#hamburgische dramaturgie

[rwpohl]

meditationen über don quijote s. 05 - 101, Ästhetik in der Straßenbahn, José Ortega y Gasset, bd. 224 "volk und welt spektrum", Verlag Volk und Welt Berlin 1987

[harpygon]

New pet peeve: Every single Lessing piece (whether dramatical, poetic, epic or philosophical) being categorized as a „play“ on storygraph. NO HIS FUCKING SONGS ARENT A PLAY?? THEY`RE SONGS??? POETRY??? Hamburgische Dramaturgie is a nonfiction piece about theatre in hamburg, not a play??? his lyrical fables aren‘t a play??

[awlwren]

[id: Twitter thread by McKay Smith (@McKayMSmith): “1) Artist Uses 100,000 Banned Books To Build A Full-Size Parthenon At Historic Nazi Book Burning Site. bookishbizz.info/artist-uses-10...” followed by a night-time image of a glowing Grecian-style temple that looks to be made out of mosaic columns and pediments and roof, all lit white from within. The steps and base look to be metallic, and framework is visible on the interior of the structure and in the columns on the far right side.

“2) The German city of Kassel has just become home to one for one of the most impressive pieces of art we’ve seen in a while.” Another photograph, this time taken during the day, of four people chatting between some of the columns, now visible as books suspended in cling wrap, and the surrounding scaffolding. They are dwarfed by the massive building.

“3) It was created by the Argentinian artist Marta Minujín, 74, who has decided to bring back the topic of political oppression by making a full-size replica of the Greek Parthenon from 100,000 copies banned books.” An ariel view that shows the whole building, still incomplete, and with simplified shapes to the columns and pediment.

“4) Part of the Documenta 14 Art Festival the massive structure called ‘The Parthenon of Books’, represents the resistance to repression by taking the symbol of democracy and coating it with the countless written evidence of oppression.” A close-up of a column, showing evenly spaced, but not aligned, books, including: Dan Brown’s “DaVinci Code”, George Orwell’s “1984”, Cervantes’ “Don Quixote”, another copy of 1984, a Disney comic book featuring “Micky”, Franz Kafka’s collected works (“Das Werk”), Ray Bradbury’s “Fahrenheit 451”, Lessing’s “Minna von Barnhelm” and “Hamburgische Dramaturgie”, and J. K. Rowling’s “Harry Potter und die Stein der Weisen”.

“5) Minujín relied on the help of students from Kassel University who together identified over 170 titles that were, or still are, banned in different countries around the world.” Another wide shot, this time backlit by the low sun of early morning or late evening, and showing a sculture next to the piece.

“6) He used the donated physical copies to build a temple out of them by sticking the books to the steel frame and using plastic sheeting to keep them in place.” A close-up of J. D. Salinger’s “Catcher in the Rye” and the overlapping strips of heavy sheeting covering it.

“7) If the structure itself weren’t enough, it was built on the very same historic site where the Nazis burnt 2,000 books in 1933 as part of their censorship campaign...

“A truly mind-blowing piece of art.” A final shot, looking head-on and up at the piece, filled with people, against the blue sky.]/end id.

[leaconnert]

2019 ist 30 Jahre Mauerfall. Anlass für Carsten „Erobique“ Meyer, bekannt und geliebt für seine 1-Mann Live-Disco Ekstasen und Filmmusik (u.a. „Tatortreiniger“), Trümmer-Dandy Paul Pötsch und Regisseurin Lea Connert, sich mit einem blinden Fleck der deutschen Kulturgeschichte zu beschäftigen: dem musikalischen DDR-Erbe der 60er und 70er Jahre. Damals entstanden Songs mit einem Bekenntnis zu Jazz, Afrobeat, Schlager, Soul, Tropicália und Funk, die so rein gar nichts mit dem grauen Klischee-Bild der DDR zu tun haben. Diese Kompositionen und Texte aus dem Sozialismus, flogen so haarscharf an der Zensur vorbei, dass sie gerade noch als Poesie durchgingen und grooven so unverschämt hart, dass man damit locker jede Disco zwischen Wismar und Konstanz in ihre Einzelteile zerlegen kann. In WIR TREIBEN DIE LIEBE AUF DIE WEIDE re-interpretiert eine Showband um Meyer und Pötsch mit Polly Lapkovskaja, Marcel Römer, Pola Lia Schulten und Überraschungsgästen Stücke von wichtigen Musiker*innen wie Uschi Brüning, Veronika Fischer, Nina Hagen und Manfred Krug. Angereichert mit dokumentarischem Material und Texten, entsteht ein intensives Konzerthappening, das die besondere Bedeutung der Musik, ihre versteckte Widerständigkeit und softe Subversivität feiert.

Abendzettel als PDF-Download hier.

Idee, Dramaturgie, Musikalische Leitung: Carsten “Erobique” Meyer, Paul Pötsch

Arrangement, Musikalische Umsetzung: Carsten “Erobique” Meyer, Paul Pötsch, Polly Lapkovskaja (POLLYESTER), Marcel Römer, Pola Lia Schulten

Regie: Lea Connert

Bühnenbild: Isabelle Kaiser

Kostüm: Isabelle Kaiser, Benjamin Burgunder

Bühnenbau: Leo Rau

Videodesign: Rosanna Graf

Gäste: Bernd Begemann, Pascal Finkenauer, Sidney Frenz, Juno Meinecke, DJ Patex, Jan Schnoor, Albrecht Schrader, Anna Suhr mit special appearance von DAS BO

PRODUKTION Internationales Sommerfestival Kampnagel KOPRODUKTION HAU Hebbel am Ufer (Berlin), Hellerau – Europäisches Zentrum der Künste Dresden GEFÖRDERT VOM Fonds Darstellende Künste aus Mitteln der Beauftragten der Bundesregierung für Kultur und Medien und durch die Hamburgische Kulturstiftung.

Foto: Nico Ueckermann

[thatgirlwhokeepsreading]

My dramaturg to our boss, probably: do you think if I let her keep a compromised version of that joke a hate, give her thirty seconds to yell about the intersection of sexism and anti-intellectualism, and concede entirely to her argument about why this character shouldn’t cry in that scene, that she’ll stop writing me emails that are the spiritual sucessor to Hamburgische Dramaturgie

Excited to have been rewarded by my dramaturg for writing a whole ass series of essays about why I shouldn’t have to change particular lines