Kasperls Wurzeln. Elemente des Harlekin-Prinzips im Kasperltheater
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Studienarbeit aus dem Jahr 2010 im Fachbereich Theaterwissenschaft, Tanz, Note: 1,0, Ludwig-Maximilians-Universität München (Institut für Theaterwissenschaft), Veranstaltung: Seminar Figuren, Objekte, Materialien - Neue Tendenzen im Figurentheater, Sprache: Deutsch, Abstract: Harlekin und Kasperl - schon die blo e namentliche Erwähnung dieser beiden theatralen Figuren lässt bei jedem Hörer vor dem inneren Auge Bilder entstehen, ein jeder glaubt Kasperl und Harlekin zu kennen. In Einzelheiten mögen diese bildlichen Vorstellungen variieren, manche Grundzüge jedoch wie das eigentümliche Aussehen in Gestalt und Kostüm oder vorwitzig-freches, schlau-listiges Verhalten dürften sich in allen Imaginationen finden lassen. Die Entwicklung des Harlekins in der Tradition der Commedia dell'arte sowie die Entstehung des Kasperls und dessen Beziehungen zum Harlekin sind ein beständiges Forschungsfeld der Theaterwissenschaft. Einen besonderen Aspekt von Harlekins theatraler Wirkungsweise formuliert Rudolf Münz mit dem Harlekin-Prinzip. Die immer wieder betonte Verwandtschaft von Harlekin und Kasperl legt nahe, dieses Prinzip auch im Kasperltheater zu untersuchen.
Studierte an der LMU München Literatur- und Theaterwissenschaft (Schwerpunkte: Literarische Gender Studies, Postdramatik, Macht und Sprache, Theatralität). Während des Studiums und nach dem Magisterabschluss arbeitete sie freiberuflich für Verlage, Kunstprojekte sowie als Puppenspielerin. In performativ-künstlerischen Projekten setzte sie sich mit Geschlechter- und Körperdiskursen, traditioneller Handarbeit sowie der Gestaltung des öffentlichen Raumes auseinander. Seit Oktober 2015 wissenschaftliche Mitarbeiterin einer gemeinnützigen Stiftung (Schwerpunkte: Projektberatung, Vernetzung, Öffentlichkeitsarbeit)
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