The tremor of speculative negation
On Regie, truth and ex-position
in Directing scenes and senses
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

This chapter explores how they exemplarily reappropriated the contested notion of the 'truth of the text', which had almost exclusively been enlisted by the opponents of Regie. The emphatic embracing of 'theatral thinking' is among the most prominent aspects of a Regie that aims for the speculative truth of text, a truth that appears only in the triangulation of the text, its concrete actualisation and the spectating public. Significantly, both Michael Thalheimer and Jürgen Gosch, two directors who represent two different generations of German Regie, both themselves frequently employed terms such as 'truth' and 'truthfulness' when discussing their work in interviews, post-performance discussions and on similar occasions. The notion of 'the truth of a playtext' makes sense only when it is thought within such a framework of ex-position, which asserts that this truth is inevitably our truth.

Directing scenes and senses

The thinking of Regie


All Time Past Year Past 30 Days
Abstract Views 53 23 9
Full Text Views 19 2 0
PDF Downloads 9 1 0