{"id":2897,"date":"2019-12-10T19:06:19","date_gmt":"2019-12-10T18:06:19","guid":{"rendered":"https:\/\/www.talmi-methode.com\/susanne-gruber\/statements\/"},"modified":"2020-06-09T12:17:10","modified_gmt":"2020-06-09T10:17:10","slug":"reviews-susanne-gruber","status":"publish","type":"page","link":"https:\/\/www.talmi-methode.com\/en\/reviews-susanne-gruber\/","title":{"rendered":"Reviews Susanne G\u00f6\u00dfe (Susanne Gruber)"},"content":{"rendered":"<h2>Reviews<\/h2>\n<p>They must have seen that, because they&#8217;ve never seen that before.<br \/>\n<em>k\u00e4rnten.orf.at<\/em> sent on 10.10.2019 to\u00a0<strong>Die Stunde, da wir nichts voneinander wu\u00dften<\/strong> (The hour, when we knew nothing about each other)<\/p>\n<p>Terrific!<br \/>\n<em>Kronenzeitung<\/em> from 12.10.2019 to\u00a0<strong>Die Stunde, da wir nichts voneinander wu\u00dften<\/strong> (The hour, when we knew nothing about each other)<\/p>\n<p><strong>Dante, Tod und Teufel<\/strong> is the most spectacular Blaue Nacht program im Tucherschloss\u00a0 to date.<br \/>\n<a href=\"https:\/\/web.archive.org\/web\/20160304071000\/http:\/\/www.museumszeitung.de\/pdf\/45\/msn_2_museumszeitung_ausgabe_45.pdf\" target=\"_blank\" rel=\"noopener noreferrer\"><em>Museumszeitung<\/em> 45, 2013<\/a><\/p>\n<p>Feel like reading some really smart stuff again? Then I recommend article &#8220;<strong>Versuch \u00fcber das Un\u00fcbertragbare&#8221;<\/strong>\u00a0by Susanne G\u00f6\u00dfe in Parapluie.<br \/>\n<a href=\"https:\/\/cronenburg.blogspot.com\/2009\/06\/hat-mainstream-einen-ausgang.html\" target=\"_blank\" rel=\"noopener noreferrer\">Cronenburg.blogspot.com, 2009<\/a><\/p>\n<p>Strange! Lively! Thrilling! The spectators are intoxicated. Maximum enjoyment, a rush of happiness. This piece is a highlight of the Hue Festival 2004.<br \/>\n<em>Vietnam Express from<\/em>\u00a016.6.2004\u00a0 and\u00a0<em>Thua Thien Hue <\/em>from\u00a019.6.2004 zu <strong>Dialoge \u00fcber die Liebe <\/strong>(Dialogues about love)(<em>translated from Vietnamese<\/em>)<\/p>\n<p>The most impressive is probably the contribution by Susanne G\u00f6\u00dfe, who, through an exhaustive analysis of a poem by Zhong Ming, explains the defense against ideological appropriation in contemporary Chinese literature.<br \/>\n<em>KulturPoetik\u00a0<\/em>3-1\/2003 \u2013 to\u00a0<strong>Empty names and virtual memory<\/strong><\/p>\n<p>Susanne G\u00f6\u00dfe&#8217;s lyrics are wonderfully poetic ciphers. With this &#8220;theatre project&#8221;, G\u00f6\u00dfe and Gruber have regained an experiment on the podium of the Ulm theatre in which Western and Far Eastern theatre happily combine.<br \/>\n<em>Die Deutsche B\u00fchne\u00a0<\/em>11\/1998 &#8211; to\u00a0<strong>Anstatt Rashomon<\/strong><\/p>\n<p>Both volumes represent new territory. For the first time in German translation, the poems of the poetry group of the &#8220;Five Nobles of Sichuan&#8221; are presented in such diversity. Both volumes are a remarkable overall achievement.<br \/>\n<em>Bochumer Jahrbuch zur Ostasienforschung (Bochum Yearbook on East Asian Studies)\u00a0<\/em>21\/1997, S. 249-251 &#8211; to\u00a0<strong>Chinesische Akrobatik \u2013 Harte St\u00fchle\u00a0<\/strong>und <strong>Glasfabrik <\/strong>(Chinese Acrobatics &#8211; Hard Chairs and Glass Factory)<\/p>\n<p>Susanne G\u00f6\u00dfe&#8217;s translation is an outstanding achievement and proves her great talent.<br \/>\nPaul Hoffmann, Epilogue to <strong>Chinesische Akrobatik &#8211; Harte St\u00fchle <\/strong>(Chinese Acrobatics &#8211; Hard Chairs)<strong>,\u00a0<\/strong>1995.<\/p>\n<p>Susanne G\u00f6\u00dfes piece is tragic, lyrical, sad, but also grotesquely funny. Martin Gruber creates a light, clear network of relationships, self-contained and never purely formalistic. This is a choreographed linguistic rhythm.<br \/>\n<em>Cult <\/em>\u00a08\/1998-1999 \u2013 to\u00a0<strong>Fest f\u00fcr Liebende in ungl\u00fccklicher Konstellation<\/strong><\/p>\n<p>Premiere of the weekend: Opera in Hanoi. Precise and stirring interpretation, idiosyncratic accordion playing, intent on effect. Three artists, one instrument &#8211; professional opera is not to be had less elaborately.<br \/>\n<em>Frankfurter Allgemeine Zeitung <\/em>from\u00a017.10.2004 to\u00a0<strong>Dialoge \u00fcber die Liebe<\/strong> (Dialogues about love)<\/p>\n<p>With this premiere, Gruber and G\u00f6\u00dfe have regained the function of the stage of the Ulmer Theater for which this &#8220;most beautiful theatre space&#8221; in Germany was once designed: the artistic experiment.<br \/>\n<em>Stuttgarter Zeitung <\/em>from\u00a024.9.1998 \u2013 to\u00a0<strong>Anstatt Rashomon <\/strong>(Instead of Rashomon)<\/p>\n<p>An existentialist, minimalist piece. Zen or the art of drawing on such outstanding sources of inspiration.<br \/>\n<em>SWF 3-Fernsehen<\/em>, \u201eKultur S\u00fcdwest\u201c, broadcast on 23.9.1998 \u2013 to\u00a0<strong>Anstatt Rashomon<\/strong> (Instead of Rashomon)<\/p>\n<p>It is a great merit of the organizers to have chosen a multidisciplinary approach, as offered by semiotics. There has been a long overdue interdisciplinary exchange in China.<br \/>\n<em>Hefte f\u00fcr ostasiatische Literatur (Booklets for East Asian Literature)\u00a0<\/em>18\/1995, S. 153-155 \u2013 to\u00a0<strong>Zeichen lesen \u2013 Lese-Zeichen<\/strong><\/p>\n<p>One of the aims of the conference was to perceive and clarify misunderstandings caused by culturally different ways of reading signs, a company that could prove helpful, at least in certain respects, for understanding between peoples.<br \/>\n<em>Frankfurter Rundschau from<\/em>\u00a01.11.1994 \u2013 to\u00a0<strong>Zeichen lesen \u2013 Lese-Zeichen<\/strong><\/p>\n<p>The translations preserve the density and aura of the originals.<br \/>\n<em>Schw\u00e4bisches Tagblatt <\/em>from\u00a012.7.1993 \u2013 to\u00a0<strong>Glasfabrik <\/strong>(Glass factory)<\/p>\n<p>Successful prelude with readings and a vernissage in the H\u00f6lderlin Tower. Peter H\u00e4rtling and the Chinese composer Zhu Shirui read H\u00f6lderlin alternately in German and Chinese. Andreas Schmid could hardly save himself from inquiries about the installations, drawings, calligraphies and lithographs that he and the Chinese Yang Jiechang had installed in and on the H\u00f6lderlin Tower.<br \/>\n<em>Schw\u00e4bisches Tagblatt <\/em>from\u00a0\u00a024.6.1995 \u2013 to\u00a0<strong>Chinesische Lyrik. Musik. Malerei.\u00a0K\u00fcnstler aus Deutschland und China im Gespr\u00e4ch <\/strong>(Chinese poetry. Music. Painting.\u00a0Artists from Germany and China in conversation)<\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"font-size: 10pt;\"><em>(The contributions quoted here have been shortened)<\/em><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Reviews They must have seen that, because they&#8217;ve never seen that before. k\u00e4rnten.orf.at sent on 10.10.2019 to\u00a0Die Stunde, da wir nichts voneinander wu\u00dften (The hour,  [&#8230;]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-2897","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Reviews Susanne G\u00f6\u00dfe (Susanne Gruber) - Talmi-Methode\u00ae<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.talmi-methode.com\/en\/susanne-gruber\/reviews-susanne-gruber\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Reviews Susanne G\u00f6\u00dfe (Susanne Gruber) - 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