[pt] Ao tomar como ponto de partida a instalação performativa Stifters Dinge (2007), do compositor e encenador alemão Heiner Goebbels, esta dissertação propõe experimentar e discutir, desde uma perspectiva ensaística, fragmentária e indisciplinar - isto é, resistente a uma adesão rígida a disciplinas e vertentes teórico-críticas bem demarcadas -, impasses de atos de leitura e de escrita no presente. Trata-se, por um lado, de buscar responder aos embaraços da interpretação e da representação mobilizados pela experiência inquietante de Stifters Dinge, também designada por Goebbels como um concerto para cinco pianos sem pianistas, uma peça sem atores e uma performance sem performers; e, por outro lado, de interrogar, pela escritura, movimentando-se por caminhos exploratórios e inconclusivos, modos de legibilidade e valoração no campo ampliado das artes hoje. No trânsito entre a estética e a política, as formas e os efeitos, a teoria crítica e a epistemologia, a dissertação realiza um exame minucioso de Stifters Dinge levando-se em consideração tanto o caráter performativo do gesto teórico-crítico como algumas tensões fundamentais na relação entre a linguagem e a constituição do saber. / [en] This dissertation takes as its starting point the German composer and director Heiner Goebbels s performative installation Stifters Dinge (2007), seeking to experiment and bring into discussion some impasses related to acts of reading and writing in the present. The research is carried out through an essayistic, fragmentary and indisciplinary perspective - that is, one that is resistant to rigid adherences to disciplines and well-demarcated theoretical critical approaches. On the one hand, the aim of this study is to try to react to the problems of interpretation and representation shaped by the disturbing experience of Stifters Dinge, which is also described by its director as a composition for five pianos with no pianists, a play with nobody acting, and a performance with no performers. On the other hand, it intends to interrogate forms of legibility and valuation in the expanded field of arts today, moving through exploratory and inconclusive paths in a writing supported by the barthesian notion of écriture. In the transit between aesthetics and politics, forms and effects, critical theory and epistemology, the dissertation performs a thorough examination of Stifters Dinge taking into consideration both the performative condition of the theoretical critical activity and some fundamental tensenesses on the relation between language and constitution of knowledge.

A civil Uprising on 17 June 1953 in the German Democratic Republic created a dilemma for a number of writers there. On one hand, they were deeply committed to the principles of socialism, upon which their state was based and which they saw as being put in grave danger by events such as those they experienced on 17 June. On the other hand, they were fiercely critical of the practice of socialism as pursued by the governing party, whose Stalinist methods of governance they believed to be in large part responsible for the civil unrest. My thesis explores the nature of this dilemma in the case of four writers, Bertolt Brecht, Heiner Müller, Stefan Heym and Erich Loest, and their efforts to resolve it within a repressive state, whose regime vigorously suppressed all signs of criticism or dissent. These writers created major works of fiction, a cycle of poems, a drama and two novels, in which the Uprising of 17 June is the central theme. In addition, each has provided a substantial body of non-fictional texts, largely journalistic and autobiographical, in which the Uprising is extensively contextualised. In bringing together and interrelating the fictional and non-fictional work of each author into my analysis, I have been able to demonstrate that all four held and publicly expressed views that set them in opposition to the regime in the GDR.

Zugl.: Göttingen, Univ., Diss., 2005

Senecan Medea in Deutschsprachiger Raum between the 18th century and today Analyzing the persistence of a mythological figure like Medea, who has endured through time and space, is a complex affair. It becomes apparent how the evolution of the heroine over the centuries assumes new meanings and adapts to constantly changing sociocultural contexts. Medea, already present in archaic mythological material, transcends the boundaries of strictly mythological meaning, and initially achieves full canonization in Greek and then in Latin theater. Indeed, through the tragedy of Euripides in 431 BC, a clear and well-recognizable “biographical career” is attributed to her, which later continues with the Senecan tragedy. In this work, the heroine from Colchis increasingly takes on the traits of a perfidious sorceress, approaching the anti-stoic essence of the monster. When she then seems to almost fade into oblivion completely throughout late antiquity and the Middle Ages, Medea later reappears on the international stage of the Renaissance and the Baroque era. Only from the end of the 18th century did Medea become widespread across Europe and proliferate in the new media of the 20th and 21st centuries on all continents. Thus, Medea's power is nurtured by the creative force of writers, dramatists, and librettists. Particularly in the European context, the Medea adaptations in German-speaking areas have so far enjoyed a lesser degree of systematics: they have been excluded from a coherent overall picture that also considered the influence of the archetype. For this reason, I have decided to focus this research work on the rewritings in German: here, literature picks up the classical myth and creates new versions that make use of unique and unrepeatable circumstances. Since the Euripidean tragedy is considered the most viewed tragic archetype, the model used here will be the Senecan tragedy, whose influence on the European and non-European dramaturgical tradition has often been overlooked. The structure of this work includes a first methodological chapter that lays the theoretical foundations for an in-depth analysis of the selected works, which are examined in a diachronic course in the second chapter. This chapter explores the survival of the heroine from the Classical and Medieval period to the modern and contemporary era, with particular attention to the various historical-cultural changes. The aim of this first part is to capture the often elusive, but just as often simply unexamined dependencies, of some German works on each other and from the Latin model. The result of this operation is a chronological and reasoned list of 86 German rewritings from the 18th to the 21st century in the form of a table, which constitutes an appendix to the research work. The second part begins with the third chapter, which contains the analysis of six representative works of different readings: furor and magic in Medea in Corinth (1786) by Friedrich Maximilian Klinger; Love and melodrama in Medea in Corinto (1814) by Johann Simon Mayr; the ethnic and political question in Medea in Prag (1949) by Max Zweig; the postmodern fragmentation in Medeamaterial by Heiner Müller (1983); the gender struggle in Der Schlaf der Vernunft (1984) by Ula Stöckl; and the psychoanalytic interpretation in M., nach Euripides (1984) by George Tabori. The six works selected here are considered exemplary for certain thematic and stylistic aspects and are essential to examine the Medea story from a critical perspective. The final chapter turns its gaze to the 21st century, highlighting the ongoing relevance of Medea as a source of new artistic truths, with a focus on Mein und dein Herz (Medeia) (2007) by Nino Haratischwili. The work concludes with an examination of potential future research directions and developments of the theme. The importance of Medea as a cultural, overarching icon is emphasized, which continues to deserve attention in academic studies.

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.

The critical component of this thesis, “Hitler Comedy”, is a dissertation on the intersection between comedy theory in general, and the specific practice of Hitler comedy. Focusing on Bertolt Brecht’s play The Resistible Rise of Arturo Ui (1941; directed by Heiner Müller in 1995), and Dani Levy’s film Mein Führer: the Truly Truest Truth About Adolf Hitler (2007), my argument critiques existing “instrumentalist” theories of comedy as didactic and morally reductive. Moving beyond prevailing conceptualisations of comedy as corrective and/or forgiving, my dissertation emphasises the centrality of pleasure, displeasure and disruption for audience members in the process of their experiencing Hitler comedies. / The creative component of this thesis is a script and a DVD recording of Hitlerhoff, a theatre and multimedia work that combines the characters of Adolf Hitler and David Hasselhoff into a single hybrid figure. Hitlerhoff is a spectacular black comedy that uses comedy to entertain and unsettle, and to disrupt audience members’ expectations. Hitlerhoff is a practical demonstration of the ability of “irresponsible” comedy to act as a potent catalyst for “responsible”, ethically engaged discussions.

Zugl.: Nijmegen, Radboud Univ., Diss., 2009

Orientador: Laymert Garcia dos Santos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-17T16:09:21Z (GMT). No. of bitstreams: 1 Curtolo_MariaClaudiaNovaes_M.pdf: 879976 bytes, checksum: a3832360896b2715c464d8e8a4a8e5b9 (MD5) Previous issue date: 2010 / Resumo: Esta pesquisa trata de percepções do funcionamento da grande máquina social do militar e escritor alemão Ernst Jünger e do dramaturgo e poeta alemão Heiner Müller. Para tanto, propõe articulações entre os conceitos de mobilização total, cunhado por Jünger, e de estratégia de aceleração total econômica e tecnológica, lançado por Müller. Em um primeiro momento, o conceito de mobilização total é posto para girar por meio de temas tais como Primeira Guerra Mundial, técnica, trabalhador e dor, abarcando a passagem da era dos deuses à era dos titãs. Em um segundo momento, é o conceito de estratégia de aceleração total econômica e tecnológica que é posto para girar através da linha de força da história alemã, abrangendo o titanismo nazista por meio de temas como máquina militar alemã, Segunda Guerra Mundial e Auschwitz / Abstract: This research deals with perceptions of the functioning of the great social machine from the German military and writer Ernst Jünger and from the G rman playwright and poet Heiner Müller. For both, it proposes joints between the oncepts of total mobilization, coined by Jünger, and of economic and technological total acceleration strategy, launched by Müller. At first, the concept of total mobilization is rank to turn by means of subjects such as First World War, technique, worker and pain, covering the passage from the age of gods to the age of titans. In a second moment, is the concept of economic and technological total acceleration strategy that is rank to turn through the line of force of the German history, enclosing the Nazi titanism by means of subjects such as German military machine, Second World War and Auschwitz / Mestrado / Sociologia / Mestre em Sociologia

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

[ES] El presente estudio se centra en el análisis de la praxis teatral, a partir del montaje esceno-performativo: Descripción de un cuadro, texto de Heiner Müller, y dirección de Madeleine Loayza, con la finalidad de exponer la importancia de la «tensión erótica» (entendida como energía vital asociada a Eros) presente en la poíesis del acontecimiento teatral. Nos enfocaremos en los dispositivos contrahegemónicos (a los que caracteriza su gesto irreverente y crítico) presentes en el fenómeno sensoperceptivo y receptivo, el mismo que involucra la relación del actor-operador/performer con los diversos elementos que intervienen en la producción de dicha poíesis y su alcance en el espectador. La investigación incluye la poíesis convivial, productiva y la poíesis receptiva enfocadas en el proceso y en el resultado. En este contexto se observa, analiza e interpreta el modo en que acontece dicha tensión, emplazándonos desde el rol de artista-investigadora/espectadora. El estudio concluye con el soporte conceptual y el diseño de la investigación-creación: Mujer en llamas; donde la investigadora se asume como artista-investigadora/directora, actriz y dramaturga. Observar cómo se constituye el fenómeno sensoperceptivo y receptivo de la poíesis, al develarse el modo en que opera la «tensión erótica» y su alcance en el espectador, en tanto dispositivo de resistencia contrahegemónico por medio de mecanismos y formas de producción liminales, para lo cual se ponen en discusión las características de operación del dispositivo, de acuerdo con las particularidades del montaje propuesto. El estudio contempla, desde una perspectiva analítica, las teatralidades contemporáneas, pertenecientes al campo de la Teatrología, con énfasis en la dimensión performativa del signo teatral que destaca los aspectos espacio/temporales y kinésicos. Nos referirnos al análisis de la dinámica de la ejecución del signo en escena (que involucra al espectador), más que limitarnos a identificar la estructura de los signos teatrales; esta perspectiva desplaza al eje de la literatura dramática como referente canónico para abordar la experiencia escénica. Enfatizar el rol del cuerpo en el fenómeno sensoperceptivo y receptivo, entre el actor y el espectador, nos remite a la visión nietzscheana que toma como referente la tragedia griega (siglos V y IV a. C), retomada luego por Artaud y otros pensadores de su tiempo desde el campo de la filosofía; esta perspectiva potencia el rol del espectador en la dinámica escénica desde la auto-alteración y la capacidad crítica y autocrítica. De allí que el concepto liminalidad presente en Descripción de un cuadro, posea un carácter político importante en tanto contrahegemónico como antiestructura. Los parámetros para observar la operatividad de la «tensión erótica» se advierten en los dispositivos poéticos, que configuran su poíesis en las modalidades productiva, receptiva y convivial. En el montaje Descripción de un cuadro, el dramaturgismo, las prácticas performáticas; el análisis del «convivio» entre los diversos materiales o matrices que intervienen en el proceso de factura de la obra, como dispositivos poéticos, constituyen los pilares que sustentan el proceso de investigación-creación. En lo que respecta al soporte conceptual y exposición del diseño del montaje Mujer en llamas, este se desarrolla a partir de la metodología que guía el enfoque del presente estudio, con el objetivo que pueda ser incorporada y replicada en otros procesos creadores. / [CA] El present estudi es centra en l'anàlisi de la praxi teatral, a partir del muntatge esceno-performatiu: Descripció d'un quadre, text de Heiner Müller, i dirección de Madeleine Loayza amb la finalitat d'exposar la importància de la «tensió eròtica» (entesa com a energia vital associada a Eros) present en la poiesis de l'esdeveniment teatral. Ens centrarem en els dispositius contrahegemónicos (caracteritzats pel caràcter irreverent i crític) presents en el fenomen sensoperceptiu i receptiu, el fenomen mateix que involucra la relació de l'actor-operador/performer amb els diversos elements que intervenen en la producció d'aquesta poíesis i el seu abast en l'espectador. La investigació inclou la poíesis convivial, productiva i la poíesis receptiva enfocades en el procés i en el resultat. En aquest context s'observa, analitza i interpreta la manera en què esdevé aquesta tensió, emplaçant-nos des del rol d'artista-investigadora/espectadora. L'estudi conclou amb el suport conceptual i el disseny de la investigació-creació: Dona en flames; on la investigadora s'assumeix com a artista-investigadora/directora, actriu i dramaturga. Observar com es constitueix el fenomen sensoperceptivo i receptiu de la poiesis, al develarse la manera en què opera la "tensió eròtica" i el seu abast en l'espectador, en tant dispositiu de resistència contrahegemònic per mitjà de mecanismes i formes de producció liminals, per a això es posen en discussió les característiques d'operació del dispositiu d'acord amb les particularitats del muntatge proposat. L'estudi contempla des d'una perspectiva analítica les teatralitats contemporànies pertanyents al camp de la Teatrología, posant especial èmfasi en la dimensió performativa del signe teatral que destaca els aspectes espai/temporals i kinèsics. Ens referirm a l'anàlisi de la dinàmica de l'execució del signe en escena (que involucra a l'espectador), més que limitar-nos a identificar l'estructura dels signes teatrals; desplaçant-nos de l'eix de la literatura dramàtica com a referent canònic a l'experiència escènica. Emfatitzar el rol del cos en el fenomen sensoperceptiu i receptiu, entre l'actor i l'espectador, ens remet a la visió nietzscheana que pren com a referent la tragèdia grega (segles V i IV a. C), represa després per Artaud desde l'escena i per altres pensadors del seu temps des del camp de la filosofia; perspectiva es potencia el rol de l'espectador en la dinàmica escènica, des de l'acte-alteració i la seua capacitat crítica i autocrítica. Per aquest motiu el concepte liminalitat present en Descripció d'un quadre, poseeix un caràcter polític important en tant contrahegemónico com a antiestructura. Els paràmetres per a observar l'operativitat de la «tensió eròtica» s'adverteixen en els dispositius poètics que configuren el seu poíesis en les modalitats productiva, receptiva i convivial. En el muntatge Descripció d'un quadre, el dramaturgismo, les pràctiques performatives; l'anàlisi del "convivio" entre els diversos materials o matrius que intervenen en el procés de creació de l'obra, com a dispositius poètics, constitueixen els pilars que sustenten el procés d'investigació-creació. Pel que fa al suport conceptual i exposició del disseny del muntatge Dona en flames, aquest es desenvolupa a partir de la metodologia que guia la perspectiva del present estudi, amb l'objectiu que puga ser incorporada i replicada en altres processos creatius. / [EN] This research focuses on the analysis of theatrical praxis, coming from the sceno-performative staging of: Description of a painting, written by Heiner Müller, and directed by Madeleine Loayza, in order to expose the importance of the "erotic tension" (understood as vital energy associated with Eros) present in the poiesis of the theatrical event. We will focus on the against-hegemonic devices (which characterizes its irreverent and critical gesture) present in the sensoperceptive and receptive phenomenon, which also involves the relationship between the actor-operator/performer with the various elements that intervene in the production the mentioned poiesis and its scope to the spectator. For this reason, the research includes convivial productive poíesis and receptive poíesis, focused on the process and the result. Under this context, the way in which this tension occurs is observed, analyzed and interpreted, summoning us from the role of artist-researcher/spectator. The study concludes with the conceptual support and design of the research-creation: Woman on fire; where the researcher is assumed as artist-searcher/director, actress and playwright. Observes how the senso-perceptive and receptive phenomenon of poíesis is constituted, the way in which "erotic tension" operates and its scope to the spectator is revealed, as a device of against-hegemonic resistance that uses mechanisms and forms of liminal production, for which the operating characteristics of the device are discussed according to the particularities of the proposed assembly. The research considers contemporary theatricalities as an analytical approach, that belong to the field of Theatrology, with emphasis on the performative dimension of the theatrical sign that highlights the spatial/temporal and kinesic aspects. We are interested in analyzing the dynamics of the enforcement of the sign on stage (which involves the viewer), rather than limiting ourselves to identify the structure of the theatrical signs; this perspective displaces the axis of dramatic literature as a canonical reference to address the stage experience. Giving emphasis to the role of the body in the sensory-perceptual and receptive phenomenon, between the actor and the spectator, refers us to the Nietzschean vision that takes as a reference the Greek tragedy (5th and 4th centuries BC), later taken up again by Artaud and other thinkers and philosophers of this period; In this way, the role of the spectator in the scenic dynamics is also enhanced, from self-alteration and their critical and self-critical capacity. Therefore, the concept of liminality in Description of a painting has an important political character as bot: against-hegemonic and anti-structural. The parameters for observing the operability of the "erotic tension" are seen in the poetic, devices that configure its poiesis in the productive, receptive and convivial modalities. In the staging of Description of a painting; the playwriting, the performative practices, the analysis of the "conviviality" between the various materials or matrices that intervene the invoice process of the work as poetic devices, constitute the pillars that support the research-creation process. Regarding the conceptual support and design exhibition for the staging of Woman on Fire, it is developed by the methodology that guides the focus of this study, with the aim that it can be incorporated and replicated in other creative processes. / Loayza Cabezas, GM. (2021). La osadía de Eros. La «tensión erótica», dispositivo contrahegemónico de la poíesis teatral, de "Descripción de un cuadro" a "Mujer en llamas" [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/179975