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„Pull a Rabbit out of Your Hat“

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„Pull a Rabbit out of Your Hat“ CLAUDIA MAASS UND MARCUS SCHOTTE „PULL A RABBIT OUT OF YOUR HAT“ Überwältigungsstrategien in der Anwaltsserie BOSTON LEGAL DEUTSCHER TITEL: BOSTON LEGAL SENDER: ABC (USA); VOX (Deutschland) EPISODEN: 101 in 5 Staffeln AUSSTRAHLUNGSZEITRAUM USA: 3. Oktober 2004 bis 8. Dezember 2008 AUSSTRAHLUNGSZEITRAUM DEUTSCHLAND: 27. September 2006 bis 7. Juni 2010 VERANTWORTLICHER AUTOR UND PRODUZENT: David E. Kelley MUSIK: Danny Lux HAUPTDARSTELLER: René Auberjonois (Paul Lewiston), Candice Bergen (Shirley Schmidt), Julie Bowen (Denise Bauer), Christian Clemenson (Jerry Espenson), John Lar- roquette (Carl Sack), William Shatner (Denny Crane), James Spader (Alan Shore), Tara Summers (Katie Lloyd), Mark Valley (Brad Chase) 1. Vom Western zur dramedy Anwaltsserien stehen vor dem dramaturgischen Grundproblem der Monotonie ei- ner „stark formalisierten, nachgerade technokratisch anmutenden Prozeßpraxis amerikanischer Gerichte.“1 Die Inszenierung „widerstreitende[r] Parteien, die je- weils einen adversativen Standpunkt vertreten und die ‚Wahrheit‘ energisch für sich beanspruchen“, bietet literarischen und fi lmischen Erzählungen dagegen die Chance zum Spannungsaufbau.2 Dieses Gegeneinander vermittelt sich bereits über die Organisation des Bild- raums: Zwischen dem vorsitzenden Richter und den antagonistischen Parteien der Anklage und Verteidigung erstreckt sich jene Bühne, auf der die Verfahrensbeteilig- ten gleichsam zu Akteuren einer sowohl für die urteilende Jury als auch für die me- dial vervielfachten Zuschauer theatral organisierten Verhandlung werden. Der seri- ale Gerichtssaal fungiert dabei als symbolischer Ort, an dem die Werte und Ideale der (in unserem Falle US-amerikanischen) Gesellschaft immer wieder aufs Neue 1 Uli Jung: „Der ‚Affenprozeß‘ in ‚Heavenly Hillsboro‘: Stanley Kramers Gerichtsfilm INHER- IT THE WIND (USA 1960)“, in: Rhetorik. Ein internationales Jahrbuch, Jg. 26 (2007), S. 72- 83, hier: S. 72; vgl. außerdem Matthias Kuzina: Der amerikanische Gerichtsfilm: Justiz, Ideo- logie, Dramatik, Göttingen 2000, S. 44-45. 2 Ebd., S. 43. FF5690-Breitenwischer.indd5690-Breitenwischer.indd 220909 118.03.148.03.14 111:271:27 210 CLAUDIA MAASS UND MARCUS SCHOTTE einer Überprüfung unterzogen werden.3 Die Inszenierung des Ortes unterliegt eigenen dramaturgischen Gesetzen: Einerseits sind alle beteiligten Parteien und Funktionsträger bühnenwirksam vor Publikum und TV-Zuschauern platziert. Während der Auff ührung der Gerichtsverhandlung folgen sie einer teils vorgegebe- nen, teils individuell ausgestalteten Choreografi e, die ihre Gerichtsrede begleitet und deren Wirkung bestenfalls unterstützt. Andererseits verlangt der Raum von allen Beteiligten einen spezifi schen, klar defi nierten Verhaltenskodex. Sanktionen gegen Normverstöße unterstützen eher den kalkulierten Eff ekt der Überwältigung, als abschreckend zu wirken. Fehlverhalten lenkt nicht selten erhöhte Aufmerksam- keit auf eine Sache und fördert nebenbei die Selbststilisierung der Anwälte zu un- erschrockenen Heldenfi guren. Auf der Ebene der Narration leisten die Zeugenvernehmung mit einem aggres- siv geführten Kreuzverhör und schließlich das Plädoyer als letzte Möglichkeit, die Jury zu beeindrucken, einen entscheidenden Beitrag zur Steigerung des Unterhal- tungswerts. Die Aufwertung dieser Prozessphasen geschieht weder grund- noch traditionslos, beide setzen den „Mythos von der dramaturgisch organisierten, dia- logisch zugespitzten Duellhaftigkeit des amerikanischen Zivil- und Strafprozesses in der populären Imagination“ fort.4 Während im Western das noch nicht allge- mein verbindliche Recht (des Stärkeren) im Kampf gegen das ,Böse‘ erst durchge- setzt werden muss, inszeniert das courtroom drama den Sieg des etablierten, aber gleichermaßen „von der Seite der staatlichen Strafverfolgung […] wie von der Seite der verfolgten Straftat“ bedrohten Rechts: „Seit der Western beim Publikum an In- teresse verloren hat, ist an die Stelle des Showdowns vor dem Saloon der Show- down vor den Schranken des Gerichts getreten.“5 Der Triumph der Rhetorik über Faust und Revolver des Westernhelden ließe sich als Ergebnis zivilisatorischen Fortschritts deuten, wenn nicht verbale Attacken im Rededuell den Angriff auf den Gegner einschlössen und zum Zweck des Erfolgs die Mittel einer gewalthaltigen, verletzenden und Gewalt erzeugenden Sprache heiligten, ohne überhaupt noch auf Wahrheitsfi ndung zu setzen. Selbst das „große an die Geschworenen gerichtete Schlussplädoyer“ kann als „zentrales Versatzstück des Gerichtsfi lms“ nicht mehr allein der Überzeugungskraft des Wortes vertrauen.6 Es schwankt zwischen der Überzeugung durch eine sachliche juristische Argumentation und der Überwälti- gung durch Emotionalisierung oder Erschütterung, dabei mündet es nicht selten 3 „Im Englischen hat das Wort trial die schöne Eigenschaft, auch für ‚Probe‘ oder ‚Prüfung‘ stehen zu können. Der Prozess der Rechtsfindung im Gerichtsfilm – the trial – wird somit symbolisch zur ultimativen Bewährungsprobe für diese Werte und Ideale.“ (Susanne M. Maier: „Recht und Gerechtigkeit in der amerikanischen Literaturverfilmung: TO KILL A MOCKINGBIRD und SNOW FALLING ON CEDARS“, in: Stefan Machura und Stefan Ulbrich (Hrsg.): Recht im Film, Baden-Baden 2002, S. 111-125, hier: S. 112). 4 Jung: „Der ‚Affenprozeß‘ in ‚Heavenly Hillsboro‘“, S. 72. 5 Hans-Dieter Gelfert: Typisch amerikanisch: Wie die Amerikaner wurden, was sie sind, Mün- chen 2006, S. 40. 6 Maier: „Recht und Gerechtigkeit in der amerikanischen Literaturverfilmung“, S. 112. FF5690-Breitenwischer.indd5690-Breitenwischer.indd 221010 118.03.148.03.14 111:271:27.
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