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The article deals with the theatre parcours Kahvehane – Turkish Delight, German Fright?, a walking performance that takes the audience to various Anatolian coffee houses in the Berlin districts Kreuzberg and Neukölln. Within these venues, international artists developed performative interventions trying to temporarily open these seemingly closed spaces to a new (theatre) audience. By leaving the theater building and entering the Kahvehane, however, the audience itself became an object of investigation. As the essay attempts to show, the parcours stages aesthetic as well as social tensions between self and other, between the known and the unknown by deploying different medial strategies, as it consists not only of the tour, but also of a catalog including a cartography and a typology of the Kahvehane. However, the documenting map and the ephemeral (theater) parcours are not presented as mutually exclusive strategies, but as media practices that necessarily complement each other in order to negotiate and historicize conf licts of the German migration society with performative means.

For quite some time the concept of reenactment has enjoyed popularity as an artistic practice used to visualize and contemporize the past. More recently the term preenactment has started to receive a great deal of attention. Preenactment as a performative practice does not deal with the revision or replication of a historic event, instead it sets out to experiment with fictitious time(s) and space(s). How can one conceptualize the temporality of preenactment when its vectors, intensities, and affects go beyond an allegedly fleeting moment? Similar to the way in which reenactment always provides a prospective dimension, preenactment always includes a retrospective dimension which is why the conference conceives of it as (P)reenactment. It thereby encourages the establishment of a new perspective on the notion of reenactment, whereby reoccurrence, repetition, or duration do not stand at the forefront, but rather as a beginning, as a means of relief, reorientation, and a process of transition. The interdisciplinary conference aims at examining Pre-, Re-, as well as En-actments that are not just based on artistic practices, but include social, medial, political, and activist phenomena. To what extent can artistic (P)reenactments influence – especially in terms of anticipation – political relationships and vice versa? To what extent is the theory of (P)reenactment capable of redefining the relationship between art and politics? Which role do cultural-historic preconditions play in particular courses of action and habits of perception? Moreover, the conference aims at conceptualizing (P)reenactments beyond their definition as live performances by drawing on the discourses of media studies. (P)reenactments are to be understood as phenomena not only within artistic frameworks but are encountered in other social contexts as well. Along with the temporal and spatial dynamics of (P)reenactments, their different affective potential has to be addressed also: In (P)reenactments, the capacity to move and be moved takes place between the poles of memory/history and vision(s) of the future. Comprehending (P)reenactments as affective events allows for a focus on aspects that have until now been overlooked by the research into reenactment, but which have acquired great significance within the field of affect studies. The goal of this conference is to promote an interdisciplinary exchange on the various dimensions of (P)reenactment outlined above. Speakers are invited from various fields, including theater studies, media studies, literary studies, political science, and social sciences. In addition to promoting an interdisciplinary dialogue among scholars, the conference will incorporate artistic interventions and contributions from practitioners of (P)reenactment from various fields., P/Re/Enact!: Performing in Between Times, conference, ICI Berlin, 27–28 October 2017

Rehearsing Disasters proposes a hypothesis of pre-enactment as a performative practice to both exercise and exorcise risk. Through discussing various examples of rehearsals and drills in disaster preparedness and contemporary art, it defines pre-enactment as a simulation strategy that operates through predictive memorialisation. Staged according to perceived dangers, pre-enactments provoke experiences and create ‘memories’ of future events to guide and predict behaviour: they operate at the border between fiction and reality to develop the human ability to respond to threats. If not always effective in practical terms, pre-enactments attempt to act as emotional vaccines in an increasingly risk-aware society: injecting small amounts of fear to generate immunity antibodies.