Abstract
The article theorizes the question of mediatisation and performativity in contemporary dance and theatre practice. Juxtaposing current arguments within media theory (Virillio 1996; Faulstich2004) to theatre theory (Schleef 1997; Brook 1969), the author investigates performative concepts of embodiment and kinaesthetic memory (Roach 1996) in relationship to the notion of simulation, presence and absence in performance. By example of Wanda Golonka’s choreographic dance theatre productions of Sarah Kane’s 4.48 Psychosis and Crave at Schauspiel Frankfurt the author analyzes theatre as an immediate space for collective co-presence of performers and audience. Thus, it is argued that theatre is not to be understood as a medium per se, but rather a performative event which is phenomenologically experienced as being-together, physically sharing the same time and space.