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The Grotesque Aesthetic and the Apocolyptic in Gerrnan Exprtssionist Drama and Film

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The Grotesque Aesthetic and the Apocolyptic in Gerrnan Exprtssionist Drama and Film The Monstrous World and its Shadow: the Grotesque Aesthetic and the Apocolyptic in Gerrnan Exprtssionist Drama and Film Rebecca Virginia Harries A thesis subrnitted in conforrnity with the requirements for the degree of Ph.D. Graduate Department of Drama University of Toronto O Copyright by Rebecca Virginia Hamies 2000 National Libiary Bibliothèque nationale du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliographiques 395 Wellington Snwt 395. rue Weningtm OttawaO(Y KlA ON4 OctawaON KlA OCYO Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sel1 reproduire, prêter, distribuer ou copies of this thesis in microfom, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otheMise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. The Monstrous World and its Shadow: the Grotesaue Aesthetic and the Amcalmtic in German Ex~ressionktDrama and Film. Ph.D., 2000. Rebecca Virginia Harries. Graduate Centre for the Study of Drama, University of Toronto. German Expressionist drama and film has inspired a considerable body of critical literature, most of which concentrates on either the role Expressionist art played in the evolution of the European avant-gwde or the ability of Expressionist film to embody the anxieties of the historical subject. Although the spiritual basis for much of Expressionist drama has been acknowledged, few criticai works concentrate on this crucial aspect of the style in question. Yet a strain of expressionist drama and film clearly shows evidence of an apocalyptic tradition of representation, which can properiy be terrned grotesque. The grotesque is an aesthetic category that describes the contamination of culturally sacrosanct boundaries. As such, it has psychological, historical and, indeed, metaphysical ramifications. In this respect. it is the natural language of the millenarian sensibility, in its rejection of a rationally cornprehensible world. This apocaiyptic strain of the grotesque can be found in the works of hitherto under- represented playwrights, August Stramm, Oskar Kokoschka and Ernst Barlach, and in the fantastic films, The Student of Prame, The Cabinet of Dr. Calinari and Nosferatu. The forma1 features of these setected te- that best reveal their membership within a grotesque and apocatyptic tradition include the rupture of linear time and finite, measurable space and the motif of psychic dissolution, the rejection of any psychological definition of personality. These works aiso show the apocaiyptic in their prescntation of violence and death as the necessary agents of change, in an understanding of the world as fallen, a place of corruption and decay, and in the presence of mysterious signs that only the elect few can inttrpret. In conclusion, Monstrous World does not offer a rejection of existing criticism of Expressionist film and drama, but a revision of the traditions in which these works are typically located. By understanding the expressions of t his heterodox spirituaiity, t hese 0thconfbsing works cari bc acknowledged for the grotesque power they share. iii Table of Contents Chapter One: Introduction Introduction A Brief Histoy of the Grotesque The Context of Gennan Expressionism Principles of the Grotesque in Gennan Expressionism Endnotes Chaptcr Two: August Strrimm Selection of Dramas Stramm: the Enigmatic Btïrger Stramrn and the Alien Desire Apocalytic Time and Space in Awakening and .Forces The Uncertain Pronoun Awakening and the Annihilation of Self Forces and the Grotesque Woman Conclusion Endnotes Chapter Th*: Oskir Kokoschka Oskar Kokoschka's Spectacle of the Grotesque World Kokoschka: Influences and Critics On the Nature of Theatncal Vision(s) Murderer. Ho~eof Womankind: Criticism and Interpretation Sphinx and Strawman and Job: Cnticism and Interpretation Oroheus and Eurvdice: Criticism and Interpretation Conclusion Endnotes Cbaptcr Four: Ernst Barlach Barlach's Drama: the God of Flame and Abyss B iography Synopsis of The Flood Synopsis of The Blue Bol1 The Depiction of God The Grotesque of the Four Elernents The Sacred Word Grotesque Rramaturgy in Barlach's Drama The Food of Sacrifice Conclusion Endnotes Chapter Five: The Student of Pmrue The Cinematic Grotesque and the 'Fantastic' Films of Early Gennan Cinema 155 The Uncanny Medium 161 The Student of Prame (191 3): Nature and the Double 168 Formal Problems in The Student of Prame 171 Two Attractions: Lydu schka and the Shadow 177 Endnotes 180 Chapter Six: The Cabinet of Dr. Calirari Introduction The Cabinet of Dr. Cali~ari:Institution and Apparatus Critical Approaches to Calkari The Problern of the Frame Janowitz's Double, the Stone Bismark Conclusion Endnotts Chiptcr Sevee: Nodecitu: Svmohanv of Rorror Nosf-: the Repressd Death and the Avenging Shadow The Persecuted Dead Formal Problems in Nosferatu Nina and Nosferatu: Femininity and the Undead Conclusion Endnotes Chapter Eight: Conelusion Bibliognpby Cbrpter One introduction The link between German Expressionism and the grotesque has been identifieci before, tentatively. Sometimes, the adjective grotesque is applied casually to describe the elements and eflects of Expressionism: one speaks of "grotesque dialogue" or "grotesque passions"; rare1y is anything as formal as a "grotesque aesthetic" spoken of. The common use of the word grotesque is as a descriptive term for something that is distorted or exaggerated. The psychological and subversive capacities of the grotesque are rarely elaborated in the literature on Expressionism; although most critics would agree that there is something grotesque about the Expressionist arts, they just do not explain precisely what. Zn recent scholarship, interest in the grotesque has grown. The two works which provide the foundation of much conternporary grotesque theory, Mikhaii Bakhtin's theory of the carnival, Rabelais and His World, and Wol fgang Kayser's seminal study of grotesque theory, The Grotesaue in Art and Literature have been applied to all media, but especially to film and literature.' Grotesque theory is used in discussions of a vast divenity of phenomena: fiom prehistonc uive paintings, Jacobean drama, the work of Aubrey Beardsley and James Joyce and the Alien film series." It is ciear that not al1 of the aforementioned artistic productions share the same grotesque, but it is also tme that there is a commonaiity between al1 of them: it is within this wmmonality that 1 wish to situate the work of the German Expressionists in both film and drama. Before proceeding to a discussion of what 1 will cal1 the Expressionist grotesque, 1 wish to examine briefly a few examples of how the grotesque and Expressionism have been previously linked. Then, I will briefly and in no way comprehensively, disais the evolution 1 of the word grotesque and its significance within the history of eesthetics. With this cunory understanding of the object in question, the essay will move on to identi& the special nature of the incarnation of the grotesque in German Expressionist film and drama. In introducing the Expressionist grotesque, 1 wî Il identify severai kinds of grotesque practice of particular importance to the Expressionist movemcnt. My definition of this aesthetic draws on two different approaches to the grotesque, which 1 will label, somewhat cmdely, the psychological and the sociological. Of course, the cross-pollination of these two fields in recent scholarship is one of the most significant developments in contemporary thought. 1 am indebted critically and spiritually to many writers on the grotesque and 1 will introduce them as the occasion arises. In the literature on German Expressionism. there are a few speculations on the grotesque characteristics of the movement. J. M. Ritchie in his introduction to Seven Exbressionist Plavs says that Expressionist theatre is "as deeply serious as it is grotesquely funny" (7). Walter Sokel writes of Expressionist drama: "there are in these plays elernents of distortion, exaggeration, grotesqueness and implausibility that clearIy anticipate the alienating effects encountered in the avant-garde theatre of our own time" (1 xii). He tùrther characterises Expressionist drama as "cheap banality standing next to grotesque powei' (xxxi). Ulrich WeiBtein mentions the advantages of an application of Kayser's ideas: Perhaps the expressionist distortions are more closely related to the grotesque which, in Wolfgang Kayser's opinion, reveals a rift between the nominal and the phenomenal world, and which shows man to be il1 at ease in the presence of events and situations eluding his grasp. just as Worringer daims primitive man to have been in the face of a temeing, anonymous and insautable nature. (23) Some of the Expressionist mias recognised this kinship with the grotesque. Yvan Ooll's essay "DasÜber&ama", wrinen in 19 19 st the height of the Expressionist literary movement, argues that tme art should possess a grotesqumess that does no< cause Isughter: "Art is meant to tum a person into
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