DOCSLIB.ORG

The Tasmanian Theatre Company Production of I Am My Own Wife

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Tasmanian Theatre Company Production of I Am My Own Wife Tasmania Performs presents the Tasmanian Theatre Company production of I Am My Own Wife The remarkable true story of Charlotte and her escape from persecution during the Second World War will leave you breathless! The only one–person play ever to win a by Doug Wright Pulitzer Prize Starring Robert Jarman Tasmania Performs proudly presents the Tasmanian Theatre Company Production ofI Am My Own Wife in partnership with... Arts Deloraine The Great Lake Community Out On A Limb Regional Arts Brighton Council Palais Theatre, Franklin The Rotary Club of Scottsdale Channel Regional Arts Group Great Oyster Bay Regional Arts about about bout tasmania at this tasmania performs a note from the director the tasmanian performs thanks performance proudly presents annette downs theatre company Tasmania Performs is a State Many thanks to our Tasmania The Tasmania Performs The Tasmanian Theatre A few years ago Robert Jarman The Tasmanian Theatre Company Government initiative that works Performs Presenting Partners and passed me a small envelope… is a professional theatre company Production of in partnership with artists and their volunteers, we couldn’t do for all Tasmanians. It produces In it was the script for this play and regional communities to present it without you, and if we did… it contemporary Australian theatre I Am My Own Wife I Am My Own Wife a note — he wanted to perform it, the best Tasmanian performances wouldn’t be nearly as much fun! and focuses on telling Tasmanian By Doug Wright By Doug Wright he wanted me to direct it, he didn’t across the state. stories and promoting the work of • Brighton Post Office, Brighton have any money for either but he By arrangement with Hal Leonard Tasmanian artists. Tonight’s production of I Am My Own Council and Cathy Harper thought it was an extraordinary Touring team: Australia Pty Ltd Wife is touring to nine communities play and that we should do it The Company operates three major • The Rotary Club of Scottsdale, across Tasmania. Cast: Robert Jarman On behalf of Dramatists Play anyway! programs: Jan Hughes, Scottsdale Services, Inc DHS, Pamella Krushka, Tour Manager: Jill Munro I read the script and was The Professional Producing Program Grant Morrison and Roses immediately swept into Charlotte’s which includes public seasons Tasmania Performs Technical Manager: Jessica Smithett Newsagents world, with her astounding of plays, commissioning and Director: Annette Downs Mechanist Assistant Tour Manager: Producer: Annette Downs • In St Helens: John McCallum, tales of survival and the myriad developing new work, a training Mark Nicholson Cast: Robert Jarman of contradictions surrounding program, an annual playreading Management: Performing Lines Ltd Carol Liefting from Choc-A- them. Fortunately, in mid-2008 series of 10 new Tasmanian Lolly and Elaine Sullivan from Designer: Rachel Lang Graphic Design: Sarah Owen Design Purple Possum Wholefoods, the Tasmanian Theatre Company plays, partnering with other arts • There will be one interval of 20 Sound Designer: Matthew Dewey Star FM, Heidi Howe, Judy decided to program I Am My Own organisations and regular touring minutes Spilsbury, Kay Barraclough and Stage Manager: Jill Munro Wife for their subscription season, throughout the state. If you would like to discuss the especially Tony Lawson-Brown, • Photography and video are not making this fully professional possibility of hosting a performance Set Builder: Mark Nicholson The Aurora Energy Community permitted treatment possible and allowing for your organisation or wish to • Viv at Bear Cottage Crafts and Enrichment Program is a state- Costume Maker: Nicole Ottrey us the time and resources to do the the hardworking committee of • This venue is strictly non- wide program which includes send feedback on the production play justice. Doug Wright’s script Great Oyster Bay Regional Arts smoking Lighting Technician: Jessica Smithett programs for and with indigenous please contact: is a magnificently crafted, award- performers, emerging artists, young • Palais Management • Patrons are advised that this winning work and his subject Annette Downs people, elderly people, prisoners Tasmania Performs Committee, Charles Zuber, production contains adult completely intriguing. This production opened May 6, Earl and performers with a disability. David Sales, Loris and Alan themes and the occasional use [email protected] Arts Centre, Launceston for Theatre All of you watching this Patman, Deb Coombes, of strong language The Theatre Royal Backspace is North’s 2009 Subscription Season, performance are in for a treat. The 03 6233 5935 Merlene Abbot, and David Sales the performance home of the transferring to the Backspace play requires an incredible actor to Tasmanian Theatre Company. We love to hear your from you. • Channel Regional Arts Group, Theatre, Hobart, running May bring nearly 40 characters to life The Backspace offers a curated Paul and Belinda Sangha 14–23 2009. It was remounted for a and Robert rises to the task. He support program for independent (Kettering Central Shop) tour in 2011 which opened at The has captured the spirit of Charlotte Tasmanian theatre artists. In 2012 Whitehorse Centre, Nunawading, von Mahlsdorf and allows her to • The Great lakes Community a new program: Creative Coalitions Victoria on April 27, 2011 and until sparkle. The production has enjoyed Centre Inc, Community will be made available to artists July 15, 2011. a recent successful tour to Victoria Rural Alive and Well, Central from around Tasmania. Highlands Council, Central and the ACT and following this Highlands Lodge. return season in Hobart, Tasmania Visit tastheatre.com for the latest The Broadway Production Of I Am My Performs will present the show Tasmanian Theatre Company news, • The various businesses that Own Wife was produced by in nine regional areas across production information, online provided ticketing outlets Tasmania. bookings and email updates. across the State Delphi Productions: David Richenthal • Tasmania Performs would like President; Anthony D Marshall to thank Jen Cramer and Julie Chairman; Charlene T Marshall Waddington. Executive Vice President Tasmania Performs is supported by Annette Downs Tasmania’s Minister for the Arts through Arts Tasmania Director playwright director cast designer sound designer stage manager doug wright annette downs robert jarman rachel lang matthew dewey jill munro Doug Wright won an Obie Award Previously for The Tasmanian Theatre A freelance theatre artist, Robert is a Rachel is a graduate of the National Matthew is a Tasmanian born Jill has worked as Stage Manager for Outstanding Achievement in Company, Annette has directed I Am director, performer, writer, designer Institute of Dramatic Art, in Set composer and sound designer. or Assistant Stage Manager on Playwriting and the Kesselring My Own Wife (2009) and Andrew Corder and teacher. and Costume Design. During His compositional work includes every Tasmanian Theatre Company Award for Best New American Play Thinks Twice (2010). her time in Sydney she worked four chamber operas: A Priest’s production. She has worked Previously for the Tasmanian from the National Arts Club for his for Belvoir Street Theatre, Griffin Passion, The Death of Chatterton, 15 on several other large Hobart Annette is currently the Producer Theatre Company, Robert performed play Quills. Theatre, Tuggeranong Theatre Years on Hold and The Buzz of the Sea; productions including Miss Saigon, of Tasmanian Performs, an Arts in Poxed (2011) directed and designed (Canberra), SBS television, and an array of concert music, scores Dido and Aeneus, and The Wizard of He went on to write the screenplay Tasmania initiative supporting Sex, Death and a Cup of Tea (2010), was employed as a designer for the and sound designs for numerous Oz. Jill is also a qualified Floral adaptation, making his motion product and market development for directed Bombshells (2008), starred Australian Museum. theatrical productions including Designer and Interior Designer. picture debut. The film was named the performing arts. in I Am My Own Wife (2009), and underwhere, Con Artists and Macbeth. She has a varied background in Best Picture by the National Board designed Andrew Corder Thinks Twice Rachel moved to Tasmania in Originally trained as a dancer, costume design, puppet making of Review and nominated for three (2010). 1998 and during her time in Matthew’s compositions have been Annette has worked as a university and prop construction. She studied Academy Awards with Geoffrey Rush Hobart has been raising her three commissioned and performed by lecturer, performer, artistic director, Robert’s performance credits and worked in Sydney making going on to win his first Oscar for beautiful children and studying groups including: The New York general manager and producer. She are extensive: over a hundred and designing costumes and Best Performance Quills. a Bachelor of Fine Arts, majoring Miniaturist Ensemble, IHOS Music came to Tasmania to work with the productions, mainly in Tasmania, props for television and stage, for in painting and installation art. Theatre laboratory, the Seymour His screenplay was nominated for a Salamanca Theatre Company in Sydney and North Queensland, and companies such as The Wiggles, Rachel has maintained her love Group (Sydney), Hobart Chamber Golden Globe Award and received the 1991. From 1992-99 she was Artistic national touring. He has created a Raggs Club, The Simpsons, the NRL for theatre working as a designer Orchestra, Terrapin
Load more

Recommended publications
  • A History of German-Scandinavian Relations
    A History of German – Scandinavian Relations A History of German-Scandinavian Relations By Raimund Wolfert A History of German – Scandinavian Relations Raimund Wolfert 2 A History of German – Scandinavian Relations Table of contents 1. The Rise and Fall of the Hanseatic League.............................................................5 2. The Thirty Years’ War............................................................................................11 3. Prussia en route to becoming a Great Power........................................................15 4. After the Napoleonic Wars.....................................................................................18 5. The German Empire..............................................................................................23 6. The Interwar Period...............................................................................................29 7. The Aftermath of War............................................................................................33 First version 12/2006 2 A History of German – Scandinavian Relations This essay contemplates the history of German-Scandinavian relations from the Hanseatic period through to the present day, focussing upon the Berlin- Brandenburg region and the northeastern part of Germany that lies to the south of the Baltic Sea. A geographic area whose topography has been shaped by the great Scandinavian glacier of the Vistula ice age from 20000 BC to 13 000 BC will thus be reflected upon. According to the linguistic usage of the term
    [Show full text]
  • University of Birmingham Museum, Furniture
    University of Birmingham Museum, furniture, men McTighe, Trish DOI: 10.3138/MD.3053 License: None: All rights reserved Document Version Peer reviewed version Citation for published version (Harvard): McTighe, T 2017, 'Museum, furniture, men: the Queer ecology of I Am My Own Wife', Modern Drama, vol. 60, no. 2, pp. 150-168. https://doi.org/10.3138/MD.3053 Link to publication on Research at Birmingham portal Publisher Rights Statement: Checked 24/11/2016 General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document. When citing, please reference the published version. Take down policy While the University of Birmingham exercises care and attention in making items available there are rare occasions when an item has been uploaded in error or has been deemed to be commercially or otherwise sensitive.
    [Show full text]
  • Museum, Furniture, Men: the Queer Ecology of I Am My Own Wife Mctighe, Trish
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Portal Museum, Furniture, Men: The Queer Ecology of I Am My Own Wife McTighe, Trish DOI: 10.3138/MD.3053 License: None: All rights reserved Document Version Peer reviewed version Citation for published version (Harvard): McTighe, T 2017, 'Museum, Furniture, Men: The Queer Ecology of I Am My Own Wife', Modern Drama, vol. 60, no. 2, pp. 150-168. https://doi.org/10.3138/MD.3053 Link to publication on Research at Birmingham portal Publisher Rights Statement: Checked 24/11/2016 General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document. When citing, please reference the published version.
    [Show full text]
  • A Transgender Journey in Three Acts a PROJECT SUBMITTED to THE
    Changes in Time: A Transgender Journey in Three Acts A PROJECT SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Ethan Bryce Boatner IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF LIBERAL STUDIES MAY 2012 © Ethan Bryce Boatner 2012 i For Carl and Garé, Josephine B, Jimmy, Timothy, Charles, Greg, Jan – and all the rest of you – for your confidence and unstinting support, from both EBBs. ii BAH! Kid talk! No man is poor who can to what he likes to do once in a while! Scrooge McDuck ~ Only a Poor Old Man iii CONTENTS Chapter By Way of Introduction: On Being and Becoming ..…………………………………………1 1 – There Have Always Been Transgenders–Haven’t There? …………………………….8 2 – The Nosology of Transgenderism, or, What’s Up, Doc? …….………...………….….17 3 – And the Word Was Transgender: Trans in Print, Film, Theatre ………………….….26 4 – The Child Is Father to the Man: Life As Realization ………….…………...……....….32 5 – Smell of the Greasepaint, Roar of the Crowd ……………………………...…….……43 6 – Curtain Call …………………………………………………………………....………… 49 7 – Program ..………………………..……………………………….……………...………..54 8 – Changes in Time ....………………………..…………………….………..….……........59 Wishes ……………………………….………………….……………...…………………60 Dresses …………………………………………………….…………………….….…….85 Changes ………………………………………………………….….………..…………107 9 – Works Cited …………………….………………………………………....…………….131 1 By Way of Introduction On Being and Becoming “I think you’re very brave,” said G as the date for my public play-reading approached. “Why?” I asked. “It takes guts to come out like that, putting all your personal things out in front of everybody,” he replied. “Oh no,” I assured him. “The first six decades took guts–this is a piece of cake.” In fact, I had not embarked on the University of Minnesota’s Master of Liberal Studies (MLS) program with the intention of writing plays.
    [Show full text]
  • Queer Movements in Germany Since Stonewall
    LOVE Queer Movements in Germany since AT Stonewall FIRST FIGHT! 1 Queer Movements in LOVE AT Germany since Stonewall FIRST FIGHT! In the night of June 27 to 28, 1969, queer peo- ple militantly resisted a police raid on the Sto- Lesbian feminists vigo- newall Inn bar. For many LGBTQIA communities rously supported the around the world, the days of the uprising feminist cause and pushed against the around Christopher Street in New York mark abortion ban – here at a the beginning of the queer revolt. As a joint demonstration in West project of the Goethe-Institut, Schwules Berlin. Museum Berlin, and the Federal Agency for Civic Edu- cation, this exhibition takes the 50th anniver- sary of the Stonewall Riots as an opportunity to offer an insight into the history of the queer movements in the Federal Republic of Ger- many, the German Democratic Republic, and reunited In the summer of 2019, the exhibition Germany since the 1960s. Particular emphasis is placed on the manifold will tour the Goethe-Instituts in Canada, relations with US movements. the United States, and Mexico, and The exhibition highlights moments of the queer movement’s history without will also be presented at Schwules claiming to tell the only possible story. In doing so, it questions the power dynamic that is at work in the queer poli- Museum Berlin; beginning in 2020, it tics of memory, too, as the debate about the legacy of the Stonewall Riots shows. What is under fire today is the appropriation will travel to other cities worldwide. of the riots by those parts of the movement that, in their struggle for social acceptance, lost sight of the radical goals of the riots and of the cause of many of its heroes: dykes, drag queens, trans people, sex workers, and young people living in precarious conditions, among them many queer people of color.
    [Show full text]
  • I Am My Own Wife by Doug Wright
    Playhouse on the Square Playhouse on the Square Presents presents I Am My Own Wife By Doug Wright Circuit Playhouse, Inc. Super Sponsor: Dr. Thomas Ratliff I AM MY Starring Michael Gravois The Production Staff Production Manager/Technical Director...........................................................Phillip Hughen OWN WIFE Stage Manager...................................................................................................Tessa Verner Scenic Designer...............................................................................................Phillip Hughen Lighting Designer..............................................................................................Justin Gibson Costume Designer....................................................................................Lindsay Schmeling Sound Designer...........................................................................................Jason Eschhofen By Doug Wright Properties Designer.................................................................................................Jinqiu He Videographer and Editor.................................................................................Pedro De Silva Directed by Dave Landis Assistant Directed and Dramaturgy by Robert E. Williams II February 19 - 28, 2021 Directed by Dave Landis I Am My Own Wife is presented by special arrangement with Dramatists Play Service, Inc., New York I Am My Own Wife was originally produced on Broadway by Delphi Productions and David Richenthal. Playwrights Horizon, Inc., New
    [Show full text]
  • Mahlsdorf, Charlotte Von (1928-2002) by Claude J
    Mahlsdorf, Charlotte von (1928-2002) by Claude J. Summers Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2006 glbtq, Inc. Reprinted from http://www.glbtq.com The cover of the Cleis The fascinating life of preservationist and museum founder Charlotte von Mahlsdorf Press edition of Charlotte von Mahlsdorf's has been the subject of an acclaimed autobiography, a film in which she played autobiography, I Am My herself, and a Pulitzer Prize- and Tony Award-winning play. Own Wife. Courtesy Cleis Press. A controversial figure who may have willingly supplied information to the East German secret police during the period of the German Democratic Republic, Mahlsdorf was nevertheless honored by the German government after reunification for her preservationist and museum work. She was admired by many for her bravery in the face of persecution and for her openness as a transgender public figure during perilous times. Mahlsdorf was born Lothar Berfelde on March 18, 1928 in Berlin. Biologically a male, even as a child she identified as a girl, displayed a fascination with girls' clothing and "old stuff," and preferred to play with "junk" rather than toys. These early interests presaged Lothar Berfelde's later emergence as Charlotte von Mahlsdorf, famous transvestite and collector of everyday historical objects. Preferring the term "transvestite" to "transsexual" since she felt no aversion to her male genitals, Mahlsdorf declared that "In my soul, I feel like a woman" and described her childish self as "a girl in a boy's body." Mahlsdorf's father, Max Berfelde, was a violent man who rose in the ranks of the Nazi party to become party leader in the Mahlsdorf area of Berlin.
    [Show full text]
  • The Queer Ecology of I Am My Own Wife
    Museum, Furniture, Men: The Queer Ecology of I Am My Own Wife McTighe, P. (2017). Museum, Furniture, Men: The Queer Ecology of I Am My Own Wife. Modern Drama, 150- 168. Published in: Modern Drama Document Version: Peer reviewed version Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights © 2019 University of Toronto. This work is made available online in accordance with the publisher’s policies. Please refer to any applicable terms of use of the publisher. General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:01. Oct. 2021 Journal: MD; Volume 60; Issue: 2 DOI: 10.3138/MD.3053 Museum, Furniture, Men: The Queer Ecology of I Am My Own Wife Trish McTighe Abstract: Doug Wright’s I Am My Own Wife attempts to stage the life of a unique trans woman, Charlotte von Mahlsdorf, who lived through Nazi-occupation and Communist- era Berlin, during which time she built and maintained a beloved collection of antiques.
    [Show full text]
  • 1 “Coming out of the Iron Closet: Contradiction in East German Gay
    1 “Coming Out of the Iron Closet: Contradiction in East German Gay History and Film” in Glossen 37 (2013) Kyle Frackman, University of British Columbia In this essay, I will be focusing on experiences and portrayals of outsiders, in this case of gayness, within the former German Democratic Republic (GDR).1 As my main cultural product of analysis I have chosen the 1989 East German film Coming Out, directed by Heiner Carow (1929-1997).2 I will situate Carow’s film within the historical and social context of the development of gay rights within the GDR. What I aim to show in this essay is the trajectory of duality in the GDR’s treatment of outsiders—in this case, of gay outsiders. I argue that GDR functionaries’ understanding of their role vis-à-vis the country’s differently sexualized citizens is one further example of the nation’s complex relationship with contradiction. We will recognize the presentation of this duality in Carow’s film, which uses sound, music, and image to deliver a narrative of contradiction. In what follows, I will briefly trace some historical and legal developments that are relevant for this topic before proceeding to an examination of Carow’s film itself, and particularly examples of its use of sound and music. History: Nietzsche and Foucault In an essay in which he explains his approach to excavating history, Michel Foucault writes: [Genealogy] must record the singularity of events outside of any monotonous finality; it must seek them in the most unpromising places, in what we tend to feel is without history—in sentiments, love, conscience, instincts; it must be sensitive to their recurrence, not in order to trace the gradual curve of their evolution, but to isolate the different scenes where they engaged in different roles.
    [Show full text]
  • Rosa Retires?
    Wolfgang Theis, curator. Rosa geht in Rente: Hommage zu Rosa von Praunheims 65. Geburtstag. Berlin: Schwules Museum, November 25, 2007 - March 31, 2008. Funded by the Deutsche Klassenlotterie and the Schwules Museum Reviewed by Bradley Boovy Published on H-German (June, 2009) Commissioned by Susan R. Boettcher Many Germans--and particularly those living To mark the director's sixty-fifth birthday and in Berlin--will likely have heard the name Rosa commemorate his prolific artistic production, the von Praunheim, although many may not realize Schwules Museum hosted an exhibition from No‐ that Rosa is a man. Some might recall the release vember 25, 2007 through March 31, 2008. Con‐ of his most famous flm, Nicht der Homosexuelle ceived and organized by curator Wolfgang Theis, ist pervers, sondern die Situation, in der er lebt one of the co-founders of the Museum in the (1971). The flm's premier at the 1971 Berlinale led 1980s, Rosa geht in Rente is the most recent in a to much debate, particularly among gay West Ger‐ series of homages to individuals who have played mans who felt attacked by Praunheim's call to po‐ significant roles in the constitution of gay culture litical action: "Raus aus den Toiletten, rein in die and history in Germany. Previous exhibitions Straßen." Yet, a number of activist groups were have been dedicated to Michel Foucault, Hilde‐ also founded in the wake of the flm, and Praun‐ gard Knef, Thomas Mann, and Rainer Werner heim quickly took center stage as the most visible Fassbinder, among others. This exhibition, funded spokesperson of gay liberation in 1970s West Ger‐ by the Deutsche Klassenlotterie and the Schwules many.
    [Show full text]
  • Representation of Violence and Trauma in Contemporary Monologues
    Prague Journal of English Studies Volume 2, No. 1, 2013 '2,SMHV ISSN: 1804-8722 Representation of Violence and Trauma in Contemporary Monologues Hana Pavelková Contrary to the rapid frenzied dialogues and confrontational brutal physical scenes showing acute pain in the “in-yer-face” theatre of the 1990s, contemporary political dramas very oen opt for a purely verbal, verbatim, evocation of violence. is paper focuses on the representation of violence and the ensuing trauma specifically in plays that use a monologue format. e range of contemporary monologues is demonstrated firstly by analysing the media-popular, political awareness-raising, straightforward personal narratives of the documentary monologue My Name is Rachel Corrie (eds. Alan Rickman and Katharine Viner, 2005) and Eve Ensler’s e Vagina Monologues (1998), to the much more complex and audience challenging Nine Parts of Desire (2003) by Heather Raffo, and Doug Wright’s Pulitzer Prize winning monodrama I Am My Own Wife (2004) which questions the reliability of its monologist and examines also the limits of the theatrical monologue as a means of communicating trauma via verbal representation of violence. Cannibalism, masturbation, rape, bodily mutilations, defecation, dis em bo- wel ment, oceans of blood and non-stop swearing – that was British theatre in 1990s London – “in-yer-face” theatre. In the new millennium, however, especially aer 9/11, the theatre scene has changed significantly, the return of political theatre and documentary theatre being the two most visible trends. Although we cannot speak about any artistic movement, the playwrights of “in-yer-face” theatre shared a common sensibility. Extreme violence, both verbal and visual, was undoubtedly one of their trademarks.
    [Show full text]
  • Coming out in East Germany, by Kyle Frackman
    Coming Out in East Germany Coming Out in East Germany By Kyle Frackman The film starts with a jubilant moment. Fireworks illuminate the sky, and we see revelers walking in the artificially and intermittently bright night. Amid the celebration, an ambulance makes its way through the East Berlin streets. Its siren wailing, it determinedly crosses the screen, from different vantage points and past the pyrotechnics and pedestrians. In the next scene we are in a hospital, as a young man on a gurney is wheeled down a hallway. Now things get uncomfortable. The young man, Matthias Seifert (played by Dirk Kummer), has attempted suicide, and his stomach must be pumped. A doctor and nurses work to help him. They try to get him to cooperate, their voices shrilly directing Matthias: “Come on, swallow!” “Don’t forget to breathe.” The discomfort of the scene escalates as the medical professionals maneuver a tube down his throat. Tears run down Matthias’s face. It is a relief when • A 2020 DVD Release by the DEFA Film Library • A 2020 DVD Release by the DEFA the film cuts to the following scene, in which Matthias lies in a hospital bed in a drab hallway. Fluorescent lights Film Library • A 2020 DVD Release by the DEFA flicker above him; he is completely alone. The physician from the previous scene approaches Matthias and asks him again and again what drove him to this action. Crying, Matthias reveals the reason: “I’m gay. Homosexual.” “Oh, Coming Out Matthias…,” the physician says, “That’s no reason to cry.” We then cut to a shot of a busy intersection and the film’s Coming Out title: COMING OUT.
    [Show full text]