Theater der Zeit

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Kamran Behrouz

Kamran Behrouz (1984, Teheran) ist ein*e queere*r, nicht-binäre*r Bildkünstler*in und Forscher*in, lebt und arbeitet in Zürich und promovierte mit „Cosmopolitics of the Body“ zu Körpergrenzen und verkörperten Kulturen. Behrouz arbeitet medienübergreifend mit Malerei, Animation, Installation, Motion-Capture und (virtueller) Performance und entwickelt eine Kartografie von Zugehörigkeit, Exil und Verdrängung, in der queere Identität und Bildpolitiken zentrale Bezugspunkte sind.

Stand: 2026 (Datum der letzten Veröffentlichung bei Theater der Zeit)

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  • A detailed pastel blue, lavender, and pastel green drawing of Gullibilius on a beige-brown coffee-tinted background. Gullibilius is a creature Kamran Behrouz called into being by mapping their autism. On the right side of its body, Gullibilius has two lavender tentacles emerging and functioning as some sort of legs, studded with suction cups. Next to the tentacles, its two muscular blue legs that have hands instead of feet softly prop its body up. The blue hands as feet belong to a body with a blue, bald human head, eyes and mouth closed, but a third open eye on its forehead. The centre of the body consists of a large brain, in which a sleeping, mint-green cat is nestled alongside a shimmery jellyfish. Next to the brain is a large open eyeball, facing outwards, and on top of that the mentioned blue bald head. All these parts of Gullibilius, the tentacles, brain, legs, etc., are labelled like a diagram. Next to this body of Gullibilius is a small drawing of a blue-winged creature with a bald human head and the body of a bird and with two hands instead of legs, which is Gullibilius’ original form. Next to the tentacles is a small drawing of a white octopus pointing out Gullibilius’ tentacle legs to show where tentacles originate from. The image suggests Gullibilius is a hybrid creature.
    Open AccessFotostreckeVideo

    Translations and Frictions: A written conversation between Kamran Behrouz, Yvonne Schmidt and Nina Mühlemann

    Ein schriftliches Gespräch zwischen Kamran Behrouz, Yvonne Schmidt und Nina Mühlemann über das Stück Creature Comforts von Criptonite. Das Publikum füllte Fragebögen aus und wurde je einer von drei Mini-Performances zugeteilt (Essen, Zungentanz, Video), wobei man die anderen zwei verpasste – das Prinzip „joy of missing out“. Themen sind die Grundidee, Proben-Herausforderungen wie Covid-Ausbrüche und Zeitabläufe, sowie mehrfache Übersetzungen zwischen Gullibilius-Zeichnung, Video, Gebärdensprache und Publikum.

    The base idea was to challenge the notion that an audience perceives a piece of theatre in unison as much as possible, because that is never true – if a group of people attends the same piece, all the experiences will be different. This is particularly true if we take disability into account. So I wanted to create a piece that emphasizes and heightens that idea and also expects from non-disabled audience members some of the same things that are usually only expected from disabled theatregoers – having to declare needs and preferences in advance, having the experience shaped by that advance information, and missing out on other parts of the piece.

    — Nina Mühlemann

    von Nina Mühlemann, Yvonne Schmidt und Kamran Behrouz

    Foto: Kamran Behrouz

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Neuerscheinungen im Verlag

Theater der Zeit Cover Juni 2026
Theater der Zeit Cover Mai 2026 – Florentina Holzinger

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