti’s Futurism<\/em><\/td>\n<\/tr>\n
 <\/td>\nSymposium on „The City and the Wilderness in Modern Art“, University of Bristol<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1993<\/td>\nThe Ritual Core of Fascist Theatre: An Anthropological Perspective<\/em><\/td>\n<\/tr>\n
 <\/td>\nInternational Symposium on „Teatro y Fascismo“, University of Granada<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1993<\/td>\nStagecraft in the Service of Statecraft: Political Aspects of Early Renaissance Performances<\/em><\/td>\n<\/tr>\n
 <\/td>\nInternational conference on „Scenery, Set and Staging in the Renaissance“, University of Aberystwyth<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1993<\/td>\n\u00dcberlegungen zu einer zuk\u00fcnftigen Theaterwissenschaft<\/em><\/td>\n<\/tr>\n
 <\/td>\nLecture at Universit\u00e4t Leipzig<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1994<\/td>\nThe Renaissance Banquet as a Total Work of Art<\/em><\/td>\n<\/tr>\n
 <\/td>\nInternational Conference on „Food and Theatre“ at the Centre for Performance Research in Cardiff<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1995<\/td>\nThe Dance Theatre of Rudolf Laban <\/em><\/td>\n<\/tr>\n
 <\/td>\nLecture at Federal University of Rio de Janeiro<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1995<\/td>\nExpressionist Acting and Stage Design<\/em><\/td>\n<\/tr>\n
 <\/td>\nLecture at Federal University of Rio de Janeiro<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1995<\/td>\nTheatre Studies and the Integration of Theory and Praxis<\/em><\/td>\n<\/tr>\n
 <\/td>\nLecture at Theatre Academy, Salvador \/ Bahia<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1995<\/td>\nFascism and Theatre<\/em><\/td>\n<\/tr>\n
 <\/td>\nLecture at Federal University of Bahia<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1995<\/td>\nTeaching and Research in Performance Studies: Some Methodological Considerations and Reflections<\/em><\/td>\n<\/tr>\n
 <\/td>\nLecture at National Convention of Theatre Pedagogues in S\u00e3o Paulo<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1995<\/td>\nZur Rekonstruktion historischer Theaterauff\u00fchrungen<\/em><\/td>\n<\/tr>\n
 <\/td>\nInternationalConference on „Aktuelle Tendenzen der Theatergeschichtsforschung“, Erlangen<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1996<\/td>\nGeorg Greflinger as Poet, Journalist and Publisher<\/em><\/td>\n<\/tr>\n
 <\/td>\nBritish Baroque Symposium, University of Bristol<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1996<\/td>\nArtaud’s „Jet de Sang“<\/em><\/td>\n<\/tr>\n
 <\/td>\nInternational Centenary Conference „Antonin Artaud“ at the Centre for Performance Research, Cardiff<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1996<\/td>\nThe Renaissance Banquet as a Total Work of Art<\/em><\/td>\n<\/tr>\n
 <\/td>\nCongress of Society for Theatre Studies, „Grenzg\u00e4nge: Theater und die anderen K\u00fcnste“, Universit\u00e4t Giessen<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1997<\/td>\nDie Futuristischen Abende: Theater, Kino, Performance Art<\/em><\/td>\n<\/tr>\n
 <\/td>\nPublic Lecture at Johann-Gutenberg Universit\u00e4t, Mainz<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1997<\/td>\nRitual and Theatre<\/em><\/td>\n<\/tr>\n
 <\/td>\nInternational Congress of Ethnoscenoloy, „Sobre Perf\u00f3rmaticos, performance e sociedade“, Salvador\/Bahia<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1997<\/td>\nDas Festbankett der Barockzeit<\/em><\/td>\n<\/tr>\n
 <\/td>\nInternational Conference Baroque Congress „K\u00fcnste und Natur in Diskursen der fr\u00fchen Neuzeit“, Herzog August Bibliothek, Wolfenb\u00fcttel<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1998<\/td>\n\u00dcberlegungen zu einer Methodologie und Didaktik der Angewandten Theaterwissenschaft<\/em><\/td>\n<\/tr>\n
 <\/td>\nPublic Lecture at Justus-Liebig-Universit\u00e4t, Giessen<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1998<\/td>\nDie Film\u00e4sthetik des italienischen Futurismus<\/em><\/td>\n<\/tr>\n
 <\/td>\nGuest Lecture at Freie Universit\u00e4t Berlin<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1998<\/td>\nTransitions from a Renaissance to a Baroque Concept of Theatre <\/em><\/td>\n<\/tr>\n
 <\/td>\nConference on „Early Modern Europe in an Inter-disciplinary Perspective“ at Duke University, Durham\/SC<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1998<\/td>\nTheatre Anthropology and Ethnoscenology: A Comparison of Methodologies<\/em><\/td>\n<\/tr>\n
 <\/td>\nSymposium on „Ethnosc\u00e9nologie: Percevoir au-del\u00e0 de soi“, Maison de la Culture du Monde, Paris<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1998<\/td>\nThe Futurist „serate“ and Marinetti’s Strategy of „arte-azione“<\/em><\/td>\n<\/tr>\n
 <\/td>\nInternational Symposium on „Rethinking the Avant-garde“, University of Leicester<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1999<\/td>\nTheater und Aktions\u00e4sthetik des primo futurismo<\/em><\/td>\n<\/tr>\n
 <\/td>\nGuest Lecture at Ruhr-Universit\u00e4t Bochum<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
1999<\/td>\nTendenzen experimentellen Theaters in der Nachkriegszeit<\/em><\/td>\n<\/tr>\n
 <\/td>\nGuest Lecture at the Ludwig-Maximilians-Universit\u00e4t M\u00fcnchen<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2000<\/td>\nThe Futurist Body on Stage<\/em><\/td>\n<\/tr>\n
 <\/td>\nInternational Colloquium on „Homo Orthopedicus: The Modernist Body“, Museum of Contemporary Art, Antwerp<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2000<\/td>\nParadigm Shifts in Science and Art: The New Astronomy and the Transition from Renaissance to Baroque Theatre<\/em><\/td>\n<\/tr>\n
 <\/td>\nInternational Baroque Congress on „Artes et Scientiae“, Herzog August Bibliothek, Wolfenb\u00fcttel<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2000<\/td>\nSeverini and Dance <\/em><\/td>\n<\/tr>\n
 <\/td>\nConference on „Severini, Futurism and After“, Ashmolean Museum, Oxford<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2000<\/td>\nThe Mechanized Body on Stage: From Futurism to Stelarc<\/em><\/td>\n<\/tr>\n
 <\/td>\nGuest Lecture at Brown University, Providence<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2000<\/td>\nFuturist Influences on the Bauhaus<\/em><\/td>\n<\/tr>\n
 <\/td>\nGuest lecture at Saint-Martin’s School of Art, London<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2000<\/td>\nTheatre Festivals of the Medici<\/em><\/td>\n<\/tr>\n
 <\/td>\nStudy Day on Renaissance Festivals, University of Warwick<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2001<\/td>\nTheater des Dadaismus<\/em><\/td>\n<\/tr>\n
 <\/td>\nGuest lecture at University of Hamburg<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2001<\/td>\nDada und die Darstellenden K\u00fcnste<\/em><\/td>\n<\/tr>\n
 <\/td>\nGuest lecture at University of Leipzig<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2002<\/td>\nDie Integration von Theorie und Praxis in der Angewandten Theaterwissenschaft <\/em><\/td>\n<\/tr>\n
 <\/td>\nGuest lecture at Academy of Arts, Berlin<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2004<\/td>\nMilitant Politics and Avant-garde Performance Art <\/em><\/td>\n<\/tr>\n
 <\/td>\nInternational Symposium on „The Poetics and Politics of the Historical Avant-Garde“, University of Ghent, Belgium<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2004<\/td>\nFrom Video Art to Video Performance<\/em><\/td>\n<\/tr>\n
 <\/td>\nInternational Conference on „Avant-garde Cinema“, University of Edinburgh<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2005<\/td>\nNeo-Dada Performance Art<\/em><\/td>\n<\/tr>\n
 <\/td>\nInternational Conference on „Mapping the Neo-Avant-Garde: Theorising Art, Literature, Music and Film in the 1950s and 60s“, University of Edinburgh<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2006<\/td>\nF.T. Marinetti’s Concept of a Theatre Enhanced by Audio-Visual Media<\/em>International Conference on „Theatre & the Media“. VIII.<\/td>\n<\/tr>\n
 <\/td>\nInternational Congress of the Society for Theatre Studies, Erlangen\/Germany<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2007<\/td>\nArtaud’s Jet de Sang: An Unperformable Surrealist Play?<\/em><\/td>\n<\/tr>\n
 <\/td>\nConference on Antonin Artaud, University of Antwerp<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2008<\/td>\nItalian Futurism: From Visual Poetry to Electronic Media Art<\/em><\/td>\n<\/tr>\n
 <\/td>\nInternational Conference on „Breaking the Rules: European Avant Garde, 1900-1937“, British Library, London<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2008<\/td>\nOsmosis and Cross-fertilizations between Historical Avant-garde Movements<\/em><\/td>\n<\/tr>\n
 <\/td>\nInternational Conference on EUROPA! EUROPA? First Bi-annual Conference of the European Network for Avant-garde and Modernism Studies (EAM), Ghent University, Belgium<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2008<\/td>\nInnovation on the Futurist Stage: From Mechanical to Electronic Theatre<\/em><\/td>\n<\/tr>\n
 <\/td>\nInternational workshop on „Futurism and the Technological Imagination“ at 11th International Conference of International Society for the Study of European Ideas, University of Helsinki<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2008<\/td>\nFuturist Tactile Theatre<\/em><\/td>\n<\/tr>\n
 <\/td>\nInternational Conference on „Futurist Dramaturgy and Performance“, University of Toronto<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2008<\/td>\nArt in Action: Performative Practices in Futurist Soir\u00e9es<\/em><\/td>\n<\/tr>\n
 <\/td>\nInternational Colloquium „De l’avant-garde, des avant-gardes: Fronti\u00e8res, mouvements“, University of Nice – Sophia Antipolis<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2009<\/td>\nVariety, Music-hall and Futurist Theatre Aesthetics<\/em><\/td>\n<\/tr>\n
 <\/td>\nCentenary Symposium „Una bellezza nuova: Futurismo 1909-2009“, Biblioteca Angelica, Rome<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2009<\/td>\nFrom the Avant-garde into the Mainstream: Futurist Theatre in the 1920s and 30s<\/em><\/td>\n<\/tr>\n
 <\/td>\nSymposium on „Theatrical Avant-gardes of the Twenties in Europe“ at the Belgian Centre of the International Theatre Institute (Unesco) in collaboration with the Free University of Brussels<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2009<\/td>\nFrom Mechanical Futurism to Neo-futurist Cyber-theatre<\/em><\/td>\n<\/tr>\n
 <\/td>\nInternational Conference on „1909-2009: 100 Jahre italienischer Futurismus“, Internationales Zentrum f\u00fcr Kultur- und Technikforschung (IZKT), Stuttgart<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2009<\/td>\nFuturist Performance<\/em><\/td>\n<\/tr>\n
 <\/td>\nCentenary Conference on „Back to the Futurists: Avant-gardes 1909-2009“, Queen Mary College, University of London and the Estorick Collection, London<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2009<\/td>\nMarinetti’s Volte-Face of 1920<\/em><\/td>\n<\/tr>\n
 <\/td>\nInternational conference on „Beyond Futurism: F.T. Marinetti, Writer“, Columbia University and Italian Academy for Advanced Studies in America<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2009<\/td>\nMarinetti’s Total Theatre and the Futurist Concept of Gesamtkunstwerk<\/em><\/td>\n<\/tr>\n
 <\/td>\nInternational conference on „Futurismo \/ Futurizm: The Futurist Avant-garde in Italy and Russia“, Yale University, New Haven\/CT<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2009<\/td>\nPast, Present and Future of Futurism<\/em><\/td>\n<\/tr>\n
 <\/td>\nInternational conference on „Futurisms: Precursors, Protagonists, Legacies“, University of Utrecht<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2010<\/td>\nFuturism and the Genesis of Dada: Contacts, Continuities and Conflicts<\/em><\/td>\n<\/tr>\n
 <\/td>\nInternational conference on „Il Futurismo nelle avanguardie storiche“, Milan: Palazzo Reale<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2010<\/td>\nMilitant Politics and Avant-garde Performance Art in the Early Futurist Movement<\/em><\/td>\n<\/tr>\n
 <\/td>\nPublic Lecture, University of Copenhagen<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2010<\/td>\nDada Performance Art at the Cabaret Voltaire in Z\u00fcrich<\/em><\/td>\n<\/tr>\n
 <\/td>\nPublic Lecture, Royal Academy of Fine Arts, Copenhagen<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2010<\/td>\nNew Research on Futurism in East and <\/em>Central Europe<\/em><\/td>\n<\/tr>\n
 <\/td>\nConference at Adam Mickiewicz University, Poznan<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2010<\/td>\nPractical Theatre Studies in an Academic Environment<\/em><\/td>\n<\/tr>\n
 <\/td>\nGuest lecture at University of Copenhagen<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2010<\/td>\nExpressionistisches Theater heute<\/em><\/td>\n<\/tr>\n
 <\/td>\nInternational conference on „Der Aufbruch in die Moderne: Herwarth Walden und die europ\u00e4ische Avantgarde“, Internationales Zentrum f\u00fcr Kultur- und Technikforschung (IZKT), Stuttgart<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2011<\/td>\nFuturism and Politics, 1898-1944<\/em><\/td>\n<\/tr>\n
 <\/td>\nKeynote address at Second International Comparative Literature Conference on „Modernism and the Avant-garde \u2013 Heritage and Present Day“, Ilia State University, Tbilisi (Georgia)<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2011<\/td>\nThe International Impact of Futurism: Absorptions, Assimilations, Adaptations<\/em><\/td>\n<\/tr>\n
 <\/td>\nInternational Conference on „L’Europa futurista: Simultaneit\u00e0, Costruttivismo, Montaggio“, La Sapienza University, Rome<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2012<\/td>\nInternational Repercussions of Futurism<\/em><\/td>\n<\/tr>\n
 <\/td>\nPublic Lecture at Polish Academy of Science, Warsaw<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2012<\/td>\nThe International Impact of Futurism: Absorptions, Assimilations, Adaptations<\/em><\/td>\n<\/tr>\n
 <\/td>\nColloquium at the Kunsthistorisches Institut – Max-Planck-Institut, Florence<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2012<\/td>\nConcepts of „Importation“ and „Influence“ in the Study of Historical Avant-gardes <\/em><\/td>\n<\/tr>\n
 <\/td>\nInternational conference on „Futurism in Asia“, Tokyo Met Museum of Contemporary Art and Ohara Museum of Art<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2013<\/td>\nThe Futurist Fusion of Art, Life and Politics<\/em><\/td>\n<\/tr>\n
 <\/td>\nInternational conference on „Tracing Futurist Ideologies“, Central Library, P\u00e4rnu (Estonia)<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2013<\/td>\nLe Futurisme mondial: Reception and Adaptation in International Futurism <\/em><\/td>\n<\/tr>\n
 <\/td>\nInternational conference on „100 Years Almada Negreiros“, Calouste Gulbenkian Foundation, Lisbon<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2014<\/td>\nThe International Impact of Futurism: Absorptions, Assimilations, Adaptations <\/em><\/td>\n<\/tr>\n
 <\/td>\nPublic Lecture at New York University<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2014<\/td>\nDepero and Futurist Theatre<\/em><\/td>\n<\/tr>\n
 <\/td>\nInternational conference on „Fortunato Depero“, Center for Italian Modern Art, New York<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2014<\/td>\nFuturism in the International Sphere<\/em><\/td>\n<\/tr>\n
 <\/td>\nPublic Lecture at Leuven: Katholieke Universiteit<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2014<\/td>\nIl teatro futurista<\/em><\/td>\n<\/tr>\n
 <\/td>\nPublic Lecture at Study Day „L’avanguardia difficile: Il futurismo tra Italia, Napoli, Europa“, Naples: Nola<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2014<\/td>\nFuturism and War<\/em><\/td>\n<\/tr>\n
 <\/td>\nInternational conference on „Prvi svjetski rat i avangardna umjetnost“ (World War I and Avant-garde Art“, Zagreb: Museum of Contemporary Art<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2014<\/td>\nThe Historiography of Futurism <\/em><\/td>\n<\/tr>\n
 <\/td>\nRoundtable, Katholieke Universiteit Leuven<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2015<\/td>\nFuturist Tactile Theatre<\/em><\/td>\n<\/tr>\n
 <\/td>\nPublic Lecture at Typhlological Museum, Zagreb<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2015<\/td>\nFuturist Tactile Panels<\/em><\/td>\n<\/tr>\n
 <\/td>\nLecture and Workshop at Academy of Fine Arts, Zagreb<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2015<\/td>\nBauhaus Theatre: Oskar Schlemmer, His Students and Successors<\/em><\/td>\n<\/tr>\n
 <\/td>\nPublic Lecture at Museum of Contemporary Arts, Zagreb<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2015<\/td>\nThe Futurist Contribution to the Modernization of Italian Theatre<\/em><\/td>\n<\/tr>\n
 <\/td>\nPostgrad seminar at Leuven University<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2015<\/td>\nFuturism’s First Battles in the Italian Theatre<\/em><\/td>\n<\/tr>\n
 <\/td>\nPostgrad seminar at Goldsmiths‘ College, University of London<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2016<\/td>\nMarinetti’s Quest for an Art Inspired by Science<\/em><\/td>\n<\/tr>\n
 <\/td>\nKeynote address at Biannual Conference of European Network for Avant-Garde and Modernism Studies at Universit\u00e9 de Haute Bretagne Rennes 2, France<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2016<\/td>\nThe Genesis of Dada: Futurist Influences in Romania, Germany and at the Cabaret Voltaire<\/em><\/td>\n<\/tr>\n
 <\/td>\nKeynote address at Conference on \u201cDada in East and Central Europe\u201d. Budapest: Kass\u00e1k M\u00fazeum<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2016<\/td>\nFuturist Roots in Zurich Dada<\/em><\/td>\n<\/tr>\n
 <\/td>\nConference on „100 Times DaDa“. Moscow: Mayakovsky Museum<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2017<\/td>\nNoise as a Compositional Resource in Futurist Musical Aesthetics<\/em><\/td>\n<\/tr>\n
 <\/td>\nLecture and seminar at University of Edinburgh. Department of Italian Studies, 28 March 2017<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2017<\/td>\n Futurist Theatre as a Synaesthetic Experience <\/em><\/td>\n<\/tr>\n
 <\/td>\nConference on „Prospettive culturali fra intersezioni e sviluppi disciplinari in Italia e in Ungheria“, E\u00f6tv\u00f6s Lor\u00e1nd University, Budapest, at Istituto Italiano di Cultura di Budapest, 4 May 2017<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2017<\/td>\n Reflections on the Historiography of Futurism <\/em><\/td>\n<\/tr>\n
 <\/td>\nLecture at Pet\u0151fi Irodalmi M\u00fazeum, Budapest, as an event organized by the Kass\u00e1k Museum, 5 May 2017<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2017<\/td>\n Research on Italian Futurism after WWII: Ostracism or Recuperation? <\/em><\/td>\n<\/tr>\n
 <\/td>\nLecture and seminar at Universit\u00e9 Nice Sophia Antipolis, Nice, 19 May 2017<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2017<\/td>\n The Futurist „Serata“ at the Teatro Rep\u00fablica (14 April 1917) <\/em><\/td>\n<\/tr>\n
 <\/td>\nKeynote speech at a conference on „Futurismo-futurismos: 100 anos da Portugal futurista“, National Library, Lisbon, 7 November 2017<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2017<\/td>\n The Fusion of Art and Politics: A Futurist Misunderstanding <\/em><\/td>\n<\/tr>\n
 <\/td>\nKeynote speech at a conference on „Poetics of (Mis)understanding: Culture-Making Potential of Interference in Artistic Communication.“ Institute of Literary Research, Warsaw, 8 December 2017<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2018<\/td>\n Futurist Anthropology: From the Machine-Man to the Proletariat of Geniuses <\/em><\/td>\n<\/tr>\n
 <\/td>\nConference on „The New Man in the Historical Avant-garde“, Universit\u00e0 di Roma „La Sapienza“, 24-25 May 2018<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2018<\/td>\n The Poetics of Noise<\/a> <\/em><\/td>\n<\/tr>\n
 <\/td>\nPublic lecture at Akademije umetnosti Novi Sad (Academy of Arts Novi Sad), 6 November 2018<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2018<\/td>\n Current and Past Research into International Futurism<\/a> <\/em><\/td>\n<\/tr>\n
 <\/td>\nPublic lecture at Univerzitet u Novom Sadu (University of Novi Sad), 7 November 2018<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2018<\/td>\n The Poetics of Noise <\/em><\/td>\n<\/tr>\n
 <\/td>\nPublic lecture at Univerzitet umetnosti u Beogradu (University of Arts) Department of Art History, 8 November 2018<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2018<\/td>\n Current Research into International Futurism <\/em><\/td>\n<\/tr>\n
 <\/td>\nPublic lecture at Univerzitet umetnosti u Beogradu (University of Arts) Department of Art History, 9 November 2018<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2018<\/td>\n The Futurist Revolution in Fiume, 1919-1921 <\/em><\/td>\n<\/tr>\n
 <\/td>\nConference on „100 Jahre nach Rijeka: Gespr\u00e4che \u00fcber D’Annunzio“. Villa Vigoni: Centro Italo-Tedesco per l’eccellenza europea, Menaggio \/ Como, 19-22 November 2018<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2018<\/td>\n Current Research into International Futurism<\/em><\/td>\n<\/tr>\n
 <\/td>\nPublic lecture at E\u00f6tv\u00f6s Collegium (Hungarian Academy, Institute of Literary Studies), Budapest, 27 November 2018<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2018<\/td>\n Traces of Futurism in East-Central Europe<\/a> <\/em><\/td>\n<\/tr>\n
 <\/td>\nPublic lecture at E\u00f6tv\u00f6s Lor\u00e1nd University, Department of Italian Language and Literature, 29 November 2018<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2019<\/td>\n Futurist Banquets as Performance Art <\/em><\/td>\n<\/tr>\n
 <\/td>\nConference on The Gastro-bomb of Futurist Cuisine. The Jewish Museum and Tolerance Center, Moscow, 13 March 2019<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2019<\/td>\n Marinetti\u2019s \u201cFuturisme mondial“: Propaganda and Reality<\/em><\/td>\n<\/tr>\n
 <\/td>\nInternational conference on European Avant-gardes around 1900: Contacts \u2013 Transfers \u2013 Transformations. RGGU Russian State University for the Humanities, Moscow, 14-16 March 2019\/td><\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2019<\/td>\n Kokoschka\u2019s „Murderer, Hope of Women“<\/a> <\/em><\/td>\n<\/tr>\n
 <\/td>\nLecture and screening of a DVD recording of my stage production in Rio de Janeiro.
Garage Museum of Contemporary Art at Rikhter Art Centre, Moscow, 17 March 2019<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2019<\/td>\n Science, Technology and the Futurist Fusion of Art and Life <\/a> <\/em><\/td>\n<\/tr>\n
 <\/td>\nKeynote speech at Rencontres Arts et Sciences, Universit\u00e9 C\u00f4te d’Azur, Nice: Mus\u00e9e National Marc Chagall, 30 November 2019<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2020<\/td>\n Morpurgo and Italian Futurism in the Archive of the Avant-gardes in Dresden<\/a> <\/em><\/td>\n<\/tr>\n
 <\/td>\nPaper at conference on Futurismo tra Egitto e Italia: L’Archivio Nelson Morpurgo, Rovereto, Museo di arte moderna e contemporanea di Trento e Rovereto, 20 Feb 2020<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2020<\/td>\n Oskar Kokoschka – Murderer Hope of Women<\/a> <\/em><\/td>\n<\/tr>\n
 <\/td>\nScreening and lecture at Oskar Kokoschka \u2014 Neue Einblicke und Perspektiven, Wien, Universit\u00e4t f\u00fcr angewandte Kunst , 27 February 2020<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2020<\/td>\n Permeabilities in Futurisms and Cross-fertilizations amongst the Historical Avant-gardes <\/a> <\/em><\/td>\n<\/tr>\n
 <\/td>\nPaper at Symposium Paradoxien des Fortschritts: Globale Durchl\u00e4ssigkeiten und Wandlungen avantgardistischer Ideen und Praktiken, Stuttgart, Akademie Schloss Solitude, 7 March 2020<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2020<\/td>\n Marinetti\u2019s Concept of \u201cFuturisme mondial\u201d: Ideology and Reality<\/a> <\/em><\/td>\n<\/tr>\n
 <\/td>\nLecture and seminar at Pisa University, 16 October 2020<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2022<\/td>\n The Futurist Gesamtkunstwerk and its Renaissance Precursors: Spectacles of Food Expressed through the Language of Theatre<\/a> <\/em><\/td>\n<\/tr>\n
 <\/td>\nPaper at Conference on Revisiting the Avant-Garde Total Work of Art. University of Leuven, 23-24 May 2022<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2023<\/td>\nFuturism and the Book<\/em><\/a><\/td>\n<\/tr>\n
 <\/td>\nLecture presented at \u201cThe Art of Collecting and the Futurist Avant-garde\u201d, London: Istituto Italiano di Cultura, 21 April 2023<\/td>\n<\/tr>\n
 <\/td>\n<\/tr>\n
2023<\/td>\n Research Issues in International and Regional Futurism <\/em><\/a><\/td>\n<\/tr>\n
 <\/td>\nPublic Lecture. Venice: Universit\u00e0 Ca\u2019 Foscari Venezia, Palazzo Vendramin dei Carmini, 9 May 2023<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n\n\n \n\n\n\n<\/ul>\n","protected":false},"excerpt":{"rendered":"

CONFERENCE PAPERS AND INVITED LECTURES 1980 Nestroys Weltanschauung und Lebensphilosophie   International Conference on „Der politische Nestroy“, Vienna   1982 Andreas Gryphius und das politische Drama der Schlesischen Schule   Lecture at the University of Wroclaw   1984 Nestroy und die Wiener Gesellschaft, 1830-1860   International Conference on „Viennese Popular Theatre“, London   1984 Dada […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"open","ping_status":"open","template":"","meta":{"ngg_post_thumbnail":0,"footnotes":""},"class_list":["post-1215","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/guenter-berghaus.com\/index.php?rest_route=\/wp\/v2\/pages\/1215","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/guenter-berghaus.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/guenter-berghaus.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/guenter-berghaus.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/guenter-berghaus.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1215"}],"version-history":[{"count":84,"href":"https:\/\/guenter-berghaus.com\/index.php?rest_route=\/wp\/v2\/pages\/1215\/revisions"}],"predecessor-version":[{"id":2113,"href":"https:\/\/guenter-berghaus.com\/index.php?rest_route=\/wp\/v2\/pages\/1215\/revisions\/2113"}],"wp:attachment":[{"href":"https:\/\/guenter-berghaus.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1215"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}