Since March 2007, Kati Röttger has been Professor and Chair of the Institute of Theatre Studies at the University of Amsterdam.
Professor Röttger completed her doctoral studies at the Freie Universität Berlin, Germany, in 1992, on Collective Creation in the New Colombian Theatre, after having spent two years in Colombia undertaking fieldwork. Between 1995 and 1998 she was a postdoc at the Graduiertenkolleg in Gender-Difference and Literature at the Ludwig-Maximilians-Universität, München (Germany), followed by an appointment at the Johannes Gutenberg Universität, Mainz (Germany) as Assistant Professor until 2005, where she also completed her Habilitation in Theatre as a Medium of Vision in 2003.
Professor Röttger’s research activities are currently affiliated to the Amsterdam School of Cultural Analysis, in the Institute of Culture and History at the University of Amsterdam, and to the Amsterdam Center of Globalisation Studies. She is a member of the Editorial Board of the international theatre journal Forum Modernes Theater and Chair of the Society of Media and Theatre in Latin-America. Professor Röttger was recently awarded a fellowship in the Netherlands Institute of Advanced Studies commencing September 2012.
Professor Röttger’s publications include Kollektives Theater als Spiegel lateinamerikanischer Identität. La Candelaria und das neue kolumbianische Theater (1992), Performance-patos-política de los sexos. El teatro postcolonial de autoras latinoamericanas (co-edited with Heidrun Adler, 1999, bilingual: English and Spanish), Differenzen in der Geschlechterdifferenz/ Differences within Gender Studies. Aktuelle Perspektiven der Geschlechterforschung. (co-edited with Heike Paul, 1999, bilingual: English and German), Theater und Bild. Inszenierungen des Sehens. (co-edited with Alexander Jackob, 2009), Welt-Bild-Theater. Vol. 1: Politik des Wissens und der Bilder (2010), Vol. 2: Bildästhetik im Bühnenraum (2012).
· Spectacle and Spectacularity (in the 19th century)
· Image Cultures and Globalisation
· Politics of Performance
· Theory of Theatre
· History of Melodrama
· Theatre in Latinamerica and postcolonial critique
· Intermediality in Performance
· Gender & Performance
Current research projects:
· Transatlantic Image streams: Towards a Politics of the Image between Global Icon and Iconoclash This research is about the status of images as phenomena of global cultural communication and confrontation: to which extend to images serve as objects, triggers or agents for a repositioning of cultural power relations? It enhances intermedial and intercultural analysis towards a transculturally perceived and perceivable repertoire of images (Global Icons) in media such like television, film, theatre.
· Spectacle and Society in the 19th century This project focuses on processes of spectacularization during the ‘long’ West-European 19th century, historicizing aspects of globalisation that occurred through processes of transnational mobility, connectivity and technologies. The term spectacle is used here as a culture historical key-concept to understand problems of modernity at the cross point of politics and esthetics. That means: in a more general way it helps to describe and analyze the interaction between the then upcoming visual technologies (like panorama, diorama, photography), the excess of image-productions that went along with it and its effect on modes of imagining and negotiating the relationships and conflicts between the modern individual and social communities (following Appadurai). In a more concrete way selected spectacles form the material objects of this research.
· Poetologies of artistic practices in the global sphere This project focuses on increasing simultaneous cultural processes of homogenization and heterogenization of human co-existence in a global sphere. It questions the artistic strategies that are directed to and performed in a transcultural mode, by looking for new poetological claims. This means to analyse dynamical spatio-temporal configurations and conditions of “stages of globalization” to understand the specific relations between action (agency) and perception (spectatorship) as a new challenge for artistic practices (like e.g. urban interventions).
“Beyond Medusa. Recovering History on Stage”, in: Arcadia, International Journal of Literary Culture, vol. 45 (2010/ 2011), issue 2, 2010: Performing cultural trauma in theatre and film. (Guest eds.: Frederik le Roy, Christel Stalpeart, Sofie Verdoodt), p. 374-386.
“'What do I See?' The Order of Looking in Lessing's Emilia Galotti”, in: Art History. Journal of the Association of Art Historians (33) 2, April 2010, p. 378-387.
„Intermedilität als Bedingung von Theater. Methodische Überlegungen”, in: Henri Schoenmakers, Stefan Bläske, Kay Kirchmann, Jens Ruchtaz (Hg.): Theater und Medien/ Theatre and Media. Grundlagen – Analysen - Perspektiven. Eine Bestandsaufnahme. Bielefeld 2008, p. 117-125.
“Faust vers.3.0: A History of Theatre and Media”, Journal of Culture, Language and Representation (vol. 6) 2008, S. 31-46.
“Media/ Politics in Performance. Bambiland by Elfriede Jelinek and Christoph Schlingensief”, in: Meike Wagner et al. (ed.): Beyond the Matrix. München: 2008, p.. 337-337.
Kritiek van het Spektakel. Inaugurale Rede. Vossiuspers, Universiteit van Amsterdam, 2008.
“Who Owns the Images? Image Politics and Media Criticism in Theatre: A Separation of Powers”, (with A. Jackob), in: Image & Narrative, Online Magazine of Visual Narrative, sept. 2007. See http://www.imageandnarrative.be/thinking_pictures/rottger_jackob.htm
"Bilder einer unendlichen Fahrt. David Lynchs Mulholland Drive aus bildwissenschaftlicher Perspektive" (mit A. Jackob), in: Bildtheorie und Film, hrsg. von Thomas Koebner und Thomas Meder, München 2006, p. 572-583.
“Medea meets Marilyn. Visuality and Narrativity in Tragedy and Film”, in: Gender in Cultural Performances, (2. Bd. Alte und neue Ungleichheiten: Tranformationen und Reproduktionenvon Geschlechterverhältnissen in unterschiedlichen gesellschaftlichen Bereichen), Renate Gahn (Ed.) Berlin 2005, p. 129-137.