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Diplomarbeit CORE Metadata, citation and similar papers at core.ac.uk Provided by OTHES Diplomarbeit Titel der wissenschaftlichen Arbeit We make up stories so that we can get by. Die Stücke von Mark Ravenhill Verfasserin Christiane Kalß Angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2012 Studienkennzahl lt. Studienblatt : A 317 Studienrichtung lt. Studienblatt: Theater-, Film- und Medienwissenschaft Betreuer: Prof. Dr. Michael Gissenwehrer Well, it wasn't about planning for the future... No?1 Christiane dankt: Prof. Dr. Michael Gissenwehrer für seine Geduld, ihrer Schwester Nelli für ihre Unterstützung, ihrer Mama fürs jahrelange glaubwürdige Vorspielen von Enttäuschung über das Fehlen ihres Studienabschlusses, ihren unermüdlichen Freunden, vor allem Gerhild Steinbuch. Und Oliver Bukowski für den motivierenden Satz „Machste fertig, kriegste mehr vom Arbeitsamt.“ 1 Bourne, Bette/Mark Ravenhill. A Life in Three Acts. London: Methuen Drama, 2009. S. 27 2 INHALTSVERZEICHNIS 1. Einleitung.................................................................................................................... 5 2. Neue Britische Dramatik in den 1990-er Jahren..................................................... 7 2.1.Von Cool Britannia zu Cruel Britannia......................................................... 10 2.2. In-yer-face.................................................................................................... 13 2.3. Shopping and Flower Arranging.................................................................. 17 3. Themen...................................................................................................................... 18 3.1. Hintergründe................................................................................................ 18 3.1.1. Der Tod von Tim Frazer.................................................................19 3.1.2. Die Ermordung von James Bulger................................................ 19 3.2. Die Darstellung von Gewalt........................................................................ 20 3.3. Schnitte........................................................................................................ 20 3.3.1. Staatliche Einschnitte.................................................................... 21 3.3.2. Eindringen..................................................................................... 22 3.4. Bomben........................................................................................................ 24 3.5. Vergänglichkeit............................................................................................ 26 3.5.1.Todessehnsucht.............................................................................. 28 3.6. Sex............................................................................................................... 29 3.6.1. Zeugungsakte................................................................................ 30 3.7 The pink fountain pen....................................................................................31 3.7.1 Die Frage nach den Frauen............................................................ 32 3.7.2 Die neue Heterosexualität.............................................................. 32 4. Figuren....................................................................................................................... 35 4.1. Die Plage der Sehnsucht.............................................................................. 38 4.2. Unheile Familie............................................................................................ 40 4.2.1 Der Wunschvater............................................................................ 41 4.2.2 Elternmodelle................................................................................. 42 4.3. Körper.......................................................................................................... 46 4.3.1. Der mediale Körper ...................................................................... 47 4.3.2. Der schöne Körper ....................................................................... 48 4.3.3. Der kranke Körper......................................................................... 49 4.3.4. Der betäubte Körper...................................................................... 50 5. Vom Wohnzimmer zum Weltgeschehen................................................................. 52 5.1. 9/11 und die Kunst....................................................................................... 54 5.2. „Shoot/ Get Treasure/ Repeat“ und Terrorangst.......................................... 56 5.3. Over There in der DDR............................................................................... 62 6. Dramatische Form.................................................................................................... 64 6.1. Vorbilder....................................................................................................... 64 6.2. Von der Tat zum Wort.................................................................................. 65 3 6.3.„Pool (no water)“, Performance und Prosa................................................... 67 7. Intertextuelle Bezüge................................................................................................ 69 7.1. Intertextualität – ein Versuch einer Definition…......................................... 70 7.2. Literarische Bearbeitungen.......................................................................... 75 7.2.1. „Handbag und The Importance of Being Earnest“....................... 76 7.2.2. „Some Explicit Polaroids“ und „Hoppla, wir leben!“.................. 78 7.2.3. „Faust is Dead“ und „Faust“......................................................... 79 7.2.4 Terry Pratchetts „Nation“............................................................... 81 7.2.5 „Shoot/ Get Treasure/ Repeat“ zwischen Brecht und Bush........... 84 7.3. Referenzen aus anderen Rahmen................................................................. 89 7.3.1 „Product“ und Hollywood.............................................................. 89 7.3.2 Ein leerer Pool für die Bildende Kunst.......................................... 91 7.3.3 Das Leben als Text......................................................................... 92 7.4. Philosophie für Anfänger............................................................................. 93 7.4.1. Baudrillard, Alain und Amerika................................................... 94 7.4.2. Foucault, Alain und Bestrafungen................................................ 94 7.4.3 Debord und das Spektakel ............................................................ 96 7.5. Kleine und große Geschichten..................................................................... 97 8. Resümee.................................................................................................................. 100 Literaturverzeichnis................................................................................................... 101 Abstract........................................................................................................................ 111 Lebenslauf.................................................................................................................... 112 4 1. EINLEITUNG Der Titel der Arbeit „We make up stories so that we can get by“2 ist Mark Ravenhills erstem Stück „Shopping and Fucking“ entnommen. Es ist das Motto, das Ravenhills Figuren zu tragen scheint. Sie erzählen Geschichten, um klar zu kommen, ihren Leben einen Sinn zu verleihen durch das Erzählen, um sich selber einen Reim machen zu können auf die Unsinnigkeiten, in denen sie sich gefangen sehen. Sie flüchten gerne in Fiktionen, die mal wie sanfte Träume wirken, mal genauso brutal sind wie die Welt. Vielleicht ist „We make up stories so that we can get by“ aber auch mehr als das Sicherheitsnetz, das sich Ravenhills Figuren aufgespannt haben, während sie über den Abgünden der Welt und ihrer eigenen Seelen balancieren. Vielleicht ist es auch ein Satz, der Ravenhill selbst antreibt in seiner Arbeit. Immerhin gehört der 1966 geborene englische Dramatiker zu den wichtigsten Stimmen seiner Generation. Kann dies ein Antrieb sein, dass man sich in die Geschichten, die man erfindet, flüchtet? Und vor allem: Bieten diese Geschichten überhaupt genug Halt in einer postmodernen Welt, in der Geschichten irgendwie nicht mehr den Stellenwert besitzen, den sie einst hatten? Diese Arbeit soll sich mit dieser Frage auseinandersetzen. Außerdem befasst sich diese Untersuchung sich mit den großen und kleinen Strukturen, die Ravenhills Werk umgeben und dem Zusammenhang, der zwischen ihnen besteht. Gleich zu Anfang kommt der Sprung ins Große, nämlich in den gesellschaftlichen Kontext, in dem Ravenhill mit seiner Theaterarbeit begann. Die historischen Hintergründe sollen beleuchtet werden und der Kontext geklärt, in dem es möglich war, dass Ravenhills Texte sich durchsetzen konnten. Von der Gesellschaft folgt dann eine Zoombewegung hin zu den Stücken und den Themen, mit denen sie sich auseinandersetzen. Anschließend geht der Blick noch ein wenig mehr ins Detail, nämlich in das Innenleben der Figuren. Es soll geklärt werden, was diese Figuren antreibt, wo ihre Schwächen, ihre Stärken und ihre Sehnsüchte liegen. Dann kommt ein Sprung ins Große, nämlich zur Frage, wie sich Ravenhills Stücke in einem politischen 2 Ravenhill, Mark. „Shopping and Fucking“. Plays:
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