1,720,965 research outputs found
For Whom the Southern Belle Tolls [program]
No full textRowen, Bess; Jamison, Dylan; Rein, Marc; Roth, Liz; Beckerman, Michelle; Syciarz, Timothy; Wassell, David; Passeri, Nicol
Dead Man\u27s Cell Phone [program]
No full textRowen, Bess; Hoelscher, Erica; Jenkins, Erin; Hoelscher, Erica; Galloway, Haydn; Joglekar, Abhijeet; Beckerman, Michelle; Maloney, Sean; Gregory, Angelic
Last Train to NIBROC [program]
No full textRowen, Bess; Hallenbeck, Christopher; Hallenbeck, Christopher; Lind, Kelsey; Arroyo, Channon; Pittenger, Ada
Why Rainer Werner Fassbinder’s Play ‚Garbage, the City, and Death‘ Could Not Be Performed in Germany
No full textThis chapter analyses the scandal around the play "Garbage, The City and Death" ("Der Müll, die Stadt und der Tod") by German playwright, theatre and film maker Rainer Werner Fassbinder. Published in 1976, the play immediately caused a controversy in West Germany, because it was accused of reproducing anti-Semitic stereotypes. The scandal unfolded in three phases:
1. Literary Scandal (1976): Destroying the first edition of the play
2. Theatre Scandal (1980s): Preventing the staging of the play and blocking the opening night
3. Resolution (2009): First performance of the play in Germany
The play challenged the democracy of post-war Germany. The controversy over the play turned into a scandal, because two democratic values were at stake: the protection of human dignity and the freedom of expression. Those, who were in favour of the play, as well as those, who were opposed to it, claimed to protect either one of these values and, therefore, the young West German democracy. The scandal was caused and driven forward by the crucial questions: How will West Germany come to terms with its National Socialist past? Will it be able to maintain a stable democracy?
The case study of Garbage, The City and Death provides insights into the general structure and dynamics of scandals: Scandals arise through the public circulation of de-contextualised information about the subject of the controversy. The lack of information is caused by the logic of the scandal itself: Banning the play and the performance respectively prevents the general public from forming a well-founded opinion based on actual knowledge of the subject. The scandal is driven forward by an emotionalising rhetoric built around the de-contextualised pieces of information. Once the gap of information is filled, the scandalising rhetoric turns into a rhetoric of irrelevance: Reviews of the first performance of Garbage, The City and Death in Germany considered the play hardly a matter of public concern
Swiss-Swiss Democracy: the Making of Scandal as Play and Counter Play
No full textThe performance “Swiss-Swiss Democracy” caused such extraordinary sensation in Switzerland, that it imposes itself as an example of a modern scandal. Not only print and electronic media, but also the parliament and public debated for weeks about the exhibition, installation and performance by Bernese artist Thomas Hirschhorn at the Centre Culturel Suisse de Paris, which took place from December 4 to January 30 2005. For example: Swiss TV programme Kulturplatz reports weekly on important cultural events: “What really can be seen there, hardly anyone knows. We have visited the exhibition for you. This is our assessment.” The segment began as a walk through the exhibition, whose setting was explained as a “three-dimensional collage”. The rooms were wallpapered with newspaper clippings and statistics. “Quotes from philosophers cohere the content of the exhibition”. The artist was given the opportunity to comment on his work. He emphasized the openness of the exhibition, which was to be seen as a workshop where visitors were able to discuss with the team. Its aim was to “stimulate thoughts”. Each day, Hirschhorn produced a newspaper on current problems of democracy. The title story of the edition from the day before was the emotive issue Abu Ghraib, the torturing of Iraqi war prisoners by a democratic power. Hirschhorn stated that he connects issues that are not to be connected. While in Abu Ghraib there was not enough democracy, in Switzerland there was too much democracy. This called for an artist who connects the two.
Since political interference in the Swiss cultural sphere is highly unusual, this article gives an account of an exception. It makes use of a multilevel description, and this analysis remains as close as possible to the material and reflects chronologically how a person interested in culture in the German-speaking part of Switzerland experienced the event. In the course of the description, six phases of the scandal are distinguished. The case study serves to indicate that the general structure of scandals follows the dramaturgical alternation of play and counter play. Consequently, the question arises whether the case at hand not only endorses the right to artistic freedom, but also points out the freedom of assessment of artistic actions, which to date has been sparsely examined by art research and aesthetics
Frozen [program]
No full textMeyer, Rowan; Hoffecker, Justin; Hallenbeck, Chris; Ayite, Dede; Rowen, Bess; Perry, Katherine; Howe, Justin; Micklin, Lee; McLaren, Noe
Appearances [program]
No full textMcLaren, Noël; McGurk, Colin; Richey, Pam; Hawxhurst, Corinne; Rowen, Bess; Kozlowski, Kati
Three Sisters [program]
No full textRipa, Augustine; Francis, Drew; Kerr, Travis; Hoelscher, Erica; Prue, Thomas; Hunter, Nicole; Dugan, Leigh; Rowen, Bess; McLaren, Noël; Howe, Justin; Clark, Jerrod; Fabré, Paul G.; Jacobs, David; Lucas, Kareem M.; Dobson, Devin; Wassel, David; Syciarz, Tim; Beckerman, Michelle; Arroyo, Shanno
"Isn’t it funny what tricks your memory plays?": dramaturgical structures of traumatic memory in the plays of Tennessee Williams
Get PDFTom Wingfield começa The glass menagerie vestindo um uniforme que denota sua participação na Segunda Guerra Mundial. A história que Tom conta ao público não é sobre o trauma da guerra, mas sobre um momento traumático diferente de seu passado: quando abandona sua irmã, Laura, e sua mãe, Amanda. Quando estudiosos e produtores de teatro falam sobre traumas em peças de Williams, tais como Menagerie, eles tendem a se concentrar no trauma e na memória de Tennessee Williams, em vez de nos de Tom Wingfield. Isso ignora as poderosas formas dramatúrgicas pelas quais a memória traumática compõe a lógica interna de peças como Menagerie, A streetcar named Desire e Suddenly last summer. Este ensaio leva em consideração as memórias traumáticas de Tom, Blanche e Catherine para mostrar como seus traumas são imitados e refletidos pelas estruturas dramatúrgicas gerais de suas peças. Depois de colocar esse argumento no contexto do trauma, da memória e do teatro, passo para uma análise de como os personagens traumatizados são situados vis-à-vis o público e o ambiente da peça para mostrar como essas diferentes relações impactam no modo como seu trauma é figurado. Em seguida, desenvolvo esses estudos de personagens para observar o impacto geral do trauma do personagem no arco dramatúrgico da peça, concentrando-me particularmente em como o trauma interage com o estilo de teatralidade da peça. Essas leituras atentas mostram como a memória traumática é importante para a lógica dramatúrgica interna da peça, além das ressonâncias biográficas, criando um ponto de partida dramatúrgico frutífero para futuras produções.
Abstract
Tom Wingfield begins The glass menagerie by standing in a uniform that denotes his participation in WWII. The story Tom tells the audience is not about the trauma of war, but of a different traumatic moment in his past: his abandonment of his sister, Laura, and his mother, Amanda. When scholars and theatre makers talk about trauma in Williams plays like Menagerie, they tend to focus on Tennessee Williams’s trauma and memory instead of Tom Wingfield’s. This ignores the powerful dramaturgical ways that traumatic memory forms the internal logic of plays like Menagerie, A streetcar named Desire, and Suddenly last summer. This essay takes the traumatic memories of Tom, Blanche, and Catherine seriously to show how their traumas are mimicked and reflected by the overall dramaturgical structures of their plays. After placing this argument in the context of trauma, memory, and theatre, I move to an analysis of how the traumatized characters are situated vis-à-vis the audience and world of the play to show how these different relationships impact how their trauma is represented. Then I build off of these character studies to a look at the overall impact of the character’s trauma on the play’s dramaturgical arc, focusing particularly on how trauma interacts with the play’s style of theatricality. These close readings show how the traumatic memory is important to the internal dramaturgical logic of the play beyond biographical resonances, creating a fruitful dramaturgical starting point for future productions
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