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Dissertation ! ! ! ! ! DISSERTATION Titel der Dissertation „Mimetisches Erzählen in zeitgenössischer Schweizer Performancekunst“ Eine erzähltheoretische Analyse ausgewählter Performances von Andrea Saemann Muda Mathis & Sus Zwick Yan Duyvendak Verfasserin Alexandra Könz angestrebter akademischer Grad Doktorin der Philosophie (Dr.phil.) Wien, 2011 Studienkennzahl lt. Studienblatt: A 092 317 Dissertationsgebiet lt. Studienblatt: Dr.-Studium der Philosphie UniStG Theater-, Film- und Medienwissenschaft Betreuer/In: O. Univ.-Prof. Dr. Wolfgang Greisenegger ! 2! Inhaltsverzeichnis Vorwort 7 Einleitung 8 I. Kontextualisierung 16 I.1 Zum Begriff „Performancekunst“ 16 Forschungsstand zur Performancekunst in der Schweiz 22 I.2 Rückblick: Entstehungslinien der Performancekunst in der Schweiz 22 I.3 Zur aktuellen Schweizer Performancekunst 31 I.3.1 Performance-Szenen 31 I.3.2 Zeitgenössische Tendenzen 36 I.4 Wissenschaftliche Reflexion 43 Forschungsstand zur Bedeutung des Erzählens in den Geisteswissenschaften und der Performancekunst 47 I.5 Vom Linguistic zum Performative und Narrative/Narrativist Turn 51 I.6 Gedächtnisforschung, Oral History: „Geschichte“ als performatives Konstrukt 59 I.7 Zeitgenössische Narratologien 67 I.7.1 Forschungslücken 68 I.7.2 Relevante Positionen 70 I.8 Bedeutung des Erzählens aus Sicht der Theater-, Performance- und Kunstwissenschaften 71 I.8.1 Traditionslinien des Erzählens in der Performancekunst – eine kritische Sichtung 73 Zum Einsatz von Sprache (75), Text und Bild (76), Politik und Gesellschaftskritik (78), Sprache als Provokation (79), Autobiographisches Erzählen (79), Feministische Performance (81), Vortrag als Performance (82), Akustik (Sprache, Stimme) (82), Verkörperte Sprache (84), Körper-Gesten als Teil des mimetischen Erzählens (85) I.8.2 Live-Performance in der mediatisierten Gesellschaft 86 I.8.3 Vernachlässigung von Sprache und Narration in der Performancerezeption 87 I.9 Funktionen des Erzählens 88 I.9.1 Erzählen als anthropologisches Grundbedürfnis und universelle kulturelle Praxis 88 I.9.2 Erzählen als Sinngebung, Repräsentation und Kommunikation von „zeitlichem Erleben“ 88 I.9.3 Politische Funktion 90 I.9.4 Erzählungen legitimieren Wissenskompetenzen 90 I.9.5 Erzählen als ästhetische Raumerfahrung und -konstitution 91 ! 3! II. Methode: Theorie und Praxis 93 II.1 Kuratorische Praxis: „Telling Tales“ 94 II.1.1 KünstlerInnenauswahl 94 II.1.2 Konsequenzen von „Telling Tales“ für die Analysen 95 II.2 Theoretische Positionierung und Zielsetzung 97 II.3 Anwendung der Theorie in den Performance-Analysen 99 II.3.1 Definition des Erzählbegriffs 99 II.3.2 Hermeneutische, kulturwissenschaftliche Ansätze 101 III. Performance-Analysen 106 III.1 Andrea Saemann: Performative Kunstgeschichte 107 III.1.1 Narration in den Performances von Andrea Saemann 108 III.1.2 Meta-Diskurs: Gedächtnistheorie 116 III.1.3 Analyse: Saemann meets Schneemann (2004) 120 Mimetisch-narrative Gattung – szenische Nacherzählung 120 Erzählte Welt (innere Erzählstrukturen): 122 Erzählstrategien (Darstellungsebene) 125 a) Spiel mit der Erzählperspektive (125): Erzählmodus: Ich-mit-Leib (127), Erzählstatus (128), Begrüssung und Schluss – Sprachabklärung (128), Rahmenhandlung: Saemann besucht Schneemann (130), Binnenhandlung (Spiel mit dem Erzählstatus) (132) b) Das Zusammenspiel von Körperlichkeit, Mündlichkeit und Bild (135): Szenische Verkörperung (135), Interaktion von Geste und Wort (140), Affektive Stimme (141), Fragmentarisches Erzählen (142) c) Konflikt zwischen der erzählten Welt und der Wissenswelt der Zuschauer (142) III.1.4 Zusammenfassung 144 III.2 Muda Mathis und Sus Zwick: Bricoleurinnen ihrer Welten 148 III.2.1 Narration in den multimedialen Arbeiten von Muda Mathis und Sus Zwick 150 III.2.2 Meta-Diskurs: Kunst zwischen Spiel und Wissenschaft 155 a) Mimetisches Erzählen als Spiel (155) b) Subversives Erzählen (156) c) Machtbegriff (158) d) Alternative Wissensformen (158) e) Und sie spielen doch (159) ! 4! III.2.3 Analyse: Meine Logopädin heisst Sus Zwick (2009) 160 Mimetisch-narrative Gattung – inszenierte Bricolage 160 Erzählte Welt (innere Erzählstrukturen) 164 Erzählstrategien (Darstellungsebene): 166 a) Erzählperspektive – Inszenierte Bricolage (166): Transgressionen des Räumlichen und Semantischen (166), Der rote Schrank/die Hirschkuh (167) b) Das Zusammenspiel von Körperlichkeit, Mündlichkeit und Bild (175): Maskerade (175), Synthetisches Erzählen (177) c) Zitat (179): Eigenzitate (180), Zitat als subversive Verschwisterung (181) III.2.4 Zusammenfassung 184 III.3 Yan Duyvendak: Das zeitgenössische Individuum im Spannungsfeld individueller und massenmedialer Erzählung 188 III.3.1 Narration in den Performances von Yan Duyvendak 189 III.3.2 Meta-Diskurs: Hybridkultur 194 III.3.3 Analyse: Une soirée pour nous (1999) 196 Mimetisch-narrative Gattung – Video-Performance 196 Erzählte Welt (innere Erzählstrukturen) 197 Erzählstrategien (Darstellungsebene): 201 a) Erzählperspektive – Zusammenspiel von Körperlichkeit, Mündlichkeit und Videobild (201): Synchronizität von Figurenrede, -geste und -mimik als Spiel mit der Nachahmung (201), Hybride Stimme (203) b) Hybridisierung der Erzählperspektive (203) c) Komik – Entlarvung von Wahrnehmungs- und Identifikationsmustern (204) d) Pseudo-Interaktion (208) e) Narr der modernen Zeiten (210) III.3.4 Meta-Diskurs: Alteritätsdiskurs (Made in Paradise, 2008) 212 III.3.5 Analyse: Made in Paradise (2008) 115 Made in Kairo and Switzerland: Zur Entstehungsgeschichte von Made in Paradise 215 Mimetisch-narrative Gattung: episodische Performance 216 Erzählte Welt (innere Erzählstrukturen) 218 Erzählstrategien (Darstellungsebene): 219 a) Erzählperspektive (220): Erzählhierarchie – Wer erzählt? Wer sieht? (220) b) memory talk – mimetisches Erzählen als Korrektiv des kollektiven Gedächtnisses (221): „Der Moment“ (223), „Jihad Beauté“ (225), „Boum!“ (229) c) Das Zusammenspiel von Körperlichkeit, Mündlichkeit und Bild (231): Zweisprachigkeit als Vermittlerin von Transkulturalität (231), Sinn des Arabischen (231), Kommunikativer Raum (233) d) Zur Wichtigkeit der kleinen Erzählungen (234) III.3.6 Zusammenfassung 235 IV. Schluss: Zusammenfassung und vergleichende Analyse 239 ! 5! V. Analysevokabular 248 VI. Künstlerbiographien 261 Andrea Saemann 261 Muda Mathis und Sus Zwick 263 Yan Duyvendak 265 Omar Ghayatt 267 VII. Bibliographie 269 VIII. Weitere Quellen 286 1. Internet-Adressen 286 2. Bildnachweis 289 3. Videoaufzeichnungen (auf DVD) 290 4. (Künstler-)Interviews 292 5. Gespräche mit Kennern der (Schweizer) Performanceszene 292 6. Besuchte Live-Performances (Auswahl) 293 7. Besuchte Performance-Festivals 294 8. Symposien 294 IX. Anhang Abstracts Deutsch / Englisch 295 Die Autorin 297 3 DVDs „Telling Tales“ 298 ! 6! Vorwort Diese Dissertation entstand im Rahmen des Doktoratsprogramms Szenografie, einer Zusammenarbeit zwischen dem Institut für Design und Technologie der ZHdK und dem Institut für Theater-, Film- und Medienwissenschaft der Universität Wien. Die Dissertation besteht aus dem vorliegenden theoretischen und einem künstlerisch-gestalterischen Teil. Letzterer umfasste das Kuratieren zweier Performanceveranstaltungen mit dem Titel „Telling Tales“, welche halfen, den Untersuchungsgegenstand enger zu fassen und Quellenmaterial zu generieren, anhand dessen die Thesen exemplarisch nachvollzogen werden können. „Telling Tales“ wurde auf DVD aufgezeichnet und liegt im Anhang bei. Mein besonderer Dank gilt Prof. Thea Brejzek, Prof. Wolfgang Greisenegger und Prof. Lawrence Wallen für ihre wertvolle Betreuung, die produktiven Diskussionen und die Möglichkeit, das Forschungsthema im internationalen Umfeld erarbeiten zu können. Ohne die grosszügige Unterstützung der PerformancekünstlerInnen Andrea Saemann, Muda Mathis, Pascale Grau, San Keller, Sus Zwick und Yan Duyvendak hätte diese Arbeit so nicht realisiert werden können. Ihnen danke ich herzlich. Mein grosser Dank gilt auch M. Vänçi Stirnemann für die zahlreichen anregenden Gespräche und seine kontinuierliche Begleitung des Forschungsprozesses. Für ihre Bereitschaft, ihr Wissen mit mir zu teilen, danke ich zudem zahlreichen ExpertInnen der Schweizer Performancekunst, allen voran Pius Freiburghaus und Heinrich Lüber. Markus Landert, Catja Loepfe und ihren Teams danke ich für die gute Zusammenarbeit bei der Realisation der Performanceveranstaltungen „Telling Tales“. Diese war möglich dank der finanziellen Unterstützung der Kulturstiftung Thurgau, des Ressorts Kultur Basel-Stadt, der Ernst Göhner Stiftung, der Georges und Jenny Bloch Stiftung sowie der Genossenschaft Migros Ostschweiz, denen allen ich nochmals meinen Dank ausspreche. Karl Zimmermann danke ich für das detailgenaue Korrektorat bis zur letzten Minute. Der Zürichsee Werbe AG, insbesondere Thedi Gut, danke ich für ihre wohlwollende Unter- stützung. Für ihre Freundschaft und Begleitung während der vergangenen Jahre danke ich Brigitte, Salomé, Simone, Daniela, Daniel, Schirin, Mona und ganz besonders Jan-Mark. Schliesslich gilt mein grosser Dank meinen Eltern Peider und Giovannina Könz, die mir grosszügig den Rücken gestärkt haben. ! 7! Einleitung Die vorliegende Arbeit untersucht die Bedeutung des Erzählens in zeitgenössischer Schweizer Performancekunst. Innerhalb der Schweizer Performancekunst gibt es unterschiedliche Tendenzen, die bisher im Einzelnen noch nicht vertieft untersucht wurden: Die Hauptstränge umfassen Körper- Installationen, das Zusammenspiel von Körper und Video und/oder weiteren elektronischen Medien, einfache Handlungen oder Bewegungen im Raum im Anschluss an die Performances
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