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Theatercode H2O Als Modell Zur Analyse Einer Ghettogesellschaft

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Theatercode H2O Als Modell Zur Analyse Einer Ghettogesellschaft Theatercode H O als Modell zur Analyse einer Ghettogesellschaft (Am Beispiel von KOSOVA 1989-2009) Dissertation verfasst/vorgelegt von Gonxhe Boshtrakaj Konstanz 2014 Theatercode H O als Modell zur Analyse einer Ghettogesellschaft (Am Beispiel von KOSOVA 1989-2009) Dissertation zur Erlangung des akademischen Grades Doktor der Philosophie (Dr. Phil.) vorgelegt von Gonxhe Boshtrakaj an der Universität Konstanz Geisteswissenschaftliche Sektion Fachbereich Literatur-, Kunst- und Medienwissenschaft Verfasserin: Gonxhe Boshtrakaj Tag der mündlichen Prüfung: 17.12.2010 1. Referent: Dr. habil. Peter Braun 2. Referent: Prof. Dr. Albert Kümmel-Schnur Konstanz, den 27.06.2014 „Da, wo die Einheimischen noch immer fremd sind und Fremde noch immer Herr im Haus, da feiert (m)eine Königin ihren ersten Geburtstag, obwohl sie mehtausend Jahre alt ist. Kosova1, Jungblut Dardaniens Herz aller Paradoxien bist du du bist meine Liebe!“ Orakel von Delphi2 1 Der Begriff Kosova ist die gegenwärtige Bezeichnung für das „übrig gebliebene“ Territorium des Illyrischen Dardaniens, das eine Geschichte von über viertausend Jahren aufweist. Der Name Dardani stammt aus dem Illyrischen (Uralbanischen Sprache) und bedeutet Birnenland. Seit der am 17. Februar 2008 erneut erklärten Unabhängigkeit ist das Land auch international als eigenständiger Staat anerkannt, bleibt jedoch paradoxerweise weiterhin unter internationaler Verwaltung, die mittlerweile die Form eines modernen Neokolonialismus angenommen hat. 2 Unter dem Pseudonym Orakel von Delphi schreibt und veröffentlicht gelegentlich die Autorin Gonxhe Boshtrakaj literarische (theatralische/essayistische) Gesellschaftskritiken. Sie ist Redaktionsmitglied der Theaterfachzeitschrift Loja (dt. Das Spiel) und der literarischen Fachzeitschrift Jeta e re (dt. Das neue Leben). Dies wurde der Reihe: >>ProPHeZEICHUNGEN. Kosova und ihre (Selbst-)Bestimmung<< entnommen. Die Übersetzung vom Albanischen ins Deutsche wurde von der Autorin selbst durchgeführt. Inhaltsverzeichnis I. Einleitung ............................................................................................................... 1 II. THEORETISCHE GRUNDLAGEN ............................................................................... 6 1 Theorien ............................................................................................................. 6 1.1 Sozialkonstruktivismus .............................................................................. 7 1.2 Goffmans Rahmen‐Analyse vs. Thomas Theorem .................................... 9 1.3 Turners und Schechners Theorie von Social‐/Stage Drama .................... 13 2 Theatercode „H₂O“ und das Herleiten des Theatermodells ........................... 22 2.1 Der Code des Theaters ........................................................................... 22 2.2 Theatercode „H₂O“/Konzeptspezifikation ............................................. 24 2.2.1 Die Handlung .................................................................................... 26 2.2.2 Die Handelnden ................................................................................ 26 2.2.3 Der Ort ............................................................................................. 26 2.3 Herleitung des Theatermodells „H₂O“ ................................................... 27 2.3.1 Eigenschaften und Struktur des Theatermodells „H₂O“ .................. 27 2.3.2 Anwendung und Funktion ................................................................ 30 2.3.3 Grenzen des Modells ....................................................................... 31 3 Herleitung der Thesen ..................................................................................... 32 3.1 These 1 ..................................................................................................... 32 3.2 These 2 ..................................................................................................... 32 3.3 These 3 ..................................................................................................... 33 III. EMPIRISCHE ANALYSE EINER GHETTOGESELLSCHAFT ........................................... 34 1 Analytische Instanz I: Dramenanalyse ............................................................. 35 1.1 Ghettodrama I „Eisernes Ghetto“ ............................................................ 38 1.1.1 Handlungsverknüpfung und Aktstruktur ........................................ 40 1.1.1.1 Normbrüche ............................................................................... 46 1.1.1.2 Konfliktsteigerung und Krise ...................................................... 50 1.1.1.3 Höhepunkt mit Peripetie ............................................................ 54 1.1.1.4 Wendepunkt ............................................................................... 58 1.1.1.5 (Humanitäre‐)Katastrophe und (Er‐)Lösung ............................... 65 I 1.1.2 Figurenkonstellation, Identität und Interaktion .............................. 70 1.1.2.1 „Rot‐ Schwarze“‐Protagonisten ................................................ 74 1.1.2.2 „Dunkelblaue“‐Antagonisten .................................................... 76 1.1.2.3 „Blinde Zuschauer“ .................................................................... 77 1.1.3 Kosova, Ort eines Wartens ad absurdum ........................................ 79 1.1.3.1 Ich warte, also bin ich [Kosova‐Albaner] ...................................... 81 1.1.3.2 Die Ambivalenz des Wartens ....................................................... 83 1.1.3.3 Warten können, zu warten wissen, warten müssen! .................. 87 1.2 Ghettodrama II „X‐Parallele Ghetto‐Strukturen“ (1999‐2009) ................ 90 1.2.1 Soziale Prozesse und Liminalität ...................................................... 94 1.2.1.1 Separation (1989‐1999) ............................................................ 100 1.2.1.2 Transition (1999 – 2008) ............................................................ 100 1.2.1.3 Inkorporation vs. Integration (17.02.2008) ............................... 102 1.2.2 Figurenkonstellation, ‐Identität und ‐Interaktion ......................... 104 1.2.2.1 Akteure ....................................................................................... 106 1.2.2.2 Aktanten ..................................................................................... 106 1.2.2.3 Marionetten ............................................................................... 107 1.2.3 Ortsbezogene Theatralität und Handeln im „Als‐ ob‐ Modus“ ...... 112 2 Analytische Instanz II: Inszenierungsanalyse ................................................. 120 2.1 Begriffserklärung und Prinzip ................................................................. 120 2.2 Inszenierung der Authentizität durch eine Macht (‐Instanz) ................. 123 2.2.1 Inszenierung einer „als‐ob“‐Vergewaltigung: „Martinovic‐Vorfall“123 2.2.2 Inszenierung eines „als‐ob“‐Amoklaufs: „Paraçin Massaker“ ....... 126 2.2.3 „Als‐ob“‐Kollektive Inszenierung: „Schüler‐Massenvergiftung“ .... 130 2.3 Inszenierungs‐ (Ghetto‐) Rahmen und Ghettotheater .......................... 138 2.3.1 Ghettotheater der Unterdrückten ................................................. 141 2.3.1.1 Stellenwert und Funktion .......................................................... 147 2.3.1.2 Ghettoausbrüche in Form von Rebellion, Emigration und Mobilisation ............................................................................................... 152 2.3.2 Kriegstheater .................................................................................. 155 2.3.2.1 Szenische Annäherungen .......................................................... 155 2.3.2.2 Exiltheater .................................................................................. 157 2.3.2.3 Fronttheater .............................................................................. 159 II 2.3.3 Nachkriegstheater (1999‐2009) .................................................... 161 2.3.3.1 Die kulturelle Verarbeitung der Kriegsereignisse ..................... 161 2.3.3.2 Die Anthropologie der Gewalt .................................................. 164 2.3.3.3 Kulturelle Dekadenz und Festivalmanie .................................... 169 3 Analytische Instanz III: Aufführungsanalyse anhand exemplarischer Darstellungen 172 3.1 Der Tod und das Mädchen von G. Boshtrakaj ............................................. 172 3.2. Moti pa Ton von Blerim Gjoci & Co. ............................................................ 185 IV. Diskussion und Darstellung der Ergebnisse ................................................... 198 1 Das Theatermodell „H₂O“ .............................................................................. 202 2 Überprüfung des Theatermodells „H₂O“ ....................................................... 206 2.1 Die Bildung neuer Realitäten im Ghettodrama I .................................... 209 2.2 Die Bildung neuer Realitäten im Ghettodrama II ................................... 213 2.3 Selbstbestimmungsphilosophie als Ghettoausbruch ............................. 215 3 Überprüfung der Thesen ................................................................................ 216 3.1 These 1 ................................................................................................... 216 3.2 These 2 ................................................................................................... 217 3.3 These 3 ..................................................................................................
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