Daniel Schulze – författare

Authenticity is one of the major values of our time. It is visible everywhere, from clothing to food to self-help books. While it is such a prevalent phenomenon, it is also very evasive. This study analyses the ‘culture of authenticity’ as it relates to theatre and establishes a theoretical framework for analysis. Daniel Schulz argues that authenticity is sought out and marked by the individual and springs from a culture that is perceived as inherently fake and lacking depth. The study examines three types of performances that exemplify this structure of feeling: intimate theatre seen in Forced Entertainment productions such as Quizoola! (1996, 2015), as well as one-on-one performances, such as Oentroerend Goed’s Internal (2009); immersive theatres as illustrated by Punchdrunk’s shows The Masque of the Red Death (2007) and The Drowned Man (2013) which provide a visceral, sensate understanding for audiences; finally, the study scrutinises the popular category of documentary theatre through various examples such as Robin Soan’s Talking to Terrorists (2005), David Hare’s Stuff Happens (2004), Edmund Burke’s Black Watch (2007) and Dennis Kelly’s pseudo-documentary play Taking Care of Baby (2007). It is specifically the value of the document that lends such performances their truth-value and consequently their authenticity. The study analyses how the success of these disparate categories of performance can be explained through a common concern with notions of truth and authenticity. It argues that this hunger for authentic, unmediated experience is characteristic of a structure of feeling that has superseded postmodernism and that actively seeks to resignify artistic and cultural practices of the everyday.

Authenticity is one of the major values of our time. It is visible everywhere, from clothing to food to self-help books. While it is such a prevalent phenomenon, it is also very evasive. This study analyses the ''culture of authenticity'' as it relates to theatre and establishes a theoretical framework for analysis. Daniel Schulz argues that authenticity is sought out and marked by the individual and springs from a culture that is perceived as inherently fake and lacking depth. The study examines three types of performances that exemplify this structure of feeling: intimate theatre seen in Forced Entertainment productions such as Quizoola! (1996, 2015), as well as one-on-one performances, such as Oentroerend Goed''s Internal (2009); immersive theatres as illustrated by Punchdrunk''s shows The Masque of the Red Death (2007) and The Drowned Man (2013) which provide a visceral, sensate understanding for audiences; finally, the study scrutinises the popular category of documentary theatre through various examples such as Robin Soan''s Talking to Terrorists (2005), David Hare''s Stuff Happens (2004), Edmund Burke''s Black Watch (2007) and Dennis Kelly''s pseudo-documentary play Taking Care of Baby (2007). It is specifically the value of the document that lends such performances their truth-value and consequently their authenticity. The study analyses how the success of these disparate categories of performance can be explained through a common concern with notions of truth and authenticity. It argues that this hunger for authentic, unmediated experience is characteristic of a structure of feeling that has superseded postmodernism and that actively seeks to resignify artistic and cultural practices of the everyday.

Authenticity is one of the major values of our time. It is visible everywhere, from clothing to food to self-help books. While it is such a prevalent phenomenon, it is also very evasive. This study analyses the ''culture of authenticity'' as it relates to theatre and establishes a theoretical framework for analysis. Daniel Schulz argues that authenticity is sought out and marked by the individual and springs from a culture that is perceived as inherently fake and lacking depth. The study examines three types of performances that exemplify this structure of feeling: intimate theatre seen in Forced Entertainment productions such as Quizoola! (1996, 2015), as well as one-on-one performances, such as Oentroerend Goed''s Internal (2009); immersive theatres as illustrated by Punchdrunk''s shows The Masque of the Red Death (2007) and The Drowned Man (2013) which provide a visceral, sensate understanding for audiences; finally, the study scrutinises the popular category of documentary theatre through various examples such as Robin Soan''s Talking to Terrorists (2005), David Hare''s Stuff Happens (2004), Edmund Burke''s Black Watch (2007) and Dennis Kelly''s pseudo-documentary play Taking Care of Baby (2007). It is specifically the value of the document that lends such performances their truth-value and consequently their authenticity. The study analyses how the success of these disparate categories of performance can be explained through a common concern with notions of truth and authenticity. It argues that this hunger for authentic, unmediated experience is characteristic of a structure of feeling that has superseded postmodernism and that actively seeks to resignify artistic and cultural practices of the everyday.

Authenticity is one of the major values of our time. It is visible everywhere, from clothing to food to self-help books. While it is such a prevalent phenomenon, it is also very evasive. This study analyses the ‘culture of authenticity’ as it relates to theatre and establishes a theoretical framework for analysis. Daniel Schulz argues that authenticity is sought out and marked by the individual and springs from a culture that is perceived as inherently fake and lacking depth. The study examines three types of performances that exemplify this structure of feeling: intimate theatre seen in Forced Entertainment productions such as Quizoola! (1996, 2015), as well as one-on-one performances, such as Oentroerend Goed’s Internal (2009); immersive theatres as illustrated by Punchdrunk’s shows The Masque of the Red Death (2007) and The Drowned Man (2013) which provide a visceral, sensate understanding for audiences; finally, the study scrutinises the popular category of documentary theatre through various examples such as Robin Soan’s Talking to Terrorists (2005), David Hare’s Stuff Happens (2004), Edmund Burke’s Black Watch (2007) and Dennis Kelly’s pseudo-documentary play Taking Care of Baby (2007). It is specifically the value of the document that lends such performances their truth-value and consequently their authenticity. The study analyses how the success of these disparate categories of performance can be explained through a common concern with notions of truth and authenticity. It argues that this hunger for authentic, unmediated experience is characteristic of a structure of feeling that has superseded postmodernism and that actively seeks to resignify artistic and cultural practices of the everyday.

Viele Menschen beginnen in einer schweren Krise nicht nur gegen das Leid, sondern auch gegen Gott zu kämpfen. Doch wenn wir verstehen, dass wir anhaltende Krisen in Phasen erleben und verarbeiten können, besteht Grund zur Hoffnung! Hoffnung, dass wir mitten in dieser Welt mit ihrem unlösbaren Schmerz voller Akzeptanz und Frieden leben können. Daniel Schulze teilt sein eigenes starkes Zeugnis von diesem Prozess der inneren Heilung in unheilbarer Krankheit. Er öffnet mit seinem 5-Phasen-Modell der »Fünf Länder der Heilung« eine neue, anwendungsstarke Orientierung für Betroffene. Sehr persönlich gibt er Einblick, wie man den Glauben als Ressource für die Krisenbewältigung nutzen kann.

Die Deutschen sind Aktienmuffel: Nur gut 10 Prozent der Deutschen sind Aktionäre und Besitzer von Aktienfonds. Diese Tatsache erklärt wohl auch, warum die meisten Studierenden ebenfalls nicht an der Börse als Anleger aktiv sind. Doch wie kann man es ihnen auch verübeln, wenn weder in der Schule noch im engeren Bekanntenkreis solche wichtigen Thematiken wie Geldanlage besprochen werden? Wer soll ihnen dann erklären, wie man Aktien kauft, geschweige denn an der Börse aktiv wird?Dieses Buch hilft dabei, diese Wissenslücke zu schließen. Es richtet sich primär an alle Studierende, die aus vielfältigen Gründen den ersten Schritt an der Börse noch nicht gewagt haben und unterstützt sie bei dieser ersten Hürde. Die Autoren vermitteln die wichtigsten Grundlagen zum Thema Geldanlage an der Börse und begleiten die Leser Schritt für Schritt von der Depoteröffnung bis zum ersten Wertpapierkauf. Dieses Buch dient als Fundament und Wegweiser für den langfristigen Vermögensaufbau.