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GEORG BÜCHNERS FRAGMENT WOYZECK Und Seine INTERMEDIALEN BEARBEITUNGEN

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GEORG BÜCHNERS FRAGMENT WOYZECK Und Seine INTERMEDIALEN BEARBEITUNGEN Dottorato di Ricerca Internazionale in STUDI CULTURALI EUROPEI / EUROPÄISCHE KULTURSTUDIEN Dipartimento Culture e Società Settore Scientifico Disciplinare L/Linn13 GEORG BÜCHNERS FRAGMENT WOYZECK und seine INTERMEDIALEN BEARBEITUNGEN TESI DI ANNA KASTEN TUTOR Chiar.mo Prof. Domenico Mugnolo CO-TUTOR Chiar.mo Prof. Ivano Cavallini COORDINATORE Chiar.mo Prof. Michele Cometa CICLO XXIV ANNO CONSEGUIMENTO TITOLO 2015 Für Lore, die ging und Adele, die kam. Es ist daher falsch, in Fragmenten über das Fragment schreiben zu wollen […] Doch was soll man anderes tun? – Über etwas ganz anderes schreiben – oder über gar nichts – und sich selbst fragmentieren lassen. P. Lacoue-Labarthe und J.-L. Nancy WOYZECK ist die offene Wunde. Heiner Müller INHALT 1.1.1. Einleitung ................................................................................................................................................................................................................................................................................................................................ 444 2.2.2. Theoretischer Ansatz ........................................................................................................................................................................................................................................................................................ 131313 2.1. Intermedialität ............................................................................................................................ 14 2.1.1. Begriffsgeschichte und -definitionen ......................................................................... 14 2.1.2. Medienkombination ...................................................................................................... 29 2.1.3. Medienwechsel .............................................................................................................. 31 2.1.4. Intermediale Bezüge ...................................................................................................... 33 2.1.5. Adaption ........................................................................................................................... 36 2.2. Fragment ..................................................................................................................................... 41 2.2.1. Der Fragmentbegriff im Wandel der Zeit .................................................................. 43 2.2.2. Ursachen für das Entstehen eines Fragments ......................................................... 50 2.2.3. Formen des Fragments ................................................................................................. 52 2.2.4. Verbindungen zwischen Intermedialität und Fragmentarität .............................. 54 2.2.5. Fragmentarisches als Rezeptionsgrund ..................................................................... 56 3.3.3. Kontextualisierungen ........................................................................................................................................................................................................................................................................................ 616161 3.1. Karl Georg Büchner .................................................................................................................... 61 3.2. Woyzeck ....................................................................................................................................... 69 3.2.1. Entstehungsgeschichte ................................................................................................. 73 3.2.2. Editionsgeschichte ......................................................................................................... 76 3.2.3. Woyzeck intermedial und intertextuell ..................................................................... 82 3.2.3.1. Büchners Zitierverfahren .............................................................................................. 83 3.2.3.2. Die historischen Fälle als Strukturquellen ................................................................. 87 3.2.3.3. Intermedialität im Bereich des Auditiven ................................................................. 91 3.2.3.4. Intermedialität im Bereich des Visuellen .................................................................. 95 3.2.3.5. Intermedialität im Bereich des Theatralen ............................................................... 97 3.2.3.6. Die intertextuellen Bezüge zur Bibel und zur Literatur ....................................... 101 3.2.3.7. Die intermedialen Bezüge zum Film........................................................................ 108 1 3.2.4. Woyzeck als fragmentarisches Fragment .............................................................. 109 3.2.4.1. Fragmentierte Identitäten ......................................................................................... 114 3.2.4.2. Fragmentierte Sprechakte ........................................................................................ 115 3.2.4.3. Woyzeck fragmentarisch und intermedial ............................................................. 118 3.2.5. Intermedialität und Fragment: Warum wird Woyzeck so stetig rezipiert? ..... 119 3.3. Die intermediale Rezeptionsgeschichte des Woyzeck ..................................................... 122 3.3.1. Büchner-Preis ............................................................................................................... 133 3.4. Medienwechsel ........................................................................................................................ 136 3.4.1. Woyzeck-Rezeption in der Literatur ....................................................................... 138 3.4.2. Woyzeck-Rezeption im Theater ............................................................................... 144 3.4.3. Woyzeck-Rezeption in der Musik ............................................................................ 151 3.4.4. Woyzeck-Rezeption im Film ...................................................................................... 164 3.4.5. Woyzeck-Rezeption in der Bildkunst....................................................................... 169 3.4.6. Woyzeck-Rezeption im Hörspiel .............................................................................. 171 4.4.4. Woyzeck heute ...................................................................................................................................................................................................................................................................................................... 175 4.1. Woyzeck, eine Hörspiel-Performance von Boris Nikitin ................................................... 176 4.1.1. Das Hörspiel ................................................................................................................. 176 4.1.2. Deutschlandradio Kultur ............................................................................................ 183 4.1.3. Boris Nikitin .................................................................................................................. 186 4.1.4. Woyzeck, eine Hörspiel-Performance .................................................................... 189 4.1.4.1. Intermedialität in Woyzeck, eine Hörspiel-Performance ................................... 201 4.1.4.2. Fragment in Woyzeck, eine Hörspiel-Performance ............................................. 215 4.1.4.3 Rezeptionsschichten in Woyzeck, eine Hörspiel-Performance ......................... 219 4.2. Woyzeck von Nuran David Calis ........................................................................................... 221 4.2.1. Die Literaturverfilmung .............................................................................................. 221 4.2.2. Nuran David Calis ........................................................................................................ 226 4.2.3. Woyzeck, der Film ....................................................................................................... 228 4.2.3.1. Filmische Umsetzung bei Calis ................................................................................. 235 4.2.3.2. Intermedialität in Woyzeck ....................................................................................... 252 4.2.3.3. Fragment in Woyzeck ................................................................................................. 263 4.3. Vergleich zwischen den Woyzeck-Medienwechseln von Nikitin und Calis .................. 264 2 4.3.1. Intermedialität ............................................................................................................. 266 4.3.2. Fragment ....................................................................................................................... 269 4.3.3. Rezeption....................................................................................................................... 270 5.5.5. AUSBLICAUSBLICKKKK ........................................................................................................................................................................................................................................................................................................................ 272 ANHANG .............................................................................................................................................................................................................................................................................................................................................................................
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