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Das Aktionstheater Von Reverend Billy

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Das Aktionstheater Von Reverend Billy Diplomarbeit Das Aktionstheater von Reverend Billy Aktivismus und Theatralität Camilla Sophia Henrich Angestrebter akademischer Grad Magistra der Philosophie (Mag. phil) Wien, im Oktober 2008 Studienkennzahl lt. Studienblatt: a317 Studienrichtung lt. Studienblatt: Theater-, Film- und Medienwissenschaft Betreuerin: Ao. Univ.-Prof. Dr. Brigitte Marschall | Inhaltsverzeichnis | Prolog........................................................................................................................................... 6 | A Cell Phone Opera ................................................................................................................ 6 | Einleitung .................................................................................................................................... 9 1| Zum Zusammenspiel von Kunst und Aktivismus ............................................................ 15 1|1 Aspekte und Definitionen des Aktivismus .................................................................... 15 1|1|1 Das Primat des Widerstands ........................................................................................... 16 1|1|2 Guerilla Strategien und Taktiken: Die direkte Aktion ................................................. 19 1|1|3 Die Idee der Gewaltlosigkeit ........................................................................................... 20 1|1|4 Organisation und Aktivität .............................................................................................. 21 1|2 Aktivismus als Kunstform ............................................................................................... 22 1|2|1 Subversive Kunst und künstlerischer Aktivismus ....................................................... 23 1|2|2 Künstlerischer Aktivismus rund um die Situationistische Internationale ................ 25 1|2|3 Abriss des künstlerischen Aktivismus seit den 1960er Jahren ................................... 35 1|2|4 Die globalisierungskritische Bewegung ......................................................................... 41 1|2|5 Ausblick: "Will the Revolution Be Cybercast?"............................................................ 47 1|3 Formen und Methoden des künstlerischen Aktivismus .............................................. 47 1|3|1 Gegenkultur ....................................................................................................................... 50 1|3|2 Gegenkultur als Stätte des kulturellen Widerstands .................................................... 53 1|3|3 Was ist kultureller Widerstand? ...................................................................................... 58 1|3|4 Die Funktionen und Aspekte von kulturellem Widerstand ....................................... 60 1|3|5 Culture Jamming ............................................................................................................... 62 1|3|6 Das Critical Art Ensemble und die Taktik der Störung .............................................. 64 2| Straßentheater als Ausdrucksmittel politischer Agitation ................................................ 68 2|1 Das Potential von Theater als Ausdrucksmittel ............................................................ 68 2|1|1 Die Übermittlung von politischen Inhalten im Theater ............................................. 71 2|2 Über Politisches Theater, Straßentheater und Guerilla Theater ................................. 73 2|2|1 Politisches Theater............................................................................................................ 73 2|2|2 Straßentheater ................................................................................................................... 78 1 2|2|3 Guerilla Theater – Politisches Straßentheater .............................................................. 81 2|2|4 Radical Street Performance nach Baz Kershaw und Jan Cohen-Cruz ..................... 84 2|3 Dramaturgien und Choreographien des Protests ......................................................... 88 2|3|1 Baz Kershaw: "A dramaturgy of protest as performance" ......................................... 88 2|4 Protest als Performance - Performance als Protest ...................................................... 91 2|4|1 Activist Performance: Theatralität im Bereich des Aktivismus ................................. 93 2|4|2 Alternatives Theater als Form theatralen Aktivismus ................................................. 98 3| Reverend Billy als Beispiel von künstlerischem Aktivismus .......................................... 101 3|1 Wer ist Reverend Billy? .................................................................................................. 102 3|1|1 Bill Talen .......................................................................................................................... 103 3|1|2 Überlegungen zum aktivistischen Predigen ................................................................ 105 3|1|3 Die Televangelisten als Modell von Reverend Billy .................................................. 109 3|1|4 Die Religion der Nicht-Religion - "We believe in the God that People who don't believe in God believe in" ............................................................................................... 112 3|1|5 Der Gospelchor .............................................................................................................. 114 3|1|6 Savitri Durkee, Director ................................................................................................ 115 3|1|7 Shows - "Comic Theatrical Services" .......................................................................... 117 3|2 Der Aktivismus von Reverend Billy ............................................................................. 120 3|2|1 Die aktivistische Konsumkritik von Reverend Billy .................................................. 122 3|2|2 Reverend Billys Culture Jamming gegen den Konsumwahn ................................... 125 3|2|3 Zusammenarbeit mit Aktivistinnengruppen ............................................................... 126 3|3 Die Disneyfizierung des New Yorker Times Square ................................................. 128 3|3|1 Times Square und die Pläne zur Revitalisierung ....................................................... 129 3|3|2 Rudolph Giulianis "Quality of Life" Kampagne und die Konsequenzen .............. 131 3|4 Reaktionen der Aktivistinnen auf die Disneyfizierung .............................................. 132 3|4|1 Reverend Billys Sit-In im Disney Store ....................................................................... 133 4| Das Aktionstheater von Reverend Billy ........................................................................... 135 4|1 Die Theatralität in den Aktionen von Reverend Billy ................................................ 136 4|1|1 Vorbereitung zu den direkten Aktionen ..................................................................... 137 4|1|2 Reverend Billys Komik in den Aktionen .................................................................... 138 4|1|3 Grundsätzliche Aspekte der Interventionen ...............................................................143 2 4|2 Reverend Billys Anwendung von traditionellen Theaterformen .............................. 145 4|2|1 Unsichtbares Theater - Aktionstheater ........................................................................145 4|2|2 Reverend Billys Guerilla Theater .................................................................................. 149 4|2|3 Reverend Billy und die Theorie der Situationistischen Internationale .................... 152 | Zusammenfassung ................................................................................................................. 154 | Anhang .................................................................................................................................... 156 | Übersicht zu Cultural Resistance von Stephen Duncombe .......................................... 156 | Spats ...................................................................................................................................... 157 | What should I do if Reverend Billy is in my store? ........................................................ 158 | Literaturverzeichnis ............................................................................................................... 159 | Interviews ............................................................................................................................. 163 | Videoquellen ........................................................................................................................ 163 | Internetquellen ..................................................................................................................... 163 | Lebenslauf ............................................................................................................................... 166 3 Well, there is nothing more thoroughly mysterious than love, thank God. Those who organize defenses against the Unknown (such as religious fundamentalists and consumer fundamentalists) forment numbness, hatred, and war. Unfortunately, they have perfected their imitation of ordinary living, and that comes to us as the comforting ghost gesture of shopping. Bill Talen, aka. Reverend Billy (2003/xv) Corporate or colonial the movement is unstoppable like the body of a centerfold it spreads, to the counter-culture
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