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The Austrian Postwar Avant-Garde The Austrian Postwar Avant‐Garde – Experimental Art on Paper and Celluloid: A Semiological Approach by Gabriele Wurmitzer Department of German Duke University Date:_______________________ Approved: ___________________________ Ann Marie Rasmussen, Supervisor ___________________________ William Collins Donahue ___________________________ Richard Langston ___________________________ Valentin Y. Mudimbe A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of German in the Graduate School of Duke University 2012 ABSTRACT The Austrian Postwar Avant‐Garde – Experimental Art on Paper and Celluloid: A Semiological Approach by Gabriele Wurmitzer Department of German Duke University Date:_______________________ Approved: ___________________________ Ann Marie Rasmussen, Supervisor ___________________________ William Collins Donahue ___________________________ Richard Langston ___________________________ Valentin Y. Mudimbe An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of German in the Graduate School of Duke University 2012 Copyright by Gabriele Wurmitzer 2012 Abstract The period following the Second World War in Austria represents a unique historical situation. On the one hand, strongly conservative and restaurative trends in politics, publications, media, and social life dominated the country – at the same time, a radically new avant‐garde movement emerged. What today is collectively referred to as the Wiener Gruppe was, in the 1950s, a circle of young writers, connected by friendship and collaboration with the filmmakers Kurt Kren and Peter Kubelka. These artists created experimental works that pre‐empt the concept of performance art established at a theoretical level two decades later, and anticipate the re‐conceptualization of the role of the reader theorized by Roland Barthes and Michel Foucault in the 1960s. In this dissertation, I outline the socio‐political situation in Austria during the years following World War Two in Chapter One and discuss the key concepts and works which are relevant for the understanding of experimental literature and film in Chapter Two and Three. I demonstrate that the radical experimentation of postwar experimental authors and filmmakers draws attention to the materiality, visuality, and performativity of their works and establishes experimental literature and film as individual art forms: writing‐as‐writing and film‐as‐film. In conclusion, I argue that v their works represent an implicit critique of language, culture, and society in the context of the “grand narratives” or the “invisible structurations” supporting a post‐World War Two Austrian society. vi I dedicate this dissertation to my parents Otto and Margarete Wurmitzer for their support, encouragement, and love; and to Jens “Fame and Glory” Fuhrmann vii Contents Abstract .......................................................................................................................................... v Introduction ................................................................................................................................... 1 Chapter One: Wiener Gruppe and Experimental Film Between the Poles of Restauration and Avant‐Garde .......................................................................................................................... 6 Austria After the Second World War: Politics, Society, Culture ..................................... 8 A Unique Historical Context ............................................................................................ 10 Tradition: A Dominating Force ........................................................................................ 13 Austrian Theater in the Postwar Years ....................................................................... 18 The Austrian PEN Club As Paradigm of Uncritical Continuity ............................. 20 Uncritical Continuity in the Extreme .......................................................................... 21 The Case of Josef Nadler and Heinz Kindermann .................................................... 22 Comparison to Germany .............................................................................................. 28 Heimat und Monarchie .................................................................................................. 30 Austrian Film: Status Quo After the War ................................................................... 32 An Avant‐Garde Moment: Austrian Postwar Literature and Film ............................... 35 Austrian Avant‐Garde ....................................................................................................... 38 Historical and Postwar Avant‐Gardes: Each Avant‐Garde Is the First ...................... 40 Dada Heritage ................................................................................................................ 46 Avant‐Garde Film .......................................................................................................... 51 viii New Movements: Avant‐Garde and Experimental Art ................................................ 56 The Wiener Gruppe: Origins and History ......................................................................... 60 Experimental Film in Postwar Austria ............................................................................ 72 Outlook: From the Margins to the Center ......................................................................... 80 Chapter Two: Content and Form .............................................................................................. 83 Text and the Role of Author and Reader .......................................................................... 84 The Text ........................................................................................................................... 84 “What Is an Author?” .................................................................................................... 90 “The Death of the Author” ........................................................................................... 96 From Poetry to Experimental Texts ................................................................................. 108 Critique of Language: It’s Not A Crisis, It’s An Experiment! .................................... 112 Language Crisis: ”Mir ist die Sprache abhanden gekommen” ............................. 112 Against Language: “ein aufstand gegen die sprache ist ein aufstand gegen die gesellschaft!“ ................................................................................................................. 113 Breaking Through Language: “eine geschichte” ..................................................... 119 Understanding Experimental Texts ............................................................................... 131 Introduction to Semiology: Saussure and Barthes ....................................................... 131 Introduction to Hermeneutics .................................................................................... 135 What Not to Wear: Semiology Versus Hermeneutics............................................. 140 The Elements of Experimental Literature ....................................................................... 143 Elements of Experimental Literature 1: Language and Textuality ............................ 143 ix Elements of Experimental Literature 2: Materiality and Visuality ............................ 151 Elements of Experimental Literature 3: Performativity .............................................. 159 Origami Text: “falte” ................................................................................................... 169 Extending the Concept of Performativity ................................................................. 173 The Wiener Gruppe Authors as Performative Writers .................................................... 175 Performing Sound: Breathing and Buzzing Out Loud ............................................... 179 Chapter Three: Experiments With Content and Form......................................................... 185 Squares and Frames: Experiments in Form .................................................................. 187 “ao” Experiment ........................................................................................................... 190 “o‐i‐studie” Experiment .............................................................................................. 198 Conclusion to Frames and Squares ........................................................................... 213 The Filmic Experiments of Kurt Kren and Peter Kubelka .......................................... 214 Film’s Materiality ......................................................................................................... 219 Arnulf Rainer ................................................................................................................ 221 To Flicker or Not To Flicker ........................................................................................ 228 Structured Film ................................................................................................................. 229 4/61 Mauern positiv‐negativ und Weg ..................................................................... 231 Conclusion: Semiological Analysis of Text and Film ...................................................
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