Institutional Formations and Artistic Critique in German Ensemble Theatre

Abstract

If institutions are "the more enduring features of social life" (Giddens, The Constitution of Society, 1984), then how do they come into being? What kinds of collective practices and intersubjective aspirations bring them about, and how do they maintain them? This article investigates these questions through the lens of instituting processes, that is, practices that structure and underpin institutional formations. Based on long-term ethnographic fieldwork with the Theater an der Ruhr, a public theatre in the German post-industrial Ruhr valley, this article examines the role of rehearsals as a key instituting practice in theatres. In this case study, the ideals and actions associated with long-term rehearsals serve not merely a professional purpose as principal form of artistic labour; rather, rehearsals constitute the aesthetic, ethical, and political modus operandi of the institution. As the core work of art in the institution, rehearsals facilitate the long-term development of a collective aesthetic in an ensemble as well as the ethical cultivation of actors' artistic sensibilities. This article thereby also examines how the theatre conceptualises collective rehearsing as a political practice by distinguishing it from the project-based and flexible modalities propagated by post-Fordist policies in the arts. Artistic critique is articulated through and not against the formation of an institution. Based on this account, this article proposes to treat artistic institutions and instituting processes as significant subjects of anthropological research and as prisms for the study of aesthetic, ethical, and political practices.

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