Wiederherstellung Der Identität Des Anderen

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Wiederherstellung Der Identität Des Anderen Wiederherstellung der Identität des Anderen Die Tendenz zum Postkolonialismus im Opernschaffen Isang Yuns und deren Realisierung DISSERTATION Zur Erlangung des Grades eines Doktors der Philosophie im Fachbereich Philosophie und Geisteswissenschaften: Theaterwissenschaft Freie Universität Berlin Vorgelegt von HYOUNGJIN IM Berlin 2013 Erstgutachterin : Prof. Dr. Dr. h.c. Erika Fischer-Lichte Zweitgutachter : Prof. Dr. Clemens Risi Tag der Disputation : 14. März 2014 Inhaltsverzeichnis 1 Einleitung .............................................................................................................................. 4 2 Eigenschaften des Postkolonialismus und seine Theorien für die Analyse der Opernpraxis………………………………………………………………………………….22 2.1 Elemente des Postkolonialismus und dessen Gegenstand .............................................. 22 2.1.1 Ambivalenz und Hybridität ................................................................................... 23 2.1.2 Identität des Anderen ............................................................................................. 27 2.1.3 Feminismus ............................................................................................................ 31 2.1.4 Politisierung und Hegemonie ................................................................................. 35 2.2 Theoretische Standpunkte von Erika Fischer-Lichte zur Analyse ................................. 39 2.2.1 Transformation der performativen Einsicht: von der Kulturanthropologie zu Kultur an sich ...................................................................................................... 39 2.2.2 Einstürzende Gegensätze: Gegen Einwände aus normativer Sicht des Subjektes . 49 2.2.3 Die leibliche Ko-Präsenz und Entgrenzungen des Körpers: Ansteckung .............. 53 3 Postkolonialismus, Körper und Oper in Korea ................................................................... 61 3.1 Die asynchronen Prozesse der Expansion des Kolonialismus in Korea ......................... 61 3.1.1 Kolonisation durch Japan ....................................................................................... 62 3.1.2 US-amerikanischer Kulturimperialismus .............................................................. 69 3.2 Die sich abzeichnende Wende zum Postkolonialismus .................................................. 75 3.2.1 Die verborgene Entwicklung der autochthonen Kultur ......................................... 76 3.2.2 Der spezifische Gegenstand: Körper ..................................................................... 80 3.2.2.1 Der Körper in der Kultur ............................................................................. 84 3.2.2.1.1 Identität als Widerstand gegen das Subjekt ....................................... 84 3.2.2.1.2 Interface zwischen dem Ich und der Welt ......................................... 90 3.2.2.2 Der Körper im Theater ................................................................................. 95 3.2.2.2.1 Tanzende Bewegung mit der Maske.................................................. 96 3.2.2.2.2 Eine ,gegorene„ Stimme..................................................................... 98 3.2.2.2.3 Kollektive Energie der Masse .......................................................... 102 1 3.3 Opern als eine westliche Kultur in Korea .................................................................... 105 3.3.1 Die Oper als etwas Modernes aus dem Westen ................................................... 107 3.3.2 Die Oper als klassische Musik ............................................................................. 110 3.3.3 Die Oper als die adlige Existenz des Kapitalismus ............................................. 112 4 Isang Yun und die dekolonialistische Tendenz ................................................................. 116 4.1 Gesellschaftliche und musikalische Stellung Yuns ..................................................... 117 4.1.1 In Korea ............................................................................................................... 117 4.1.1.1 Die dekolonisierte Perspektive .................................................................. 117 4.1.1.2 Die künstlerische Disposition .................................................................... 120 4.1.2 In Europa .............................................................................................................. 124 4.1.2.1 Aufnahme der westlichen musikalischen Technik (1956-1960) ............... 124 4.1.2.2 Versuch einer Hybridität (1960- 1970) ...................................................... 126 4.1.2.3 Verstärkung der politischen Dimension (1970-1994) ............................... 128 4.2 Rezeption der Körperlichkeit des Anderen bei Yun ..................................................... 131 4.2.1 Geste der Töne und deren körperliche Struktur ................................................... 131 4.2.2 Die Kategorie der Mimesis bei der Struktur und deren Gestus ........................... 147 4.2.3 Hindernis, Opfer und sakralisierte Gewalt .......................................................... 152 4.3 Hybridität der Opernform und der indigenen Elemente des Anderen .......................... 163 4.3.1 Hauptton-Klang ................................................................................................... 164 4.3.2 Das Anzeichen des Dochangs .............................................................................. 168 4.3.3 Sprechendes Singen, singendes Sprechen ........................................................... 177 4.3.4 Gestaltung der musikalischen Erscheinung von Chuimsae ................................. 184 4.3.5 Unverständliche, fremde Sprache ........................................................................ 188 5 Verwirklichung der postkolonialen Perspektive in der Operninszenierung von Ho-Geun Moon ............................................................................................................................... 194 5.1 Die postkolonialen Elemente auf der Bühne ................................................................ 194 5.1.1 Schamanistische Rituale und phänomenaler Klang ............................................. 195 5.1.2 Körperliche Kollektivität des Chores .................................................................. 202 2 5.1.3 Das Sinnbild des „leeren Platzes“ und das Hervorrufen von Widerstand ........... 207 5.1.4 Das Synkretistische der Menschheit .................................................................... 213 5.2 Begegnung westlicher Oper und marginalisierter Raum .............................................. 216 5.2.1 Comprador der Kultur und „nachgeahmter“ Orientalismus in Korea ................. 218 5.2.2 Die weiße Maske und die Perücke ....................................................................... 223 6 Fazit: Integrierung der Identität des Anderen im Rahmen der europäischen Oper ........... 228 Literaturverzeichnis ................................................................................................................ 235 Abbildungen ........................................................................................................................... 253 Aufnahmenmaterialien mit Interview .................................................................................... 253 Videomaterial ......................................................................................................................... 253 Selbstständigkeitserklärung .................................................................................................... 255 Lebenslauf .............................................................................................................................. 256 Zusammenfassung .................................................................................................................. 258 Abstract .................................................................................................................................. 260 3 1 Einleitung Der Komponist Isang Yun (1917-1995) prägte die deutsche Avantgardemusik der 1960er und 70er Jahre maßgeblich. Er komponierte vier Opern: Der Traum des Lui Tung (1965), Die Witwe des Schmetterlings (1968), Geisterliebe (1969/70) und Sim Tjong (1971/2). Alle vier gründen sich auf künstlerische Ideen, deren Ursprung in Ostasien liegt. Insbesondere die letzte Oper Yuns, Sim Tjong, die von Harald Kunz in deutscher Sprache zur Aufführung gebracht wurde, enthält ein universelles musikalisches Prinzip sowie eigenwillige theatrale Spuren was dazu führte, dass sich der Orient und der Okzident auf einer Bühne miteinander interkulturell verbinden. Dies birgt sowohl die Ideen als auch die eigentümliche Theatralität der indigenen traditionellen koreanischen Kultur in sich, beispielsweise die pathetische Geste der Töne, die sinnbildlich für einen enthusiastischen einheimischen Körper stehen und deren Spuren in der Musik Yuns wie auch in seinen Ausführungen zu finden sind. Nach der Uraufführung von Sim Tjong anlässlich der Münchner Olympiade im Jahr 1972 komponierte Yun keine weiteren Opern mehr, obwohl diese bis dahin sehr erfolgreich waren.1 Einen Grund nannte er bis zum Ende seines Lebens nicht, allerdings stand nach Gerhard R. Koch der Abbruch seiner Opernkompositionstätigkeit in keinem Zusammenhang mit künstlerischen Problemen. Gerade dieser Wandel machte mich, als Koreaner, aber neugierig und motivierte mich, über diesbezügliche Hintergründe nachzudenken.
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