Postmigrant German Theatre. Dicoursive Heterogeneity and Violence in Erpulat/Hillje's <i>Crazy Blood</i> (<i>Verrücktes Blut</i>)

Abstract

In recent years facing Germany´s multicultural reality, the project of a postmigrantisches Theater (Sharifi, 2011a, 2011b) has stepped up in the main theatrical venues of this country. In many cases, this postmigrant theatre arrives at the stages to develop a political criticism through a dialogue with traditional texts in order to devote the dramatic text, from a prestigious place of enunciation, to question and to break down the homogenous nature of the hegemonic discourses about the subjects with migrant background in Germany today. This is the way taken by Jens Hillje and Nurkan Erpulat’s Crazy blood (Verrücktes Blut, 2010), which brought to current Theater controversies in relation to (post)migrant minorities: through the implementation of a dramatic text which refers to and uses fragments of Schiller and other discourses recognized by the German society, resulting in points of heterogeneity in the dramatic speech and, therefore a “game with the other” that operates in the space of the non-explicit, of the “half-unveiled” (Authier Revuz, 2011). This article discusses this strategy of Crazy Blood, and of postmigrant Theatre in general, as a way to ensure the staging of violence in everyday life, especially that experienced by migrant minorities in multicultural societies, such as the German.