This thesis analyzes three works of the GDR dramatist Heiner Müller: his early prose poem Orpheus gepflügt, his learning play Mauser, and his late piece Verkommenes Ufer Medeamaterial Landschaft mit Argonauten. It demonstrates how Müller, throughout different career stages, pragmatizes myth to further critical thinking. Ancient Greek myths and Christian symbolism play a crucial role in Müller’s strategy of calling into question the very systems that lay claim to an absolute truth. Müller both alludes to and openly employs myths to identify their inherent dialectical tension operative in everyday life as well as in secular explanatory models used to legitimize political agendas. He expands Theodor W. Adorno’s concept of negative dialectics through an emphasis on the mythical pole of the dialectical dyad “myth and enlightenment.” By drawing attention to myths inherent in civilization, Müller opens up space for the imagination and the potential of the irrational to initiate change.

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Σκοπός της παρούσας εργασίας είναι να μελετήσει τα αρχαιόθεμα έργα του Γερμανού σκηνοθέτη, θεωρητικού και συγγραφέα Heiner Müller τα οποία έχουν παρασταθεί στην Ελλάδα. Η χρονική περίοδος που καλύπτεται είναι το διάστημα από το 1988, χρονιά κατά την οποία δόθηκε η πρώτη παράσταση μυλλερικού έργου από ελληνικό θίασο και συγκεκριμένα από το θίασο Άττις του Θόδωρου Τερζόπουλου, έως και το 2008. Δεκαεπτά χρόνια μετά τον θάνατό του, ο συγγραφέας, σκηνοθέτης και θεωρητικός του θεάτρου Heiner Müller μοιάζει να εκπροσωπεί ιδανικά την σημερινή κυριαρχούσα αντίληψη για το επικείμενο τέλος της κουλτούρας του δυτικού κόσμου. Το παράδοξο είναι πώς, ενώ αποτέλεσε μια ιδιάζουσα περίπτωση ανθρώπου που δεν δίστασε να αρθρώσει ρητά, σκληρά, ανεπιφύλακτα και κυρίως αδιαπραγμάτευτα την απαισιοδοξία του για το μέλλον της ανθρωπότητας, πράγμα για το οποίο στιγματίστηκε από τη διανόηση του καιρού του, σήμερα αποτελεί το έμβλημα μιας ολόκληρης γενιάς, επειδή διείδε με ακρίβεια τη ροπή και την πορεία μας στο μέλλον και διατύπωσε με σαφήνεια τους φόβους και τις ανησυχίες της. / This project tries to emphasise on the plays of the German writer and director Heiner Müller which are based on ancient Greek plays and have been performed on the Greek stage.

(anglicky) This dissertation joins a conversation in German literary studies about East German literature's role, identity, and characteristic features. The thesis discusses the phenomenon of autonomy of the dramatic compositions written by Peter Hacks and Heiner Müller in the 1960s and 1970s in the GDR. The theoretic background of the research consists, among other things, of a short introduction to theoretical concepts developed by Kenneth Burke (particularly his New Rhetoric approach presented in The philosophy of literary form), Raymond Williams (including his cultural materialism), as well as Max Horkheimer and Theodor Adorno (Critical Theory). Furthermore, the dissertation deals with the idea of metatheatre, and it discusses elements of metadrama (Karin Vieweg-Marks) in the selected plays. The symbolic boundaries of research are the Berlin Wall's construction in 1961 and the expulsion of the German poet and songwriter Wolf Biermann in 1976. By analyzing the authors' concrete strategies, the thesis demonstrates that their plays articulate both the European literary tradition and the (East) German socialist project.

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Submitted by Automação e Estatística (sst@bczm.ufrn.br) on 2018-07-02T22:10:52Z No. of bitstreams: 1 FrankDuesberg_DISSERT.pdf: 4609176 bytes, checksum: 177b112624afd63e80879bdd8aa1fce9 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2018-07-09T13:31:25Z (GMT) No. of bitstreams: 1 FrankDuesberg_DISSERT.pdf: 4609176 bytes, checksum: 177b112624afd63e80879bdd8aa1fce9 (MD5) / Made available in DSpace on 2018-07-09T13:31:25Z (GMT). No. of bitstreams: 1 FrankDuesberg_DISSERT.pdf: 4609176 bytes, checksum: 177b112624afd63e80879bdd8aa1fce9 (MD5) Previous issue date: 2018-03-22 / Esta pesquisa indaga a possibilidade de uma experiência trágica de um espectador ou do autor no teatro contemporâneo. O objetivo é questionar a possibilidade da concentração do trágico, por exemplo, em um gesto performático. Hans-Thies Lehmann, no seu livro ‘Tragödie und dramatisches Theater’ (2014), reflete sobre a experiência trágica, que envolve vários aspectos, como a estetização de um acontecimento trágico, a cisão dessa estetização e uma reflexão. Foram criados e pesquisados múltiplas reescritas, experimentos e fragmentos reunidos sob o nome de ‘Estrada V’, baseados principalmente na obra ‘A Estrada de Volokolamsk’, de Heiner Müller e nas experiências do presente autor. O foco ficou nas reflexões e práticas em relação ao público e da possibilidade de uma experiência trágica vir a ocorrer. Constatou-se que no mundo moderno, a mística do excesso não precisa ser mais grandiosa, porém exige-se uma aumentada atenção com o comum. O teatro da tragédia contemporâneo é um local de conscientização intensa de perda, onde o sujeito é confrontado com a dissolução inevitável do ser e com uma experiência da própria finitude. Neste contexto, o trágico no teatro contemporâneo investiga o sujeito fragmentado do mundo atual, tocando na antiga e sempre renovada experiência do excesso. O destino fundamental do caráter trágico é seu desejo de investigação por uma verdade maior, em um mundo onde não há certezas e postulados irrefutáveis. Foi verificado que na arte performática a criação do trágico nasce do afeto, estabelecendo uma conexão específica entre o performador e o receptor, permitindo o surgimento de uma experiência trágica. / This research investigates the possibility of a tragic experience of a spectator or the author in contemporary theater. The objective is to question the possibility of the concentration of tragic, for example, in a performance gesture. Hans-Thies Lehmann, in his book 'Tragödie und dramatisches Theater' (2014), reflects on the tragic experience, which involves several aspects, such as the aestheticization of a tragic event, the breakup of this aesthetization and a reflection. Multiple re-writings, experiments and fragments were collected and researched organized under the name of 'Estrada V', based mainly on Heiner Müller's 'The Road of Volokolamsk' and the experiences of the present author. The focus was on reflections and practices of the relationship between stage and the public and the possibility of a tragic experience to occur. It has been found that in the modern world, the mystique of excess need not be grand, but an increased attention to the common is demanded. The theater of contemporary tragedy is a place of intense awareness of loss, where the subject is confronted with the inevitable dissolution of being and with an experience of one's own finitude. In this context, the tragic in contemporary theater investigates the fragmented subject of the present world, touching on the old and always renewed experience of excess. The fundamental destiny of the tragic character is its desire to investigate for a greater truth in a world where there are no certainties and irrefutable postulates. It was verified that in performance art the creation of the tragic arises from affection, establishing a specific connection between the performer and the receiver, allowing the emergence of a tragic experience.

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Eine Reihe literaturwissenschaftlicher Arbeiten seit Anfang der Neunzigerjahre bezeugt das lebhafte Interesse an der subjektiven Verfasstheit von Müllers Schreiben. Keine jedoch widmet sich erschöpfend Müllers als Autobiografie ausgewiesenem Text KRIEG OHNE SCHLACHT – LEBEN IN ZWEI DIKTATUREN. Zu Ehren kam der Text bislang nur als Zitatsteinbruch, Interpretationshilfe und umfangreiche poetologische Materialsammlung. Zumeist wird das Werk als gültiger Beleg der Intention müllerschen Schreibens herangezogen und erlangt damit einen unzulässigen Grad an Deutungshoheit. Dabei wird die poetische Dimension des Textes oft nur unzureichend reflektiert oder gänzlich missachtet. Die vorliegende textkritische Untersuchung soll dazu beitragen, die Forschungslücke in der einschlägigen Sekundärliteratur zu schließen und dazu anregen, das Potenzial Müllers enormen und vielgestaltigen Werkes jenseits seiner als Theaterarbeiten ausgewiesenen Texte wahrzunehmen und in Bewegung zu setzen. Nach einführenden Darstellungen zu Rezeptionssituation und Forschungsstand, der Diskussion spezifischer poetologischer Fragestellungen im Allgemeinen wie solcher der Autobiografieforschung im Besonderen, der Untersuchung der Genese und formaler Besonderheiten des Textes, analysiert die vorliegende Arbeit vor allem die strukturellen Wirkungsmechanismen, die Müllers disparate Selbstexplikation zum Auto-Drama werden lassen. Die Rückführung der Bedeutungsgeneration auf die strukturästhetischen Wirkungsmechanismen scheint insofern geeignet, als sie durch Textnähe und punktuelle Analyse der Textgenese Müllers Strategie der Selbst-Dekonstruktion sehr nahe kommt. Zumal Müller seine »Lebenserzählung« nach ähnlichen Strukturprinzipien aufbaut, wie seine anderen »poetischen« Texte auch. Aus der Beschreibung der disparaten Äußerungsformen des autobiografischen Ichs ergeben sich die textimmanenten Strategien der überaus komplexen Selbstinszenierung Müllers, sein »Theater der Schrift«. / Since the early 1990s a number of literary papers testify the vivid interest in the subjective composition of Müller’s writing. But none of these detailed devotes to Müller’s as autobiography assigned text WAR WITHOUT BATTLE – LIFE IN TWO DICTATORSHIPS. Until now the text has been only used as quarry of quotations, aid of interpretation and extensive poetological collection of material. Mainly the work is used as evidence of the intention of Müller’s writing and therefore receives an inadmissible degree of sovereignty of interpretation. The poetical dimension of the text is often inadequately reflected or even totally neglected and ignored. This text-critical examination will contribute to close this gap of research within the relevant secondary literature and encourage the recognition and discussion of the potential of Müller’s enormous and multifarious work beyond his as theatre work assigned texts. After the introduction of the situation of reception and the status of current research, the discussion of specific poetological questions in general such as autobiographical research, examination of genesis and formal specific features of texts, this paper will analyse the structural mechanisms of effect, which turn Müller’s disparate self-explication into an auto-drama. It seems suitable to return the meaning of generation on the structure-esthetical mechanisms of effect, as the proximity of text and selective analysis of the genesis of text is very close to Müller’s strategy of self-deconstruction. Particularly as Müller constructs his »Lebenserzählung« to similar structural principals as well as others of his »poetical« texts. The description of the disparate form of expression of the autobiographic I result in the text-immanent strategies of the enormous complex self-dramatisation of Müller; his »Theater der Schrift«.

Keywords: GDR literature, historical drama, postdramatic theatre, history, memory, Heiner Müller, Walter Benjamin, Bertolt Brecht, Lehrstück Abstract: The aim of this thesis is to analyse the representation of the German history and its relation with the reality of the GDR in selected dramas by Heiner Müller (1929-1995): Germania Death in Berlin, Germania 3 Ghosts at Dead Man, Life of Gundling Frederick of Prussia Lessing's Dream Sleep Scream, The Battle, The Horatian and The Hamletmachine. The main focus of interest is also the approach of the playwright to selected literary and theatrical genres as historical drama, Lehrstück and postdramatic theatre. The philosophical background of the analysis is based mainly on Walter Benjamin's essay On the Concept of History and his description of the painting Angelus Novus by Paul Klee. Furthermore, the thesis examines the methods of dramatization in Heiner Müller's plays.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.