Heiner Müller and Martin Wuttke: Staging New Images in a Time of Change’, Performance Research, Vol
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Inglourious Basterds AUDIENCE (2009) 87 Liked It Average Rating: 3.9/5 User Ratings: 761,324
Inglourious Basterds AUDIENCE (2009) 87 liked it Average Rating: 3.9/5 User Ratings: 761,324 Movie Info A group of hardened Nazi killers stalk their prey in Nazi- occupied France as a Jewish cinema owner plots to take down top-ranking SS officers during the official premiere of a high-profile German propaganda film. As far as Lt. Aldo Raine (aka “Aldo the Apache,” Brad Pitt) -- is concerned, the only good Nazi is a dead Nazi. Raine's mission is to strike fear into the heart of Adolf Hitler by brutally murdering as many goose-steppers as possible, or die trying. In order to accomplish that goal, Lt. Raine recruits a ruthless team of cold-blooded killers known as "The Basterds" which includes baseball-bat- wielding Bostonian Sgt. Donnie Donowitz (aka "The Bear Jew," Eli Roth) and steely psychopath Sgt. Hugo Stiglitz (Til Schweiger), among others. When the Basterds' secret rendezvous with turncoat German actress Bridget von Hammersmark (Diane Kruger) goes awry, they learn that the Nazis will be staging the French premiere of "The Nation's Pride," a rousing propaganda film based on the exploits of German hero Fredrick Zoller (Daniel Brühl), at a modest theater owned by Jewish cinephile Shoshanna Dreyfus (Mélanie Laurent), posing as a Gentile after the brutal murder of her family by the ruthless Col. Hans Landa Theatrical release poster (Wikipedia) (Christoph Waltz). As the Basterds hatch an explosive TOMATOMETER plan to take out as many Nazis as possible at the premiere, they remain completely oblivious to the fact All Critics that Shoshanna, too, longs to bring the Third Reich to its knees, and that she's willing to sacrifice her beloved 89 theater in the process. -
Universal Pictures International the Weinstein Company Matt Moss Sara Serlen +33 493 99 07 53 646-862-3812 [email protected] [email protected]
Press Contacts : International Press Contact: Domestic Press Contact: Universal Pictures International The Weinstein Company Matt Moss Sara Serlen +33 493 99 07 53 646-862-3812 [email protected] [email protected] INGLOURIOUS BASTERDS Written and Directed by Quentin Tarantino Produced by Lawrence Bender Executive Producers Erica Steinberg Lloyd Phillips Executive Producers Bob Weinstein Harvey Weinstein Co-Producers Henning Molfenter Carl L. Woebcken Christoph Fisser Associate Producer Pilar Savone Director of Photography Robert Richardson, ASC Production Designer David Wasco Costume Designer Anna B. Sheppard Special Makeup Effects by Gregory Nicotero and Howard Berger Visual Effects Designer John Dykstra Casting by Johanna Ray & Jenny Jue (US), Simone Bär (GER), Olivier Carbone (FR) Edited by Sally Menke, A.C.E. The Weinstein Company and Universal Pictures Present A Band Apart A Zehnte Babelsberg Film GmbH Production A Film by Quentin Tarantino 2 INGLOURIOUS BASTERDS Synopsis In the first year of the German occupation of France, Shosanna Dreyfus (Melanie Laurent) witnesses the execution of her family at the hand of Nazi Colonel Hans Landa (Christoph Waltz). Shosanna narrowly escapes and flees to Paris where she forges a new identity as the owner and operator of a cinema. Elsewhere in Europe, Lieutenant Aldo Raine (Brad Pitt) organizes a group of Jewish American soldiers to perform swift, shocking acts of retribution. Later known to their enemy as “the basterds,” Raine's squad joins German actress and undercover agent Bridget von Hammersmark (Diane Kruger) on a mission to take down the leaders of the Third Reich. Fates converge under a cinema marquis, where Shosanna is poised to carry out a revenge plan of her own... -
Staging Jo¨Rg Haider: Protest and Resignation in Elfriede Jelinek's Das
STAGING JO¨ RG HAIDER: PROTEST AND RESIGNATION IN ELFRIEDE JELINEK’S DAS LEBEWOHL AND OTHER RECENT TEXTS FOR THE THEATRE In memory of Francesca Gibson and Christine Flude A reader comparing the introduction to Elfriede Jelinek’s first publication, the novel wir sind lockvo¨gel baby! of 1970, with some of the authorial inferences and statements found in and about her recent works for the stage, Macht nichts. Eine kleine Trilogie des Todes (1999)orEin Sportstu¨ck (1998),1 might initially be tempted to conclude that Elfriede Jelinek’s political vigour and critical voice had very much waned. For her first novel, Jelinek provided a ‘gebrauchsanweisung’ which encouraged the reader to take an active, interventionist part in her book and then to become empowered to effect protest outside the bounds of the law. ‘sie sollen hergehen’, the author advises, ‘& sich u¨berhaupt zu VERA¨ NDERUNGEN ausserhalb der legalita¨t hinreissen lassen.’ She goads her potential readers not to bother reading the book at all if they feel they are not capable of counter-violence (‘gegengewalt’) and continues in what would for today’s publishing market be a most unlikely vein: ‘wenn sie aber gerade daran arbeiten jene massiven offiziellen kontrollen & organe zu unter- minieren zu zersto¨ren dann ist es unsinnig & verfehlt diese zeit fu¨r das lesen des buches zu verschwenden’ (lockvo¨gel, gebrauchsanweisung). The ‘Nachbemerkung’ to Macht nichts shows little of this obvious protest and rebellion, and the author seems almost resigned by contrast. The third part of the trilogy is a monologue entitled ‘Der Wanderer’, in which Jelinek’s own father is dramatized as the speaker. -
Inglourious Basterds and Quentin Tarantino's Confrontation With
The Fuhrer's Face: Inglourious Basterds and Quentin Tarantino’s Confrontation with Nazis, Hitler and Fascist Aesthetics in Hollywood Cinema Conrad Leibel This paper is an in depth visual and theoretical analysis of Quentin Tarantino’s 2009 film Inglourious Basterds. The central questions with which the essay contends are how Quentin Tarantino represents Nazis within his film, as represented by Colonel Hans Landa and Adolf Hitler and where the film fits within the American tradition of representing Nazis on-screen. Inglourious Basterds creates an argument that the Nazi regime itself was a type of performance; the regime’s politics are explicitly theatrical, and the only weapon capable of taking it down is an equally powerful theatrical machine: Hollywood. _________________________________________________________________ Nazism and the Third Reich have occupied the cinematic imaginations of both Europe and North America since roughly two years before the Second World War had erupted. In the initial war and post-war years, the figure of the Nazi had functioned as an enemy within Hollywood narratives, as well as the post-war European anti-fascist films. As the historical referent of the Third Reich has become increasingly distanced from future generations, the symbol of the Nazi has devolved into a floating signifier, that is, a signifier that has been disconnected from the original historical referent and has come to signify a variety of somewhat related and unrelated symbols. The most popular incarnation of the Nazi as a floating signifier is American culture’s appropriation of the image of Adolf Hitler as a symbol of universal evil, a figure which allegorically represents evil incarnate in human form. -
Dossiers De Presse
Festival d’Automne 13 septembre – 31 décembre à Paris 41 e édition Dossier de presse Heiner Muller / Bertolt BrecHt la résistible Ascension d’Arturo ui Service de presse : Rémi Fort, Christine Delterme Assistante : Léa Serror Tél : 01 53 45 17 13 | Fax : 01 53 45 17 01 e-mail : [email protected] [email protected] [email protected] Festival d’Automne à Paris | 156, rue de Rivoli – 75001 Paris Renseignements et réservations : 01 53 45 17 17 | www.festival-automne.com En écrivant La Résistible Ascension d’Arturo Ui en pleine Heiner MÜller montée du nazisme alors qu’il vit lui-même en exil aux États-Unis, Bertolt Brecht s’attaque bien sûr à Hitler. Il a vu Bertolt BrecHt le film de Chaplin, Le Dictateur , et à son tour, il utilise l’arme la résistible Ascension d’Arturo ui du rire pour dresser un portrait du tyran en bête féroce. Soit la montée en puissance d’un gangster sans scrupule et pratiquement illettré qui par son alliance avec le trust du La Résistible Ascension d’Arturo Ui chou-fleur instaure un règne de terreur dans la ville de Chi - de Bertolt Brecht cago. Quand il met en scène la pièce en 1995 avec Martin Mise en scène, Heiner Müller Wuttke (acteur emblématique du Berliner Ensemble qu’on Scénographie et costumes, Hans Joachim Schlieker retrouvera également lors de cette édition dans Artaud se Collaboration mise en scène, Stephan Suschke Lumière, Ulrich Eh souvient d’Hitler et du Romanische Café ) dans le rôle d’Arturo Assistante mise en scène, Nicole Felden Ui, c’est précisément de cette violence sarcastique dont Souffleuse, Eva-Maria Böhm Heiner Müller, disparu en 1995, souhaite rendre compte. -
Born Into Brothels
SCREEN MEDIA FILMS Presents COLONIA A Majestic Production A Film by Academy Award winner Florian Gallenberger Theatrical Release Date: April 15, 2016 Running Time: 110 minutes Rating: Not yet rated Official Website: www.coloniamovie.net Facebook: www.facebook.com/screenmediafilm Twitter: @screenmediafilm Instagram: @screenmediafilms Publicity/Press Contact: PRODIGY PR, 310-857-2020 Alex Klenert, [email protected] Jenny Bloom, [email protected] Jacki St. Thomas, [email protected] CAST AND CREW Lena Emma Watson Daniel Daniel Brühl Paul Schäfer Michael Nyqvist Gisela Richenda Carey Ursel Vicky Krieps Doro Jeanne Werner Roman Julian Ovenden German Ambassador August Zirner Niels Biedermann Martin Wuttke Manuel Contreras César Bordón Jorge Nicolás Barsoff Directed by Florian Gallenberger Produced by Benjamin Herrmann Screenwriters Torsten Wenzel Florian Gallenberger Director of Photography Kolja Brandt Production Design Bernd Lepel Editor Hansjörg Weissbrich Composers André Dziezuk Fernando Velázquez Costume Design Nicole Fischnaller Makeup & Hair Design Waldemar Pokromski Claudine Moureaud Sound Department Carlo Thoss Frank Kruse Bruno Tarrière Casting Directors John Hubbard Ros Hubbard Line Producer Patrick Zorer Co-producers Nicolas Steil, Iris Productions Christian Becker, Rat Pack Filmproduktion Jean-Michel Rey, Rezo Productions James Spring, Fred Films Executive Producers Rüdiger Böss Dirk Schürhoff “COLONIA” press kit, p. 2 of 14 SYNOPSIS Inspired by true events, COLONIA tells the story of Lena and Daniel, a young couple, who become entangled in the Chilean military coup of 1973. Daniel is abducted by Pinochet’s secret police and Lena tracks him to a sealed off area in the South of the country, called Colonia Dignidad. The Colonia presents itself as a charitable mission run by lay preacher and ex-Nazi Paul Schäfer but is, in fact, a place from which no one has ever escaped. -
Der Aufhaltsame Aufstieg Des Arturo Ui
DER AUFHALTSAME AUFSTIEG DES ARTURO UI bertolt brecht heiner müller berliner ensemble 2 3 INFO CREDITS WENN DER ANSTREICHER DURCH DIE LAUTSPRECHER ÜBER DEN FRIEDEN REDET data / dates regie / direction vr 21, za 22 juni 2013 Heiner Müller Fri 21, Sat 22 June 2013 toneelbeeld, kostuums / set design, Schauen die Straßenarbeiter auf die Autostraßen locatie / venue costumes Und sehen Stadsschouwburg Amsterdam, Grote Zaal Hans Joachim Schlieker Knietiefen Beton, bestimmt für aanvang / starting time coregie / co-direction Schwere Tanks. 20.30 u Stephan Suschke 8.30 pm met / with Der Anstreicher redet vom Frieden. duur / running time Martin Wuttke (Arturo Ui) Aufrichtend die schmerzenden Rücken 3 uur, inclusief een pauze Martin Schneider (Roma) Die großen Hände auf Kanonenrohren 3 hours, including one interval Volker Spengler (Giri) Hören die Gießer ihm zu. taal / language Victor Deiß (Givola) Duits met Nederlandse boventiteling Stefan Lisewski (Dogsborough) Die Bombenflieger drossein die Motore German with Dutch surtitles Jürgen Holtz (Schauspieler) Und hören inleiding / introduction Margarita Broich (Dockdaisy, Mrs. Dullfeet) Den Anstreicher vom Frieden reden. door by Loek Zonneveld Roman Kaminski (Dullfeet) 19.45 u Axel Werner (Sheet, Ragg/Reporter, Die Baumfäller stehen horchend in den stillen Wäldern 7.45 pm Goodwill) Die Bauern lassen die Pflüge stehn und halten die Hand hinters Ohr meet the artist Veit Schubert (Clark) Die Frauen bleiben stehn, die das Essen aufs Feld schleppen: met with Martin Wuttke Michael Rothmann (Butcher) Auf dem ungebrochenen Acker steht ein Wagen mit Schalftrichtern. za 22 juni, na afloop van de voorstelling Uli Pleßmann (Flake, Ansager) Von dort Sat 22 June, after the performance Thomas Wendrich (Bowl, Inna) Hört man den Anstreicher Frieden fordern. -
11 Gemuden 65-76
Brecht in Hollywood Hangmen Also Die and the Anti-Nazi Film Gerd Gemünden Die beste Schule für Dialektik ist die Emigration. Die schärfsten Dialektiker sind die Flüchtlinge. —Bertolt Brecht, Flüchtlingsgespräche (, :) [The best school for dialectics is emigration. The refugees are the sharpest dialectic thinkers.] I Bertolt Brecht arrived in San Pedro, California, on July and de- parted from the United States on November , one day after his HUAC hearing in Washington, DC. Often referred to as an exile in paradise, Brecht’s stay in this country proved to be one of the most difficult times of his life. It also turned out to be one of Brecht’s most prolific periods, leading to an out- pouring of poetry and prose, and to the writing of many plays which, when first performed upon his return to Germany, established his world fame. From the very beginning of his stay, Brecht also wrote scripts, outlines, and treat- ments—more than in all (Gersch :–)—which he hoped to sell to the Hollywood film industry. Yet apart from his ill-fated collaboration with Fritz Lang, Hangmen Also Die (), none of them ever made it onto the screen. Most literary critics have considered Brecht’s scripts and film stories as insignificant, and very much inferior to the plays and poems written during his years of exile. Brecht himself set the tone for this interpretation, calling these writings bread-and-butter jobs to which he subjected himself, all the while scolding the industry for which they were written. We all know the fa- mous verses about the market where lies are sold, and about the stench of greed and misery that suffocates the city of angels. -
Bible Mexique
PAUL PLAMPER Artaud se souvient d’Hitler et du Romanische Café de Tom Peuckert BD – BE NOVEMBRE CABC Paul Plamper Avec ce monologue de Peuckert, Martin Wuttke gravite Né en 1972, Paul Plamper vit à Berlin. Entre 1992 et autour de ce rôle qu’il a si souvent incarné, et essaye, 1995, il étudie les arts du théâtre et la littérature alle - « Exorciser Hitler » en somme, d’exorciser Hitler au moyen d’Artaud… mande à l’Université Humboldt à Berlin. Sa carrière Entretien avec Paul Plamper dans le théâtre commence en 1992 au Berliner Ensem - Le texte de Tom Peuckert est donc un monologue ble en tant qu’assistant de Peter Zadek, Heiner Müller, dans lequel Martin Wuttke incarne Artaud ? Werner Schroeter, Robert Wilson. Parallèlement, il Non, pas du tout. Nous nous sommes penchés sur commence la mise en scène. Il monte à la Volksbühne des idées, des manières de travailler, des outils formels Hüttenkäse Live , un opéra rap à partir d’un texte de Comment avez-vous eu l’idée de monter le texte de propres à Artaud, pour tenter de les mettre en pratique, Tim Staffel, ainsi que la première version turque de Tom Peuckert ? Et comment interprétez-vous cette à notre manière. Nous n’avons pas dit : « Martin Wuttke la pièce d’Heiner Müller Der Auftrag au Théâtre de prétendue lettre d’Antonin Artaud à Hitler ? va incarner Artaud ». la Ville d’Istanbul. Au Berliner Ensemble, il crée Projekt Ce texte était sur le bureau de Martin Wuttke depuis RAF à partir de la correspondance carcérale de ter - quelque temps. -
Colonia Press Notes 2015-09-09 Final
Present A MAJESTIC Production Directed by Florian Gallenberger Produced by Benjamin Herrmann PRODUCTION NOTES International Publicity DDA Public Relations Lawrence Atkinson Alice Zou 192-198 Vauxhall Bridge Road 8981 Sunset Blvd. Suite 201 London SW1V 1DX Los Angeles, CA 90069 Tel. +44 20 7932 9800 Tel. +1 (310) 205 4868 [email protected] Media server www.presse.majestic.de/colonia.html CONTENT Information 3 Synopsis 4 Production Notes 5 Biographies – Cast Emma Watson (Lena) 8 Daniel Brühl (Daniel) 9 Michael Nyqvist (Paul Schäfer) 10 Biographies – Crew Florian Gallenberger (Writer & Director) 11 Benjamin Herrmann (Producer) 12 Torsten Wenzel (Writer) 13 Kolja Brandt (Director of Photography) 13 Bernd Lepel (Production Design) 14 Hansjörg Weissbrich (Editor) 14 André Dziezuk (Composer) 15 Fernando Velázquez (Composer) 15 Nicole Fischnaller (Costume Design) 16 Waldemar Pokromski (Makeup & Hair Design) 17 Carlo Thoss, Frank Kruse & Bruno Tarrière (Sound) 18 Nicolas Steil, Iris Productions (Co-Producer) 18 Contacts 19 2 INFORMATION Cast Lena Emma Watson Daniel Daniel Brühl Paul Schäfer Michael Nyqvist Gisela Richenda Carey Ursel Vicky Krieps Doro Jeanne Werner Roman Julian Ovenden German Ambassador August Zirner Niels Biedermann Martin Wuttke Manuel Contreras César Bordón Jorge Nicolás Barsoff Crew Directed by Florian Gallenberger Produced by Benjamin Herrmann Screenwriters Torsten Wenzel Florian Gallenberger Director of Photography Kolja Brandt Production Design Bernd Lepel Editor Hansjörg Weissbrich Composers André Dziezuk Fernando Velázquez -
Excuse Me, Your Accent Is Very Unusual
Treball/projecte de fi de màster de recerca Excuse me, your accent is very unusual. The complexity of establishing third languages in Inglorious Basterds: Applying a model of translation analysis to dubbing. Elena Voellmer Màster: Màster Universitari en Estudis de Traducció Edició: 2011-2012 Directors: Dr. Patrick Zabalbeascoa Terran Any de defensa: 2012 Col⋅⋅⋅lecció: Treballs i projectes de fi de màster de recerca Programa oficial de postgrau "Comunicació lingüística i mediació multilingüe" Departament de Traducció i Ciències del Llenguatge Universitat Pompeu Fabra Universitat Pompeu Fabra Màster Estudis de Traducció Edició 11-12 Departament de Traducció i Ciències del Llenguatge Excuse me, but your accent is very unusual The complexity of establishing third languages in Inglourious Basterds Applying a model of translation analysis to dubbing – Master’s Thesis – Student: Elena Voellmer Thesis Advisor: Dr. Patrick Zabalbeascoa Terran 07 August 2012 Entschuldigung, Sie reden so komisch. Dubbing Third Languages in Inglourious Basterds. | 1 Abstract: The growing multilingual trend in movie production comes with a challenge for dubbing translators since they are increasingly confronted with more than one source language. The main purpose of this master’s thesis is to provide a case study on how these third languages (see CORRIUS and ZABALBEASCOA 2011) are rendered. Another aim is to put a particular focus on their textual and narrative functions and detect possible shifts that might occur in translations. By applying a theoretical model for translation analysis (CORRIUS and ZABALBEASCOA 2011), this study describes how third languages are rendered in the German, Spanish, and Italian dubbed versions of the 2009 Tarantino movie Inglourious Basterds. -
Hitler – Films from Germany the Holocaust and Its Contexts
Hitler – Films from Germany The Holocaust and Its Contexts Series Editors: Olaf Jensen, University of Leicester, UK, and Claus-Christian W. Szejnmann, Loughborough University, UK. Series Editorial Board: Wolfgang Benz, Robert G. Moeller and Mirjam Wenzel More than 60 years on, the Holocaust remains a subject of intense debate with ever-widening ramifications. This series aims to demonstrate the continuing rel- evance of the Holocaust and related issues in contemporary society, politics and culture; studying the Holocaust and its history broadens our understanding not only of the events themselves but also of their present-day significance. The series acknowledges and responds to the continuing gaps in our knowledge about the events that constituted the Holocaust, the various forms in which the Holocaust has been remembered, interpreted and discussed, and the increasing importance of the Holocaust today to many individuals and communities. Titles include: Olaf Jensen and Claus-Christian W. Szejnmann (editors) ORDINARY PEOPLE AS MASS MURDERERS Perpetrators in Comparative Perspectives Karolin Machtans and Martin A. Ruehl (editors) HITLER – FILMS FROM GERMANY History, Cinema, and Politics since 1945 Tanja Schult A HERO’S MANY FACES Raoul Wallenberg in Contemporary Monuments Forthcoming titles: Olaf Jensen (editor) HISTORY AND MEMORY AFTER THE HOLOCAUST IN GERMANY, POLAND, RUSSIA AND BRITAIN The Holocaust and Its Contexts Series Series Standing Order ISBN 978–0–230–22386–8 Hardback 978–0–230–22387–5 Paperback (outside North America only) You can receive future titles in this series as they are published by placing a standing order. Please contact your bookseller or, in case of difficulty, write to us at the address below with your name and address, the title of the series and the ISBN quoted above.