„Talking about migration“ is dominated by a row of bi-polarities: „we and the others“, „invited and illegal”, - which directly leads to – „good and bad“ are put into opposition. Discussions on “strangers” in Austria, their right to stay – or need to leave- are dominating public perception of “migration” ...
(Show more)„Talking about migration“ is dominated by a row of bi-polarities: „we and the others“, „invited and illegal”, - which directly leads to – „good and bad“ are put into opposition. Discussions on “strangers” in Austria, their right to stay – or need to leave- are dominating public perception of “migration” for years. Every kind of movement gets interpreted as problematic behavior, and – of course – it is always “the others” who are migrating.
Critical research is aware of this tendency and trying to work against it. Nevertheless during the research-process very often negative assumptions are reproduced: by isolating and analyseing special groups of migrants, stereotypes get repeated constantly.
Trying to overcome this circle the paper will discuss movements of a group which hasn’t been in focus of migration-studies yet, which’s members commonly are not understood as migrants at all: Artists of performing arts, opera singers, actors and actresses. Their position in society was ambivalent, even the admired gods and godesses of stage remained „outsiders“ – which for sure may get traced to the fact of their often practiced “traveler lifestyle”. Subtle attributions manifest. From the public’s point of view stands and guest appearances of stars were of relevance; artists themselves often defined their movements as „years of wandering and learning“ and connected them to the early periods of a career. „Journeyman actors“ were connected to failure, the word became a synonym for actors „of average talent“.
The network of „german“ stages all around the world forms the room of analysis. The artists movements on these pathways (including those „coming in“ and „going out“) shall get reflected for a period of about 100 years (1850 to 1950), that showed the coexistence of travelling and fixed theatres. The „moving artists“ are viewed from diverse perspectives: they themselves (personal testimonials), as well as “public” (reviews; articles; novels) and authorities (law and its violation) will be asked as to broaden and diversify the “talk on migration”.
The presentation discusses benefits and difficulties of the approach, gender-relations are of special interest.
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