Alix de Morant is Assistant Professor in Theatre & Dance Studies at the Université Paul-Valéry-Montpellier 3 and Member of RIRRA 21 ( EA4209). Her main research topics include site specific performances, contemporary dance & theatre, phenomenology & environmental theatre. Trained as a dancer and an actress, she is working mainly in the field of practiceled research.Helga Finter is Professor em. of Theatre Aesthetics and History at the Justus-Liebig-University in Giessen. Her current research focuses besides the aesthetics of voice and technology, on the theory of representation since Italian Renaissance Theatre.Eva Holling, Dr. phil, works as a research assistant on postdoc level at the Institute of Applied Theatre Studies, Justus-Liebig-University in Giessen. Her doctoral thesis on transference in theatre (2016) and won the Missing Link Award of Psychoanalytical Seminar Zurich in 2017. Activity in free authorship and art practice, co-founder of the group manche(r) art and part of the groups Mühlenkampf and Raumfaltung.Didier Plassard is full Professor in Theatre Studies at the Université Paul-Valéry-Montpellier 3. His research fields include various aspects of contemporary drama and contemporary stage, puppetry, avantgarde theatre, relations between theatre and images etc. He has published more than a hundred articles in academic journals and collective books, as well as many translations and interviews. Bernhard Siebert works as a research assistant at the Institute for Applied Theatre Studies, Justus-Liebig-University in Giessen. He worked as head of press in Berlin’s Sophiensaele, and Zurich’s Theater Neumarkt, and has collaborated with theatre makers such as Herbordt/Mohren, Swoosh Lieu, and Kiriakos Hadjiioannou.Gerald Siegmund is Professor of Applied Theatre Studies at the Justus-Liebig-University in Giessen. He studied Theatre, English and French Literature at the Johann Wolfgang Goethe-University in Frankfurt am Main. From 2005 to 2008 he was Assistant Professor at the Institute of Theatre Studies in Berne, Switzerland. Among his research interests are theatre and memory, aesthetics, dance, performance and theatre since the beginning of the 20th century.

• Indroduction: The Return of Long Stories / Introduction (Josette Féral　) – Intermedial Emplotments. Situation Rooms by Rimini Protokoll as a Cultural Narrative (Gerald Siegmund　) – Avec les yeux et les oreilles. Logique emblématique et narrativité chez Romeo Castellucci (Helga Finter) – Témoignages intermédiaux　: logique de la dépropriation (Stéphane Hervé　) – Faire écran à l’histoire. L’écriture intermédiale de K. Warlikowksi (Arnaud Maïsetti)　 – Entracte 1　: «If not(you&me)=(void)» (Muriel Piqué / Annie Abrahams) – Between the Images: the Deconstruction of the Film Narrative in the Choreographic Works of Maria Jerez and Hanna Hegenscheidt (Alix de Morant ) – L’artiste démiurge au sein du dispositif numérique　? Manipuler le visible et l’invisible (Oriane Maubert　) – Painting with Light: Micro- and Macrohistory in the Dramaturgy of Writing to Vermeer by Peter Greenaway and Louis Andriessen (Cristina Grazioli) – Autour, dans, contre la catastrophe　? La mise en récit de la nouvelle de Kleist Le tremblement de terre au Chili (Eliane Beaufils) – Entre textes et écrans :　Pinocchio et Frankenstein ont peur de Harrison Ford, de Fabio Rubiano. Ou revisiter le mythe littéraire avec l’intermédialité (Gabriella Serban)– Entracte 2　: «We have a certain dramaturgy of course, but it’s not organised in the Linearity of a Narration» (Bernhard Siebert) – Tales of things large and small, or puppetry in the age of intermediality (Didier Plassard) – Le continuum texte narratif – action scénique dans Hôtel de Rive de Frank Soehnle (Jennifer Ratet) – The Suspended and Emerging Narration of the Device in Participative Theatre (Carmen Pedullà) – Les fonctions narratives du masque dans les spectacles de Gisèle Vienne　: I apologize, Kindertotenlieder et Eternelle idole (Fabio Raffo) – L’utilisation de la vidéo en direct dans la construction narrative des spectacles de Guy Cassiers (Edwige Perrot) – Dispositif sonore narrativité. Enjeux intermédiaux dans le spectacle The Encounter de Simon McBurney (Izabella Pluta)　– Entracte 3　: Narrativité et Intermédialité. Table Ronde animée par Didier Plassard et Gerald Siegmund avec Christian Rizzo, Gildas Milin, Vincent Dupont et François-Xavier Rouyer – Historie(s) and Anecdotes. On Narrative Concepts and their Impact (Eva Holling) –Beyond History? Akram Zaatari’s Letter to a refusing pilot (Julia Schade) – L’intermédialité dans l’élaboration d’un théâtre politique　: le travail théâtral de Fabrice Murgia (Nancy Delhalle) – The Use of multi-media in Motus’ Writing Strategies (Maria Giovanna Falcone) – A Scene of the Unseen. Altermundiality in Walid Raad’s Les Louvres and/or Kicking the Dead (Léon Gabriel) – Narrating an Unsettled Past. Berlin’s Jerusalem [Holocene # 1.2] (Wolf-Dieter Ernst) – Entracte 4 : Raconter (Rodrigo Garcia) – Periscopic Contemplations. Narrativity, Pellucidity and Landscape in Philippe Quesne and Vivarium Studio’s Swamp Club (Bernhard Siebert) – Vin nouveau et vieilles bouteilles. Les She She Pop et Le Roi Lear (Joëlle Chambon) – Le breakdown du temps (Valentina Valentini) – Ecrire la mort et le deuil dans une circulation intermédiale :　Finir en beauté　de Mohamed El Khatib (Cyrielle Dodet) – Desceller le temps cinématographique　: la fabrique filmique à l’épreuve de la scène (Margot Dacheux

Alix de Morant is Assistant Professor in Theatre & Dance Studies at the Université Paul-Valéry-Montpellier 3 and Member of RIRRA 21 ( EA4209). Her main research topics include site specific performances, contemporary dance & theatre, phenomenology & environmental theatre. Trained as a dancer and an actress, she is working mainly in the field of practiceled research.Helga Finter is Professor em. of Theatre Aesthetics and History at the Justus-Liebig-University in Giessen. Her current research focuses besides the aesthetics of voice and technology, on the theory of representation since Italian Renaissance Theatre.Eva Holling, Dr. phil, works as a research assistant on postdoc level at the Institute of Applied Theatre Studies, Justus-Liebig-University in Giessen. Her doctoral thesis on transference in theatre (2016) and won the Missing Link Award of Psychoanalytical Seminar Zurich in 2017. Activity in free authorship and art practice, co-founder of the group manche(r) art and part of the groups Mühlenkampf and Raumfaltung.Didier Plassard is full Professor in Theatre Studies at the Université Paul-Valéry-Montpellier 3. His research fields include various aspects of contemporary drama and contemporary stage, puppetry, avantgarde theatre, relations between theatre and images etc. He has published more than a hundred articles in academic journals and collective books, as well as many translations and interviews. Bernhard Siebert works as a research assistant at the Institute for Applied Theatre Studies, Justus-Liebig-University in Giessen. He worked as head of press in Berlin’s Sophiensaele, and Zurich’s Theater Neumarkt, and has collaborated with theatre makers such as Herbordt/Mohren, Swoosh Lieu, and Kiriakos Hadjiioannou.Gerald Siegmund is Professor of Applied Theatre Studies at the Justus-Liebig-University in Giessen. He studied Theatre, English and French Literature at the Johann Wolfgang Goethe-University in Frankfurt am Main. From 2005 to 2008 he was Assistant Professor at the Institute of Theatre Studies in Berne, Switzerland. Among his research interests are theatre and memory, aesthetics, dance, performance and theatre since the beginning of the 20th century.

• Indroduction: The Return of Long Stories / Introduction (Josette Féral　) – Intermedial Emplotments. Situation Rooms by Rimini Protokoll as a Cultural Narrative (Gerald Siegmund　) – Avec les yeux et les oreilles. Logique emblématique et narrativité chez Romeo Castellucci (Helga Finter) – Témoignages intermédiaux　: logique de la dépropriation (Stéphane Hervé　) – Faire écran à l’histoire. L’écriture intermédiale de K. Warlikowksi (Arnaud Maïsetti)　 – Entracte 1　: «If not(you&me)=(void)» (Muriel Piqué / Annie Abrahams) – Between the Images: the Deconstruction of the Film Narrative in the Choreographic Works of Maria Jerez and Hanna Hegenscheidt (Alix de Morant ) – L’artiste démiurge au sein du dispositif numérique　? Manipuler le visible et l’invisible (Oriane Maubert　) – Painting with Light: Micro- and Macrohistory in the Dramaturgy of Writing to Vermeer by Peter Greenaway and Louis Andriessen (Cristina Grazioli) – Autour, dans, contre la catastrophe　? La mise en récit de la nouvelle de Kleist Le tremblement de terre au Chili (Eliane Beaufils) – Entre textes et écrans :　Pinocchio et Frankenstein ont peur de Harrison Ford, de Fabio Rubiano. Ou revisiter le mythe littéraire avec l’intermédialité (Gabriella Serban)– Entracte 2　: «We have a certain dramaturgy of course, but it’s not organised in the Linearity of a Narration» (Bernhard Siebert) – Tales of things large and small, or puppetry in the age of intermediality (Didier Plassard) – Le continuum texte narratif – action scénique dans Hôtel de Rive de Frank Soehnle (Jennifer Ratet) – The Suspended and Emerging Narration of the Device in Participative Theatre (Carmen Pedullà) – Les fonctions narratives du masque dans les spectacles de Gisèle Vienne　: I apologize, Kindertotenlieder et Eternelle idole (Fabio Raffo) – L’utilisation de la vidéo en direct dans la construction narrative des spectacles de Guy Cassiers (Edwige Perrot) – Dispositif sonore narrativité. Enjeux intermédiaux dans le spectacle The Encounter de Simon McBurney (Izabella Pluta)　– Entracte 3　: Narrativité et Intermédialité. Table Ronde animée par Didier Plassard et Gerald Siegmund avec Christian Rizzo, Gildas Milin, Vincent Dupont et François-Xavier Rouyer – Historie(s) and Anecdotes. On Narrative Concepts and their Impact (Eva Holling) –Beyond History? Akram Zaatari’s Letter to a refusing pilot (Julia Schade) – L’intermédialité dans l’élaboration d’un théâtre politique　: le travail théâtral de Fabrice Murgia (Nancy Delhalle) – The Use of multi-media in Motus’ Writing Strategies (Maria Giovanna Falcone) – A Scene of the Unseen. Altermundiality in Walid Raad’s Les Louvres and/or Kicking the Dead (Léon Gabriel) – Narrating an Unsettled Past. Berlin’s Jerusalem [Holocene # 1.2] (Wolf-Dieter Ernst) – Entracte 4 : Raconter (Rodrigo Garcia) – Periscopic Contemplations. Narrativity, Pellucidity and Landscape in Philippe Quesne and Vivarium Studio’s Swamp Club (Bernhard Siebert) – Vin nouveau et vieilles bouteilles. Les She She Pop et Le Roi Lear (Joëlle Chambon) – Le breakdown du temps (Valentina Valentini) – Ecrire la mort et le deuil dans une circulation intermédiale :　Finir en beauté　de Mohamed El Khatib (Cyrielle Dodet) – Desceller le temps cinématographique　: la fabrique filmique à l’épreuve de la scène (Margot Dacheux

Alix de Morant is Assistant Professor in Theatre & Dance Studies at the Université Paul-Valéry-Montpellier 3 and Member of RIRRA 21 ( EA4209). Her main research topics include site specific performances, contemporary dance & theatre, phenomenology & environmental theatre. Trained as a dancer and an actress, she is working mainly in the field of practiceled research.Helga Finter is Professor em. of Theatre Aesthetics and History at the Justus-Liebig-University in Giessen. Her current research focuses besides the aesthetics of voice and technology, on the theory of representation since Italian Renaissance Theatre.Eva Holling, Dr. phil, works as a research assistant on postdoc level at the Institute of Applied Theatre Studies, Justus-Liebig-University in Giessen. Her doctoral thesis on transference in theatre (2016) and won the Missing Link Award of Psychoanalytical Seminar Zurich in 2017. Activity in free authorship and art practice, co-founder of the group manche(r) art and part of the groups Mühlenkampf and Raumfaltung.Didier Plassard is full Professor in Theatre Studies at the Université Paul-Valéry-Montpellier 3. His research fields include various aspects of contemporary drama and contemporary stage, puppetry, avantgarde theatre, relations between theatre and images etc. He has published more than a hundred articles in academic journals and collective books, as well as many translations and interviews. Bernhard Siebert works as a research assistant at the Institute for Applied Theatre Studies, Justus-Liebig-University in Giessen. He worked as head of press in Berlin’s Sophiensaele, and Zurich’s Theater Neumarkt, and has collaborated with theatre makers such as Herbordt/Mohren, Swoosh Lieu, and Kiriakos Hadjiioannou.Gerald Siegmund is Professor of Applied Theatre Studies at the Justus-Liebig-University in Giessen. He studied Theatre, English and French Literature at the Johann Wolfgang Goethe-University in Frankfurt am Main. From 2005 to 2008 he was Assistant Professor at the Institute of Theatre Studies in Berne, Switzerland. Among his research interests are theatre and memory, aesthetics, dance, performance and theatre since the beginning of the 20th century.

• Indroduction: The Return of Long Stories / Introduction (Josette Féral　) – Intermedial Emplotments. Situation Rooms by Rimini Protokoll as a Cultural Narrative (Gerald Siegmund　) – Avec les yeux et les oreilles. Logique emblématique et narrativité chez Romeo Castellucci (Helga Finter) – Témoignages intermédiaux　: logique de la dépropriation (Stéphane Hervé　) – Faire écran à l’histoire. L’écriture intermédiale de K. Warlikowksi (Arnaud Maïsetti)　 – Entracte 1　: «If not(you&me)=(void)» (Muriel Piqué / Annie Abrahams) – Between the Images: the Deconstruction of the Film Narrative in the Choreographic Works of Maria Jerez and Hanna Hegenscheidt (Alix de Morant ) – L’artiste démiurge au sein du dispositif numérique　? Manipuler le visible et l’invisible (Oriane Maubert　) – Painting with Light: Micro- and Macrohistory in the Dramaturgy of Writing to Vermeer by Peter Greenaway and Louis Andriessen (Cristina Grazioli) – Autour, dans, contre la catastrophe　? La mise en récit de la nouvelle de Kleist Le tremblement de terre au Chili (Eliane Beaufils) – Entre textes et écrans :　Pinocchio et Frankenstein ont peur de Harrison Ford, de Fabio Rubiano. Ou revisiter le mythe littéraire avec l’intermédialité (Gabriella Serban)– Entracte 2　: «We have a certain dramaturgy of course, but it’s not organised in the Linearity of a Narration» (Bernhard Siebert) – Tales of things large and small, or puppetry in the age of intermediality (Didier Plassard) – Le continuum texte narratif – action scénique dans Hôtel de Rive de Frank Soehnle (Jennifer Ratet) – The Suspended and Emerging Narration of the Device in Participative Theatre (Carmen Pedullà) – Les fonctions narratives du masque dans les spectacles de Gisèle Vienne　: I apologize, Kindertotenlieder et Eternelle idole (Fabio Raffo) – L’utilisation de la vidéo en direct dans la construction narrative des spectacles de Guy Cassiers (Edwige Perrot) – Dispositif sonore narrativité. Enjeux intermédiaux dans le spectacle The Encounter de Simon McBurney (Izabella Pluta)　– Entracte 3　: Narrativité et Intermédialité. Table Ronde animée par Didier Plassard et Gerald Siegmund avec Christian Rizzo, Gildas Milin, Vincent Dupont et François-Xavier Rouyer – Historie(s) and Anecdotes. On Narrative Concepts and their Impact (Eva Holling) –Beyond History? Akram Zaatari’s Letter to a refusing pilot (Julia Schade) – L’intermédialité dans l’élaboration d’un théâtre politique　: le travail théâtral de Fabrice Murgia (Nancy Delhalle) – The Use of multi-media in Motus’ Writing Strategies (Maria Giovanna Falcone) – A Scene of the Unseen. Altermundiality in Walid Raad’s Les Louvres and/or Kicking the Dead (Léon Gabriel) – Narrating an Unsettled Past. Berlin’s Jerusalem [Holocene # 1.2] (Wolf-Dieter Ernst) – Entracte 4 : Raconter (Rodrigo Garcia) – Periscopic Contemplations. Narrativity, Pellucidity and Landscape in Philippe Quesne and Vivarium Studio’s Swamp Club (Bernhard Siebert) – Vin nouveau et vieilles bouteilles. Les She She Pop et Le Roi Lear (Joëlle Chambon) – Le breakdown du temps (Valentina Valentini) – Ecrire la mort et le deuil dans une circulation intermédiale :　Finir en beauté　de Mohamed El Khatib (Cyrielle Dodet) – Desceller le temps cinématographique　: la fabrique filmique à l’épreuve de la scène (Margot Dacheux