Theaterwissenschaft München


Dr. Lisa Skwirblies

Dr. Lisa Skwirblies

International Research Fellow der LMU im Rahmen von „Horizon 2020“ der EU
Post-Doc Project „Dramaturgies of Implication: Representing, Remembering, and Redressing the Colonial Past on the European Contemporary Stage“



Lisa Skwirblies studierte Theaterwissenschaft, Allgemeine und Vergleichende Literaturwissenschaft und Neuere deutsche Literaturwissenschaft an der LMU München und im Master for International Performance Research (MAIPR) an der Universität Amsterdam und der University of Warwick. 2013–2017 promivierte sie in Warwick zum Thema „Theatres of Colonialism: Theatricality, Coloniality, and Performance in the German Empire, 1884–1914“. Von 2017 bis 2018 war Lisa Skwirblies Early Career Fellow am Institute for Advanced Studies der Universität Warwick. Zwischen 2014 und 2018 lehrte sie als Gastdozentin und Mentorin an der Theaterakademie Amsterdam in der School for New Dance Development (SNDO) und dem Master für Theater und Tanz (DAS) und war als Gastdozentin für Wissenschaftstheorie am Institut für Theaterwissenschaft an der Universität Amsterdam (UvA) angestellt.

Neben ihren wissenschaftlichen Tätigkeiten ist Lisa Skwirblies auch an verschiedenen Theater- und Tanzprojekten als Dramaturgin und dramaturgische Beraterin beschäftigt gewesen, zuletzt bei Edit Kaldor, Oneka von Schrader, Hyoung-Min Kim, Enkidu Khaled, und Joachim Robbrecht. Zwischen 2014 und 2016 war sie Vorstandsmitglied des holländischen Theaterfestivals SPRING Festival.


Theaterhistoriografie, Wissenschaftsgeschichte, Memory Studies, Postcolonial Studies, Postkoloniales Theater, Critical Race Studies, Gender Studies

Post-Doc Project

Although Germany became not only a nation-state in the 19th century (1872) but a colonizing nation-state as well and only a decade later (1884) much of the scholarship on German theatre history today is still written from within a national framework rather than a transnational one. In my PhD dissertation [title: “Theatres of Colonialism”], I posed the question what nineteenth-century German theatre history would look like when considering Germany not only as an empire (Kaierreich) but as a colonial empire instead. During the PhD I have conducted in-depth archival research on the historical relation between theatre and German colonialism in both Germany and Namibia bringing the different archives from the fields of theatre history and colonial history together. In the dissertation I argue that the numerous references to theatre and theatricality appearing in colonial discourse at the time need to be understood as more than merely innocent metaphors. Rather, they point to a specific mode of perception that frames the dynamic relation between the German empire and its colonies, which I describe through the concept of ‘colonial theatricality’. This mode of perception deeply informed colonial truth claims and knowledge formations, whose consequences we can still feel today.
In my post-doc project “Dramaturgies of Implication” I therefore take this research interest further and investigate how the theatre, as one of Europe’s major cultural institutions, addresses and redresses the history of European colonialism and its postcolonial legacies today. The project scrutinizes the extent to which the making of a new European theatrical imagination with regard to colonial history and its ‘legacies’ in the present depends on or is obstructed by European cultural policies and funding schemes. From the particular field of theatre and performance studies this project aims at critically intervening into current scholarship on European memory and European identity and offering through the concept of ‘dramaturgies of implication’ new analytical tools to reassess the consequences that a disavowal of Europe’s colonial past might have for current pressing issue on migration and structural racism throughout Europe.