Of Ldentity in the Perfbrming Ffi Sphere I

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.tjj Spaces of ldentity in the Perfbrming ffi Sphere I

edit€d by ,L, Sibila Petlevski Coran Paviid

'&j. Si;' i5'

All rigbts reseryed. No part of this boot may be reproduced in any form wirhout pri.or permission of the publishers.

ISBN / 978€53-266-3u-2 (Fraktura)

ISBN / 978-953-97568-2-4 (ADU) A CIP catalogue record for this book is available from the National aird Fraktura University Library in Zagreb under 786384 Akademija dramske umjetnosti Contents

Z / Preface 13/ SibilaPetlevski Virulent.Ideas, Memetic Engineering, Memeoid ldentity, Aesthetic Warfare 49 / DarkoLuki6 So cially Forr:red performative tdentities : A Relationship betweenNon-verbal and Verbal Component of Performing practices; A Theatrological Division Between the Cultures of East and West 6S / Kimskjoldager-Nielsen "Who Am I NorM, litrho Am I Here" 9r / IvanLozica The Discursive Construction of Camival politics roS/ Aleksej Ki3juhas NetworkTheory of Randall Collins: Towards a Microsociology of Creativity rz5 / Leonida Koirai Ivana Sajko's "Scenes with an Apple": In the Interspace of Image, Textand Voice r33l Nadezdadaiinovii Continuity and Discontinuity rpl Milo5lazin Stage Pattems of World Views r57rz CoranGretid European Space: Other-Foreigner-Enemy 163 / Hwojelurit The Crucifixion of Identity: Persons & Beings, Bodies & Genes VS./ aeljkoUvanovid Peter Greenaway's Film productions of Sex and Gender Cap: Bodies and Identities of Men and Women inMortal ConJlict 19Sl Lucia Leman Reason before ldentity? A Short Cuide to postrnodem Croatian Lirerature Preface 2L7 / Monika BregoviC Perf,orrning National ldentity : The conference "spaces ofldentity in the feiforming Sphere" took The Clash of Social Memory and Ttauma in Ger,man place in'Zagreb, uth-r4th Februaryzo1o, DocunentaryTheatre as the centralstageofthe rnulti-anmral project "Discursive ldentity in the perforrning zZl/ BlaienkaPerica AIts: Bodies, Personae, Intersubjects". The project,s Performative Images main airn is,to set the foundations ofaninterdisciplinary field ofresearch that could 257 / Bonstudkovi€ gf,asp the phenornenon of discursive subjectivation in perfo:ming Perforrning (with) Sculpture : arts, and its flnal output-discursive identity in the performing Expanding the Field of Sculpture with Fluid &Sound .a::t, t,. ,. sphere. Unlike the already existing approactres, predominantty 2n/ I atja?Potrl ]i::+L'::,r: 1.i. ,,j, focused on a single aspect of this multi-faceted,problem, and with Phenomenology of Dance r:{,.'ii: traditionally strictmethodological procedures, aparticular feature 287 / CoranPavlif :,i-i::ii:' .,a,.' of our critical enterprise is its radical tiansdisciplinarity. It does The Poetics ofTheatrical Space: .:: . not consist only in gathering various disciplines under the vague Where Bachelard Meets Gavella ta concept of interdisciplinarity; rather, it tries to corlceptualize.the so farinsufficientiy stddied issues emerging from the field of performance theory as well as performing arts into a coherent and systematic approach. More precisely, the problems of subjectivation in the very process ,of creating a performing act tend to elud.e scru_ pulons and consistent theoretical account. There can be multiple reasons for sucha situation, but we findthat the structrral one is the most important. When dealing with the problem of identity from the viewpoint of a particular discipline, or paradigm, one is methodologically forced to reflect upon the chosen matter within chosen discipiinets boundaries. performing identity essentially evades such attempts, since it appears on the very in:tersection of historical, social, cultural, spatial and physiological conditions (to name the most important ones). Constituted in such a way, it can't be fuliy comprehended from particular perspectives. In ord-er to achieve sucha task, a two-stage project is needed. First, the analy_ sis of identity formation in various fields of human praxis is to be exarnined. On the [ext level, the results from undertaken research are to be employed in conceiving of a theoretical synthesis capable of dealingwitb performing identity as an autonomous and distinc_ tive phenomenon. Such a venture is thought of as NewTheatralogy. This collection comprises presentations given at the aforemen_ tioned conference, re-edited for publishing in the form ofscientific papers. Since these papers represent initial steps in configuring a aesthetie and communication frame of performance into encom- new field of research, they either open up a completely new per- passing and accommodating hypercomplex spaces f,or interplay spectiv€, or tryrto,locate the phenomenon of petforrning identity between reality and fiction, centred as it is on basic issues of,iden- ndthin a precise analytical frame. lloweve{, in this phase of re- tity: forrnation, worldview, and power structures. ?hus; sttategies searchthe intention to form an enclosbd ptratform wouldbe meth. for staging the audience as co-creators ofthe dramatic event(s) are odologically, as well as episternologrcaily, inadequate. Therefore, employed. Drawing on examples of audience and actor.interactions, each paper presents an instance of a distinctive new approach to the paper elaborates identity formation as,a leaming potenEial com- the chosen problems. bining systemic comsrunication theory (Lrrhmann; evortrup) with a phenomenological understanding of reality-effects facilitated by In the firstpaper, Sibitra Petlevski, senior professor at the Academy the performance.installation . To su.pport his insights , Skj oldager- of Dramatic Art in Zagreb, discusses problems of identity re-shaping Nielsen draws heavily on the results of his own guantitative,re- by propaganda , cultural programming and formation of r,ne:meoids . search ofthe audience in this particular case. The paper explores replication and transrnission ofideas and cus- In his paper "The Discursive Constructisn of Camival politics", tomsfocnsing on an element of a culture that may be considered to Ivan Lozica , senior research advisor at the Institute of Ethnology and be passed on by non genetic means, such as "imitation". The terrn Folklore Research in Zag:eb, presents a rather con8oversial interpre- "meme", coined by Dawkins by analogy with a gene, is deflned as tation of carnivalesque identity f,ormation. Empioying Agarnben's a contagious iaformation pattern that replicates by parasitically concept of biopolitics in the political analysis of camival, as well infecting human minds and altering their behavior, causing them as Cirard's seminal insights on the ritual nature of violence, Lozica top,ropagate the pattern "g€Ie". Although the stafting point is in rnanages to highlight some particular features of carnirral that usu- rnemetic theory, Petlevski questions some aspects of the memetic aLly don't receive sufficient thesretical examination. approach to cultule, e:iplores memetics as a meme initself, point- Aleksej Ki5juhas, junior research fellow at the Faculty of ing to possible misuses of theoretic insight into the principles of Philosophy in Novi Sad, expands Randall Collins' sociological merne production, connected to military abuses of "applied me- network theoryto the field of art. Ki5juhas uses Collins' causal metic engineering" in "inhibiting imitative terrorism". theoretical model to explain the basis and causal dynamics of a Darko tukid , another seRior professor at the Academy of Drarnatic phenomenon we socially interpretas the field ofessential creativity. Aft in Za$eb, examines the patterns of social formation of per- The basic research approach used in this ente4)rise is the analy- forrratj.ve identi.tites, with particular emphasis on socio-cultural sis of creative individuals'networks, network dynamics, and the di.stinctisns befif/een Eastem and Western performing practices. In stratifiedpositionof these individuals (i.e. artists) within the social this historically founded account of traditional approaches, Luki€ networks in-which they participate. The creative identity is thus deconstructs the usual prejudices on the origin oftheatre as a cul- being examined as a socially sfructured phenomenon, rather than tural and artistic phenomenon. Thus, he offers a trans-ctlltural the enbodiment of immanent potentials. interpretative model capable of surmounting the still existing con- Leonida Kova-, senior professor at the Academy of Fine Arts in tradictions within the more uaditional culturalistic perspectives Agreh, engages in an audacious attempt to deconstmct the notion in theatrology. of cohere4t (narative) identity in the \4/ork of Croatian dramaturge Kim Skjoldager-Nielsen, Danish independent scholar and theo- and performer lvana Sajko. Kovai examines the poetical processes retician; analyses the radical performative approach of Danish/ where the very terms and procedures chosen to articulate identity Ausfrian artistic duo SICNA s work "Salb". SICNA expands the are being established as political. The self-referential readings of Sajko representmore than a mere presentation of the author's story. camal indulgence as agenerator of narrative representation. grientation With their to the medium, not as a tool, but as a social Lucia Leman, rebearch fellow at the University ofNotti:rgham, insJitution, they stfess the conventional chafactef of"natural" explores historical and socio-cultural conditions which;signiticant- phenomen+such gender, political as hierarehy or econorny, and ly influence the consmletion of identity in postmoder,n Croitian possibitty f,or su'bversive offer the their re-interpretatiqn. fterature. The c,oncept of "narion., as conceived in the period of Nadeida daiinoviE, ser,rior professo: at the Faculty of Flumanities Romanticism, is being guestioned mainl.y through scrupulous and Social Seiences in Zagreb, gives a short overview ofa radical analysis ofthe representative narrative works that constitute the theor.y of identity as.presented in the work of Galen strawson. Croatian postmodem literary canon. The paper focuses on some of the most controversial aspects of Monika Bregovif, phD student at the Faculty of Hurnanities Stlawson-s approach, highlighting the rich epistemological poten- and Social Sciences in Zagreb, examines the significance of r96os tia:l especially !n its most counter-intuitiv€ aspects. German docu.drama in establishing an..alternative memory" cor- Milo$ Lazin, independent scholar and erninent theatre director pus, considering the German Nazi past and the following social frorn Independent Theatre croup Mappa pres- the Mundi in Paris,, amnesia. Ttre paper elaborates on particular dialectics of social ents an encom.passing theoretical and historical approach,capable of andaltemative (individual, traumatic) models of memory, as pre- graqpingthecanon sfzoth century theatre directors in a consistent sented in the most prominent instances of the genre: Hochhuth's original paradigm, manner. Postulating an Lazin analyzes theatri- play Der stellvertreter(The Deputy), and Weiss' play DieErmifflung (The cal identity formation in its situatedness within particularpattems Investigation). dialecrics that stem from between traditional cultural factors and In her paper "Performative images-, Blaienka perica, associate concepts of historical othemess. professor at the Academy of Arts in Split, postulates a specific theo_ fieating the European space beyond geographical. concepts as a retical status of "moved pictures" which enables a new approach pa*icular sphere of identity, Goran Crede , senior professor at the to the dominant practice ofinter-mediality in contemporary art. Science zagreb a peculiar philosophical Faculty ofPolitical in , offers Boris duikoviC, MA stud,ent at Leiden University, explores the per'spective on the formation of European identity whieh transcends remodelling potential of new technologies in the field of visua.l mere sociological aspects usually employed in similar endeavours. arts, particularly the radical changes ofperception and interpreta_ ItwojeJuri€, assistant professor at the FaculryofHumanities and tion considering ferrotluid sculptures. Ferrofluid sculpfures, as a questions SocialSciences in Zagreb, the widely acclaimed emancipa- f;airly recent scientific innovation, challenge our traditional view tory potentials of contemporary techno-scientific achievernents in on materiality and mediality of sculpture, pushing it dominantly a provocative manner. Stressing the need fornew, transhumanist, into the interacdve pedorming sptrere. Although the inclusion ethics, luri€ highlights some of the issues that have been insuf- of sculptures in performance practices as passive objects is well genetics ficiently studied thus far, such as the role of human in known, ferrofluid sculptures question the basic ontological assump- identity forrnation, and, consequently, the need for new anthro- tions ofthe conceptual approach to the oldest form ofvisual art. pological evaluation of the scientific progress. "The Phenomenology of Dance", a paper by MatjaZ potrd, se_ Zeljko Uvanovi€, associate professor at the Faculty of Philosophy niorprofessorat the Faculty ofphilosophy in Ljubljana, presents a in Osijek, discusses Peter Greenaway's films, stressing the impor- phenomenological account of dance, with particular emphasis on gender tance of identity issues in pafiicular. Analyzing some of transglobal environment, as the only proper experiential d.imension themost significant Creenaway's works, Uvanovii emphasizes the for the phenomenological investigation of dance. significance ofthe corporeal component of identity and the role of Finally, Goran Pavli€, junior research fellow at the Academy of Drarnatic Ar:t in Zagreb, a offers re-defini ion of theatrical space, Sibila Petlevski using insights from Bachelard's'The Poetic5 of Space, arrd the phe- ngmenological:approach to actingas art of the rnostdistinguished Croatian theatre director and,theorefician Branko Gavella. A new, par,ticnlar; ontology of theart of acting is being proposed" capable of Virulent ld'eas, apprehending itssubject matter transhisto,ricallyand rranscultunlly. Memet:ic Engineering, Memeoid ldentitrT, Aesthetic Warfare

Merlin Dona1d's theory: The role of mimesis as'representational dimension of imitation" in human cognitive evolution

There are some intriguing contributions to the recent interdisci- piinary theory constructisn in the sciences of memory. Dynamical, "situated' approaches to cognition have resulted in the reinterpreta- tion ofthe distinctionbetween so-called external and so-calle d, internal representational formats of memory..storage,,. In Arigins 0f the,Modern Mind\rggr) tvlerlin W. Donald suggests that the increasingreliance on extemal memory rnedia in "technslogy.supported culture', as the third stage in the development of human capacity through cuLture, may have deep effects on human cognitive development and behayior. The externalization of memory has changed the way humans use their cognitive resources, what they can know, where that knowledge is stor€d, and what kinds of codes are needed to decipherwhat is stored (cf. Donald, aggT:362>, 'fhe extemalization of mernory, initiany a very gradual process coinciding with the invention of the first permanent extemal symbols, is now accelerating, because-Donald clai.ms_in a tech_ nologicallv advanced society as ours, the number of extemal pre_ sentational devices now arrailable have altered how humans use their biologically given resources . Donald's thesis is that altlrou€b culture and technology are products of cognition and. action, in Ze$ko Uvansvit Peter Creenaway's Fil.m Prod,uctions of Sex and Cender Cap: Bodies and ldentities of h/'en and Women in hlortal Conflict

Introduction

The interactions betweenmale and fernale bodies and identities in Peter Creenaway's films Th eDraughtsmant Cofltr4rf (1982) , Drowningby Numbers (1988) and TheCook, theThitfiHisWife andllerLover (1989) canbe marked as perfidious, postmodemist, deadly games. The fiim director and scriptwriter Greenaway has produced here very intelligent fllm plays where actors and actresses take part in thrillers, which means that corpses in this war between sexes and genders are un- avoidable . But Greenaway has a clear thesis : the psychological wars end with dead male bodies and with the victory of women who stick to their sex and gender soi.idarity. Men are too obsessed with their elimination drive and mutual brutaiity to survive as victors in this battle. Whereas the female body survives and remains undamaged as a rule, the maie body has to be mutilated and destroyed-prefer- perform .,ta ably by men thernselves, but women couLd the execution g: of rnen, too. The actors'performances of male and female gender in the films show clearly a pragmatic female constructivism in contrast to a male (auto) destructivity. Female identity is thus defined by the struggle for absolute suwival, the struggle ignorlng false morals that are imposed by men, the s&uggle to defeat the following three fllms five marital and pre-marital tragedies take immoral, misogynistic, phallogocentric policy of men. Male iden_ place inwhich men's guilt varies from reaily very small character tity shows infantilism, readiness to deceive and to subordinate flaws that,normallywouldnot deserve a death sentence to rather firstly women and secondly -gave other r,nen (t{eated as inferior beings violatisns of marriage rules (adultery, neglect of marital du- like women as well). Finally, mate and femare identities differ ties; egoistic materialist abuse of misogynist social conditions) in raoral consequenees: female crimes, presented as revenge for w.hich can provokea death sentence in the folrn ofa perfectmurder immoral behaviour of men, remain unpunished and without le_ only as a consequence oJ an aceumulation of hatred as a conse- gal consequences. On other the hand, male climes, includ.ing the quence of rnale misconduct fof a long period of time. The roles of failure to report crimes committed by women to the police, cannot husband and wife fali apart and construct a space of hatred where avoid punishm€nt, Gr€enaway constnrc$ two different systems postrnodernist games urith no moral or legal punishrnent for female ot moral spaces of gender sex and identity: firstly, female sex and revenge crimes can take place. The female punitive subversion of gender identity in the relativist system of irrational postmodernitv: thp m:lp qrofo(nrrp nprvpr

184 185 Mare characters in this film articulate the notion ofpostrnodernist fatality The Cook, the Thief, HisWife and Her Llver - A canibalist and the absence of a clear difference between the morally good and the moralry carnival in the culture of the British late capital- bad-because this difference seems to be a matter corDses of the subj ective perspective and a matter of game outcome. ism-with two male Male collective identity here is the identity of desperate losers, the identiry of mutually eliminating, short_sighted egoists who act After three witches from the English countryside inDrowningby in relation to women as emorional, sexual and material servants. Numbers, here we are confronted by a male monster- Albert Spica is Greenaway himself plays in his firmwith the oldmotif of samson, a psychopath and a gangster boss. He is the embodiment of male a man who lost power after Dalila cut it off. But he ridicules this chauvinist immorality parexcellence, but he does not survive as the motif-which becomes quite obvious in the scene where Cissie z ultimate film villain: he is shot dead by his wife after he elimi- crops Hardy's hair, but this time after drowning, not beforehand. nated his wife's iover-but his death becomes no subject to police The space of Creenaway's film is a space of a morbid nighrmare. investigation, similar to what we have seen in the previous two Sex anti gender gap has been uagicomically widened and deepened, films. His story is a mini-story, not a story that should become a produclng even macrocosmic shifts as a consequence orme tnint- mega sociai event with legal consequences for the positive figure ing of this type, mainly reduced to stereotypes such as: anything of his wife Ceorgina. Let private justice be done without external goes, there is no moral, who cares about corpses. While looking at social interventions! Besides, Mafioso's wife gives the impression the stars in the night sky, nobody feeis Kant's famous moralistic that she appears in TV commercials for Caultier-costumes which certainty any more, and nobody believes that there are true moral she changes from scene to scene in this bloodthirsty tragedy (cf. rules that dwell both in man's heart and at the heaft of the uni_ Felix's comments on the stereotype beauty of commercials in post- verse. Instead, anificial fireworks celebrate and illuminate in rain_ modemist films, 2002:r.67). Therefore, oursympathy is doubtlessly bow colours the state of mind that had been previously diagnosed on the side of this beautiful, fancy lady who kills her monstrous rather as moral insanity. There is no place fora morally based rebel_ husband with a full moral justification and with the consent of lion-possibly not even amongst the viewers'-because the recipient the film audience. is made blind, dumb and passive through the fact that three fema-le As in the previous two films, this horrible tragedy is put in an criminars do indeed confess their crimes, but the coroner blocks atmosphere of visual festiveness, extreme elegance and pleasant any further investigation for his own reasons. (In..normar" crime | ... arrangements of the mise-en-scdne. The monster Spica performs films perpetrators do not confess anything, which intensifies the ! .,, hi.s role in such a way that he produces strong vibrations of un- efforts to prove . their guilt and to punish them adeguately.) Here, r:t;:, ;;i controllable rnalice. Greenaway gives this character attributes of a the correction impulses are stopped. The viewer's moral conscience :ii: conservative who hates the French Revolution, ofa quasi-religious is, so to say, drugged by nice colourist details ofthe countryside as extremist who mocks people living in poverty, who humiliates his idyllic place, by continuous architectonic harmoay, i:t: by splendid dependents-even forcing them to eat dog's faeces (fonunately, the symmetdes in the eye of the fiIm camera andbyanaesthetizingfilm ' '.:,, actor ate chocolate pudding!). At the same time, he is able to become music (dignified requiem, classic music, sentimentar music from sentimental while listening to songs of the psalms (even soap biblical opens) suggesting thar nothing embarrassing has happened. 1i though he doesn't understand them)! What would be a psychologi- -:* cal description of this "thief " -as he is euphemistically called in the 'li title of this film? His sadisrn manifests itself in his relation to both men and women. His anal fixation is articulated in both his eating

r-B6 L87 obsession and sexual perversion toward his wife Georgina, who is he looks older) reveals some traces of homosexuality (Creenaway, accused of making him lose his original paradise of infantile pu_ r989:r5). The suppression of his latent homosexuality in his mind rity. cenerally, in Spica's psyche, woman stands for obscenity and seems to have contributed to his behavioural deviations in relations sin. Therefore, excessive eating prevents him from falling into the to men . One is tempted to put the following question: why does he 'abyss' of sexual activity (tvtadgetr and Henry, husband of Cissie z, play a husband role in a heterosexual marriage if he has strong ho- join this rather negative gender characterization of men in their ten- mosexual i.nclinations? He neglected his wife sexually, she was just dency to castrate themselves through gourmandizing). But when a puppet having the purpose ofbeing shown in society as a piece of the sexual drive cannot be suppressed any more, it is manifested. expensive male possessions, reduced to the status ofan extravagant again in an animoslty towards the vagina, in i,e. an attraction for female consumer in the capitalist society. However, the possibility the anus (cf. Cras and Gras, zooo: 86-87). But this anal obsession is that she could havea lovercausesSpica's fantasies ofannihilation of sexless on his part, because he treats his wife with toothbrushes, the lover's manhood, which is suggested by the following infantile bottles etc. -which the viewer hears from Georgina in the scene comment of his: "Who !s he? I hope he is a woman. I do not'nant after her lover Michael was murdered. spica's character stand"s for any man to touch my wife." Gq:zg). Spica seems to hate men even the type of men whose erotic energies are extremely perverted and more than women. As long as his wife is sexually pure, she is a who have behavioural problerns in dealing with both sexes. An goddess-and if the goddess sins against their marriage, she can interesting detail illustrates his hate of sex: he would. iike to send be pardoned, but any male rival in his marriage bed deserves death the authors of sexy graffiti in the restaurant toilets jaii_only to without hesitation. Greenaway gives his character Spica a much for inventing verses like the following ones: ..There young was a larger dimension than simply being a cuckold in a usual adultery man from Uckinham w};ro was caught while he was...', / Well, conilict. Spica's revenge could be an illustration of the cannibalistic frozen sexual energies could lead not only to overreacting but also tendencies in male hierarchies, under the mask of a highty civilized to cold-blood murders. Spica's new, infantile asexuai purity thus society (Liidecke, 1995:146). Since he swore that he wili have the joins criminaliry. And this criminality is spiced with the culinary adulterer cooked and that he will eat his flesh, his wife Georgina circus while eadng at the carnival restaurant table. uses the opportunity to make this happen. The free performance The gangster boss Spica functions as the head of his hierarchy of of the suppressed, tabooed male-to-male cannibalism (cf. Attali, moraliy cormpt, totally obedient male scoundrels who Spica de- :.979) lurking in the subconscious is enacted on the film set and lines as "queers". They read comics and porno magazines and they before the eyes of the filmviewers. In this final scene, Greenaway would not manage to cope with the world if it wasn't for Spica's seems to have made one of the most bizarre cannibalism scenes in father figure. He does not hesitate to strip naked those males who the history of the fllm art=but with the message that this scene in owe him racket money, he sees no obstacle whatsoever in his plans its extremism could reveal the true nature of the strongest hostile to force one of his criminals to castrate his rival Michael with his relations among men, which is a pheaomenon that could rarely be own teeth, he has no problems with giving men the.,short, sharp found among Creenaway's female characters-if at all. Greenaway treatment" of hitting their testicles with his knee. Furthermore, suggests that the male body is preferred in revenge sacrifices and Spica does not tolerate discussions of male homosexuality in his cannibalistic ceremonies. The female body is too sacred, it is the social surrounding, he resfficts himself to blaming some of his temple of giving birth to a new life, it is preserved from the lynch- subordinates for showing homosexual tendencies, but at the same ing masses-or at least in Greenaway's film discourse. his relationship to Mitchel (the main scoundrel in his male horde; The last aspect to be discussed in this film is Spica's racism as in the film script he is only seventeen years old, but in the fiim a further pretext for hatred. The glutton Spica does not hide his

rBB 189 contempt of starying Ethiopians and the Hindus who pracdce urine therapy' ceorgina Conclusion menfions indirectly Roman cathoucs (typicar of British racism) and South Africans as Spica,s feinds, too. But Michael, who is falsely considered to be a (cf. Iew Creenaway, Postmodemist texts are double-coded rg9g:n: hereMichael denies as a rule. The surface layer of explicitly beingayew), is the adulterer who disgraced the message is meant to ent€rtain and to adjust to populist needs Spica's marriage. He is his eiemy for many reasons: and to pop culture (d. Harrison, pop he is an intellecual, he 2oo1, on an's role in the genesis reads books, he is labelled as a yiew, Semift in of postmodernism; and cf. Niinning, zoto:a77-Vg on the affinities Spica's he shows good manners while eating and he proves pop .'lower,' that the sex between between literature and postmodernism) of the layer man and woman could be, symbolically speak_ of recipients who prefer to ing , a way to re remain rather intellectually blind and turn to paradise . The adulterous bookseller Michael , emotionally thrilled by a story. The "deeper" the'thief" of the other man,s layer of the message wife, had to be murdered, in an ad_ equate manner: ..He can hide some very serious diagnosis of the discussed problem(s), was stuffed with the tools of his trade,,_with but this diagnosis has to be deciphered. the book on the French Revolution! Creenaway has played in Unlike the scandalous marriage relations, his film texts with various formal styles (grotesque caricature of the adulterous relationship berween Georgina and baloque, neo-surrealism and postmodern parvenu Michael proves to be capitalism), but a more normal life alternadve. Greenaway tumed has at the same time he has created an intellectually rich space of dis- all of the scenes between Georgina and Michael into a kind courses deaiing of song in praise of heterosexuality, with male and female identities and bodies within accompanied by fantastically gentle film the frame of marital relations. The interpretations of the films music and unforgettabie colour designs. From the hell allow us to draw some interesting conclusions. of the mariage bond with a psychopath, Men and wornen Ceorgina is deiivered to a sensual, intellectually differ considerably in the way they behave towards the members strong and emodonally warm paradise complete of of the same sex and towards the members of the opposite sex, in interaction of souls, id.entities, bodies and sexes, existing the personal, like Adam and Eve before individual identity and the gender self-description. leaving paradise. Finaliy, from this point ofview it is possible Firstly, the depicted male-to-male relations reveal egoism, lack of to to pose an applausible understanding ofthe group cohesion, meaning of the psalm (,.The hostilityand the tendency of rnutual. elimination. si. Miserere: prayer of Repbntance. A The marital relationship is considered by man as a peryert psalm of David, when Nathan prophet chance to the came to him after his affair with Bathsheba", the marriageplatform for economic purposes. The marriagecannot The New Ameri*i aiAbl992:635_636). It could b-e Michael,s function because of the infantile blockade from within the maie final prayer, although it is sung at the beginning of psyche and because of the film by someone named pup unjust social re-definition of the woman's in the mebJy of Gregorian chant as an subtle position in marriage. The male psychological identity is harmed anticipation of the iove tragedy for which the compas_ by destructivity, sion of Cod, the forgiveness formal rigidity, immarurity, morbidity and sui- and restoration of God,s love towards the sinful ,.Tiue, cidal tendencies (cf. Ioas, 1999:227-z5r on the notion ofidentity in man is demanded: I was born guilty, ,/ a sinner, postmodernism; and cf, Zirna,2ool:195-1"99 on the postmodern even as my mother conceived me,, (psalm 51, Verse 7). Ceorgina and. Michael represent disintegration of the subject). Consequently, rhe male body can the only couple in rhese three films that function could. easily be destroyed, mutilated or physically or symbolically castrated as a model of a true, mature, even marital relationship (cf. Zima, 2oo1: a33-24o on the physical between a man and a woman_but body awareness), exposed to they are prevented by a maniac who the feelings of guilt and the self-imposed boomerang moral causality happens to be the cuckolded lawful frusbana. of punishment. The male death brings the male body back to Mother Earth through the mediumofwaterorfire. Secondly, female relations 190 191 are very often characlerized by a muual solidarity. Marital relation- References ship is consideredbywomen to be an opporrunity forequality in rights Atuli, I:odre canntuale.Vte 4., Paulus, andStauf, R. (eds.), and obligations, which leads to a feminist revision of patriarchal J. G9t9). r., et, moft dela meddcioe. Paris: Bernard Umstfittene Pastmodeffie. Lektiircn. dominance constellations (cf. Owens, r.9g9). Female psychological Crasset. Heideiberg: Universitatsverlag Winter, identity can be defined as strong and not so easiiy exposed to exter_ Felix, r. (2oo2). Ironie und (pp.167-183). naily imposed morality norms. A deeper life wisdom does not allow Identifikation. Die Posrmodeme in Owens, C. (1989) [19861. Der Diskurs Kino. In: Felix, (ed.), Die der Anderen Feminisdnnen und women to become victims of rigid formalisms. Finally, the adopted. Jurgen J. - Postmade'ne im Kino. Ein Reader - Marburg: Postmodeme. In: Andreas Huyssen and relativism of rnoral rules makes them immune to the logic of unavold- Schiiren, pp. r53-r79. Klaus R. Scherpe (eds.), Postmodeme. able ppnishment. The female body remains compact_maybe because Filrnskaenciklopedija (1986). 2 vol. Ea. Zeichen eineskultwellenWandels . Reinbek : women tend not to violate the deeper essence of things and, on the by Aate Peterli6. Zagreb: Jugoslavenski Rowohlt Taschenbuch, pp. r7z-r95. other hand, women readily subvert irrelevant male formalisms. To leksikografski zavod "Miroslav Krleia". Petersen, C. (2oo3). DuWtmoderne (2oo?). sum up, Creenaway allows his female Iigures to offer postmodernist Cbrling, R. Barocke Periicken Tert. R€konstruktion eifle I zeitgendssischen und postmodeme feminist gender Spiehegeln. Peter )tsthetik arn Beispiel vanThofias Pynch}n , and identity concepts which courd ribente his mare Creenaway's "The Draughtsman s Petet Grcenaway tnd Paul Wrihr. Kiel: Verlag figures from their destnrctive, narcissist, misogynist structures ap- ContGct". In: Felix, J- (ed.), Die Ludwig. pearing to be mere hypnotic simulations of power. P ostm o de me im Kin o. Ein Re ade r (). VaEimo, C. (2ooo [1985]. IAdjmod€r'ne Marburg: Schiiren, pp. 185-199. (fheEndofModemity). Zagreb: Matica Gras, V., Cras, M- (eds.)(2ooo). Peter h$atska. Crcenaway. lnteviews. Jackson] University zima, P. v. (2oor). Dasliteruri- Press ofMississippi. sche Subjel$. Zwschen Spajtmoderne und (1989). Creenaway, P. DetKoch,Aer Pottrnodem€. Tiibingen, Basel: Francke. Dieb, s ein e F r au tm d ih( Liebh ab e r. D as v oll- sti n dige D r ehb uch nit vi ele n F otas. ZLncb : Films Haffmanns verlag. Creenaway, P. (Director/writer), Harrison, S- (2oo1). Pop$tandthe Payne, D. (Producer) &Sainsbury, of P dernism. Otbins ostm' Cambridge : P. Producer) (1982\. The Draughtsman's Cambridge University Press. Confrdct lMotion Picturel. Unired (1998). Holden-Moses, P. Not Waving Kingdom: BEt Production Board, but Drowning by Numbers. Peter Channei Four. Creenaway's Caudonary Tale. IIt: Creenaway, P. (Director/Writer), (ed.), Degli-Esposti, C. Postm0dernismin Kasander, K. (Producer) & Wigman, D. th? Cirsma. York, New Oxford: Berghahn (Producer) (1988) . Drcwning by Numbejs Books, pp. 2r9-23o. [Motion PicEurel. United Kingdom: (1999) Joas, H. [19971. DieEntdeckung Allarts, Fiim Four Internationai, der Wefte. Franlfurt am Main: Elsevier vendex Film, VPRO Television. suhrkamp Taschenbuch. Creenaway, P (Director/Writer), (1995). Diaschitnheitdss Liidecke, ]. Kasander, K. (Producer) (1989). TheC0ok, kkecklichen. Pet?r creenawav wrd seine the'thi4 His!'/.fe and HerLoyer IMotion Filme. Bergisch Ciadbacb: Custav Liibbe Picilrel. United Kingdom: Allafis Cook Verlag. Ltd,, EratoFiims. Niinning, v. (2oro). Postmoderne Striimungen in der britischen Cegenwafisliteratur. ln : Htibner,

L92 193 This publication has been made wittr tbe support of Ministry ofscience, Education and Sports ofthe Republic of Croatia.

I'ublishers,/ Ffak$Fa, zapreSi6 Akademija dramske umjetnosti (ADU), Za$eb For the pBblishers / Sibila Serdarevid (Fraktwa) EnesMid;ia (ADU) Editors / Sibila Petlevski, Coran Pavue Iarguage editor / Una Bauer Copy edibr / coran PavUe Layout & design / Kristina lrandc Cov€r photo / Animal Incomation, Eadweard Muybridge Year of pubiication / 2011, November (nrst edition) Itinted:n croatia

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