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Vienna's Transnational Fringe

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Vienna's Transnational Fringe Abstract Title of Dissertation: Vienna’s Transnational Fringe: Arts Funding, Aesthetic Agitation, and Europeanization Justin Poole, Ph.D., 2011 Directed By: Professor Franklin J. Hildy, Department of Theatre, Dance, and Performance Studies This dissertation deals with a subculture of transnational fringe artists, which is emerging in Europe in the early part of the twenty first century. It examines this subculture within the confines of Vienna, Austria, which was once the capital of a grand supra-national empire that spanned much of Central and Eastern Europe. Vienna is the site of this case study because in recent years the city has been instituting a self-conscious internationalization of its fringe scene, which resulted from local politicians’ desires to help the city regain some of its long lost symbolic capital and become a legitimate competitor in an expanding and converging European field of cultural and economic production. In Vienna’s struggle for symbolic capital, the city’s subculture of fringe artists is defined by their need to collaborate with the socio-political demands of the local government. They are also impacted by the requirement that they adhere to the economic, ideological, and aesthetic demands of transnational social spaces, i.e. co-production venues and fringe festivals, throughout Europe. The artists are enmeshed in external pressures as they forge paths for themselves within an increasingly uniform European fringe scene. The artists’ complicity in the processes of globalization and Europeanization, which enable their subculture as they threaten to divest them of their “avant-garde impulse,” causes the artists to adopt a highly ironic posture in their work. This posture, which is evident in their performances, may be partially to blame for a widespread claim that European fringe artists are suffering from an aesthetic crisis. An examination of two fringe groups, i.e. Toxic Dreams and Superamas, which are thriving within Vienna’s current system, reveals how any analysis of the aesthetics and ideologies of the performances being generated in the context of Europe’s fringe scene must take into account the material realities that the artists are facing. In this dissertation the term conglomerate performance is used a as a descriptor for the emergent genre that is adapted from a media-induced and “McDonalidized” system of cultural production within a specific, yet vital niche of European culture. VIENNA’S TRANSNATIONAL FRINGE: ARTS FUNDING, AESTHETIC AGITATION, AND EUROPEANIZATION By Justin Poole Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2011 Advisory Committee: Professor Franklin J. Hildy, Chair Professor Karen Bradley Professor David Cregan Professor Steven Mansbach Professor Heather Nathans © Copyright by Justin Poole 2011 PREFACE My choice to focus on Vienna’s fringe performance scene was initially motivated by my ongoing travels to Europe. 1 These experiences began in 1999 when I attended a study abroad program in Salzburg, Austria. While in Salzburg, I began to study the socio-political affects of European integration and became intrigued with the influence of the European Union (EU) on the development of experimental performance. Other experiences involved an independent study at Villanova University on national identity in Austrian performance and extended doctoral research on EU-funded fringe performance. The latter began with a seminar paper exploring the 2006 European Dream Festival in New York City, which was developed in fiscal partnership with New York City-based European cultural centers, private foundations, and the EU. In 2008 I conducted a preliminary dissertation research trip to Austria, where I met with several of the subjects considered in this document and began to perceive the profound impact that Europeanization and globalization were having on the scene and its cultural agents (i.e. artists and administrators). From March through June of 2009 I conducted more extensive dissertation research, which included interviews, participant observation in Vienna’s important performance venues including the Burgtheater, Brut Wien, Tanzquartier, and Brunnenpassage, and daily living within the city. Over the course of 1 Vienna may seem to be an unorthodox choice for examining the development of Europe’s new fringe aesthetic. I became particularly aware of this while attending the 2009 Informal European Theatre Meetings (IETM) conference in Bratislava, Slovakia. While at the conference I met many artists who had either a negative or no opinion of Vienna’s fringe scene. For example, a Belgian administrator told me that when she thinks of Austria she envisions “white horses” and “people in traditional costumes,” not cutting- edge performance. By situating my study within Vienna, which I have found to possess an active if not unproblematic, scene I hope to correct such common misconceptions and to give English readers the opportunity to explore some of Austria’s less well-known, but still highly important cultural artifacts. ii these research trips I found certain aspects of Vienna’s performance community to be particularly compelling and worthy of further theoretical and pragmatic consideration. These include the wide cultural gap between the city’s established theatre venues and its fringe performance venues. Particularly compelling aspects of Vienna’s fringe performance culture were the artists’ desire to create work that transcends national categorization and their need to participate in a transnational European art market. These aspects coexisted with their dependency on the local government for support. Equally intriguing were the artists’ search for new forms of expression and their widespread, yet not universal, belief that the fringe scene in Vienna suffers from a lack of innovation and/or creative vigor. Additional analysis of contemporary experimental performance in Europe made me aware that the realities of Vienna’s fringe scene are not unique. Consequently, I began to consider that Vienna might be a suitable place to undertake a case study of contemporary experimental performance in Europe and the subculture of transnational performing artists who are instrumental in its creation. As a result of my academic and personal exploration of Vienna’s fringe scene, my dissertation tells a distinctly human story of cultural agents who operate within transnational social spaces (including Vienna’s major fringe performance venues) and who often suffer from a lack of artistic innovation and/or fulfillment. Implicit in this story is the artists’ quest for new forms of expression and their faith that they may achieve ideological and aesthetic breakthroughs. Based on my personal experiences within the scene (and anticipated future collaborations with Vienna-based transnational artists), I count myself as a participant in the cultural agents’ faithful struggles to achieve their goals. As a result, any perceived criticism within my dissertation of the artists and iii their methods should be understood as having arisen from a genuine desire to identify issues within the scene that may be limiting the artists’ creative potential. Implicit in my study is my belief that the new style/genre that is developing in Vienna, and the material factors that constitute the new style/genre, can be observed in other regions throughout Europe. For this reason, my dissertation has far wider implications to contemporary studies of fringe performance in Europe and the effects of Europeanization and globalization on artists working in Europe’s widespread socialist- influenced cultural fields. In each chapter, I situate the events in Vienna’s fringe scene within larger trends throughout Europe by referring to case studies on transnational artist mobility, cultural funding, and identity construction. iv DEDICATION To Amanda v ACKNOWLEDGEMENTS My time at the University of Maryland has proven to bring the combination of tears and laughter, failures and triumphs that one should experience as a Ph.D. student. Although many professors and students exerted a profound impact on my personal and academic development in that context, I particularly wish to thank Franklin J. Hildy for being a source of support throughout this dissertation. Frank allowed me to believe that the seemingly insurmountable task of completing this crazy life goal of mine was actually attainable. I also wish to thank Laurie Frederik Meer who guided me through the early stages of this research and whose recommendations were critical in the process of securing funds for extended research in Austria. Catherine Schuler’s early encouragements in this process were also invaluable to me, as have been the contributions of my humble, yet highly accomplished committee, Heather Nathans, Karen Bradley, and Steven Mansbach. Additional thanks belong to another committee member, David Cregan, for leading me through the very early stages of my research on European performance while I was a graduate theatre student at Villanova University. At the time, the university’s graduate theatre department, a stellar training ground in many other ways, was noticeably lacking his academic insights, and this has since changed. I like to think that our small independent study, which he did out of the goodness of his heart, had something to do with this. I also wish to thank Charles Helmetag, a long-time professor of German at Villanova,
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