News-Letter vom Januar 2013

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Über Robert Walser und Elfriede Jelinek in Paris

Er nicht als er
Elfriede Jelinek und Robert Walser

Diskussion
Freitag, 8. Februar 2013, 19.00 Uhr
Goethe-Institut – 17 avenue d’Iéna, 75116 Paris
Französisch, Deutsch und Englisch
Eintritt frei – Reservierung empfohlen
Tel. +33 1 44439230
Er nicht als er ist ein dramatisches Werk der NobelpreisträgerinElfriede Jelinek, in dem sie an und über den großen Schweizer Autor Robert Walser schreibt. Es betont, was Jelinek „die fundamentale Zersplitterung“ von Walsers Stimme nennt und enttarnt Walser als „einen derjenigen, die, wenn sie Ich sagten, nicht sich selbst meinten“.Seien Sie dabei,wenn wie das Erscheinen der englischen Ausgabe von Her Not All Her als Nr.18 der The Cahiers Series feiern. Unterstützt vom Goethe-Institut, dem Schweizer Kulturzentrum, dem Österreichischen Kulturforum Paris, umfasst diese Veranstaltung Lesungen und Diskussionen aus den Werken Walsers und Jelineks, begleitet von Reto Sorg  (Leiter des Robert Walser Zentrum Bern),Verena Mayer (Jelineks Biografin), Nicole Colin (Universitätsprofessorin), Daniel Megin und Daniel Gunn (Directoren von dem Center for Writers and Translators und Mitherausgeber von The Cahiers Series) und Damion Searls (Übersetzer).

Das Österreichische Kulturforum New York hat dem Übersetzer Damion Searls den Übersetzungspreis verliehen.

http://www.goethe.de/ins/fr/par/ver/de10365884v.htm

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Joyce-themed walking tours of Dublin City

The James Joyce Centre offers a variety of Joyce-themed walking tours of Dublin City. Visitors can follow in the footsteps of Leopold Bloom by walking the route he takes in the ‚Lestrygonians‘ episode of Ulysses, or take in some of the places mentioned in the stories in Joyce’s Dubliners. Whatever your interest in Joyce, there’s a tour that will suit you.

http://www.ireland.com/de-at/destination/republic-of-ireland/dublin/dublin-city/all/1-71557

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Aufführung von DAS LETZTE BAND auf Schloß Neuhardenberg

Samuel Beckett, Das letzte Band

mit Klaus Maria Brandauer
Regie: Peter Stein
Raum: Ferdinand Wögerbauer
Kostüm: Anna Maria Heinreich

Freitag 15.03.2013, 20:00 Uhr Schinkel-Kirche

Preisgruppe I: € 29.– / ermäßigt und NHB-Card € 23.–

Preisgruppe II: € 23.– / ermäßigt und NHB-Card € 18.–

Weitere Termine

Sonnabend 16.03.2013, Sonntag 17.03.2013, Freitag 22.03.2013, Sonnabend 23.03.2013, Sonntag 24.03.2013

Nach seinen Auftritten in den vergangenen Jahren kommt Klaus Maria Brandauer auch im Frühjahr 2013 nach Neuhardenberg, um als Krapp in Samuel Becketts Das letzte Band und in der musikalisch-literarischen Pilgerfahrt zu Beethoven wieder in der Schinkel-Kirche von Neuhardenberg auf der Bühne zu stehen.

Mit Becketts großem Monolog Das letzte Band setzen Peter Stein und Klaus Maria Brandauer ihre Zusammenarbeit fort. »Der Tatbestand der Szene ist vorsätzlich hoffnungslos: Krapp, eine in Auflösung befindliche Kreatur, amüsiert sich mit Tonbändern, die er selbst vor dreißig Jahren besprochen hat. Dann bespricht er ein neues. Es ist sein letztes, sein Abschied, sein Verschwinden. Das Leben hört auf. Krapps Welt, die Welt überhaupt schweigt. Das Band läuft leer.« (Friedrich Luft)

Samuel Beckett, der Großmeister des existentialistischen Theaterspiels des 20. Jahrhunderts, zeichnet den schönen Sog des Nichts, den Reiz der letzten Reizlosigkeit. Die für Beckett ungewöhnlich zarten Lyrismen und die an Sentimentalität grenzende Bitternis vermitteln die Unerträglichkeit des Alleinseins.

Peter Stein begann seine Theaterlaufbahn 1964 an den Münchner Kammerspielen. Über Zürich und Bremen kam er 1970 nach Berlin, wo er bis 1985 die künstlerische Leitung der Schaubühne innehatte. Von 1991 bis 1996 war er Direktor des Schauspiels der Salzburger Festspiele. Mit seinen Inszenierungen von Goethes Faust und Schillers Wallenstein, vollständig und ungekürzt, verwirklichte Peter Stein zwei seiner Lebensträume. Peter Stein wurde zum Ritter der französischen Ehrenlegion ernannt und in den Orden Pour le Mérite aufgenommen.

Klaus Maria Brandauer gehört zu den wenigen deutschsprachigen Schauspielern, die weltweite Anerkennung genießen. Bereits Mitte der 1970er Jahre war er einer der gefragtesten Schauspieler auf deutschsprachigen Bühnen. Sein Herz gehört dem Theater: Seit 1972 ist er Ensemblemitglied des Burgtheaters Wien. Dort spielte er so große und wichtige Rollen wie Don Carlos, Ferdinand, Tartuffe, Cyrano de Bergerac, Lessings Nathan sowie einhundertmal Hamlet. Fast zehn Jahre lang spielte er den Jedermann bei den Salzburger Festspielen. Daneben führt Klaus Maria Brandauer immer wieder Regie.

Weltberühmt wurde er 1982 als Hendrik Höfgen in István Szabós Klaus-Mann-Verfilmung Mephisto, die mit einem Oscar ausgezeichnet wurde. Darüber hinaus spielte er u. a. im James-Bond-Streifen Never Say Never Again, in Out Of AfricaWhite Fang, Streets Of Gold, Rembrandt und Introducing Dorothy sowie in Tetro in der Regie von Francis Ford Coppola. Erst vor kurzem kam Antonin Svobodas neuer Film The Strange Case of Wilhelm Reich in die Kinos, in dem Klaus Maria Brandauer den Psychoanalytiker Wilhelm Reich spielt. 2007 verkörperte er die Hauptrollen in Peter Steins Wallenstein, in Ödipus auf Kolonos in Salzburg sowie in Kleists Der zerbrochne Krug am Berliner Ensemble.
Eine Produktion von Klaus Maria Brandauer und der Wallenstein-Betriebs GmbH in Koproduktion mit der Stiftung Schloss Neuhardenberg und den Movimentos Festwochen der Autostadt in Wolfsburg.

Quelle:

http://www.schlossneuhardenberg.de/nc/programm/kalendarium/pyear/2013/

 

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Becketts Briefe in deutscher Übersetzung

Laut Suhrkamp soll der folgende Band am 16. Januar 2013 erscheinen.

Auf jeden Fall kommt Quentin Tarantinos Film Django Unchained am 17. Januar 2013 in die Kinos.

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kein erkennen

Das große Geheimnis des Lebens ist für mich die Fremdheit zwischen den Menschen.

EVELINE

aus: James Joyce, Dubliners

SHE sat at the window watching the evening invade the avenue. Her head was leaned against the window curtains and in her nostrils was the odour of dusty cretonne. She was tired.

Few people passed. The man out of the last house passed on his way home; she heard his footsteps clacking along the concrete pavement and afterwards crunching on the cinder path before the new red houses. One time there used to be a field there in which they used to play every evening with other people’s children. Then a man from Belfast bought the field and built houses in it—not like their little brown houses but bright brick houses with shining roofs. The children of the avenue used to play together in that field—the Devines, the Waters, the Dunns, little Keogh the cripple, she and her brothers and sisters. Ernest, however, never played: he was too grown up. Her father used often to hunt them in out of the field with his blackthorn stick; but usually little Keogh used to keep nix and call out when he saw her father coming. Still they seemed to have been rather happy then. Her father was not so bad then; and besides, her mother was alive. That was a long time ago; she and her brothers and sisters were all grown up; her mother was dead. Tizzie Dunn was dead, too, and the Waters had gone back to England. Everything changes. Now she was going to go away like the others, to leave her home.

Home! She looked round the room, reviewing all its familiar objects which she had dusted once a week for so many years, wondering where on earth all the dust came from. Perhaps she would never see again those familiar objects from which she had never dreamed of being divided. And yet during all those years she had never found out the name of the priest whose yellowing photograph hung on the wall above the broken harmonium beside the coloured print of the promises made to Blessed Margaret Mary Alacoque. He had been a school friend of her father. Whenever he showed the photograph to a visitor her father used to pass it with a casual word:

„He is in Melbourne now.“

She had consented to go away, to leave her home. Was that wise? She tried to weigh each side of the question. In her home anyway she had shelter and food; she had those whom she had known all her life about her. Of course she had to work hard, both in the house and at business. What would they say of her in the Stores when they found out that she had run away with a fellow? Say she was a fool, perhaps; and her place would be filled up by advertisement. Miss Gavan would be glad. She had always had an edge on her, especially whenever there were people listening.

„Miss Hill, don’t you see these ladies are waiting?“

„Look lively, Miss Hill, please.“

She would not cry many tears at leaving the Stores.

But in her new home, in a distant unknown country, it would not be like that. Then she would be married—she, Eveline. People would treat her with respect then. She would not be treated as her mother had been. Even now, though she was over nineteen, she sometimes felt herself in danger of her father’s violence. She knew it was that that had given her the palpitations. When they were growing up he had never gone for her like he used to go for Harry and Ernest, because she was a girl; but latterly he had begun to threaten her and say what he would do to her only for her dead mother’s sake. And now she had nobody to protect her. Ernest was dead and Harry, who was in the church decorating business, was nearly always down somewhere in the country. Besides, the invariable squabble for money on Saturday nights had begun to weary her unspeakably. She always gave her entire wages—seven shillings—and Harry always sent up what he could but the trouble was to get any money from her father. He said she used to squander the money, that she had no head, that he wasn’t going to give her his hard-earned money to throw about the streets, and much more, for he was usually fairly bad of a Saturday night. In the end he would give her the money and ask her had she any intention of buying Sunday’s dinner. Then she had to rush out as quickly as she could and do her marketing, holding her black leather purse tightly in her hand as she elbowed her way through the crowds and returning home late under her load of provisions. She had hard work to keep the house together and to see that the two young children who had been left to her charge went to school regularly and got their meals regularly. It was hard work—a hard life—but now that she was about to leave it she did not find it a wholly undesirable life.

She was about to explore another life with Frank. Frank was very kind, manly, open-hearted. She was to go away with him by the night-boat to be his wife and to live with him in Buenos Ayres where he had a home waiting for her. How well she remembered the first time she had seen him; he was lodging in a house on the main road where she used to visit. It seemed a few weeks ago. He was standing at the gate, his peaked cap pushed back on his head and his hair tumbled forward over a face of bronze. Then they had come to know each other. He used to meet her outside the Stores every evening and see her home. He took her to see The Bohemian Girl and she felt elated as she sat in an unaccustomed part of the theatre with him. He was awfully fond of music and sang a little. People knew that they were courting and, when he sang about the lass that loves a sailor, she always felt pleasantly confused. He used to call her Poppens out of fun. First of all it had been an excitement for her to have a fellow and then she had begun to like him. He had tales of distant countries. He had started as a deck boy at a pound a month on a ship of the Allan Line going out to Canada. He told her the names of the ships he had been on and the names of the different services. He had sailed through the Straits of Magellan and he told her stories of the terrible Patagonians. He had fallen on his feet in Buenos Ayres, he said, and had come over to the old country just for a holiday. Of course, her father had found out the affair and had forbidden her to have anything to say to him.

„I know these sailor chaps,“ he said.

One day he had quarrelled with Frank and after that she had to meet her lover secretly.

The evening deepened in the avenue. The white of two letters in her lap grew indistinct. One was to Harry; the other was to her father. Ernest had been her favourite but she liked Harry too. Her father was becoming old lately, she noticed; he would miss her. Sometimes he could be very nice. Not long before, when she had been laid up for a day, he had read her out a ghost story and made toast for her at the fire. Another day, when their mother was alive, they had all gone for a picnic to the Hill of Howth. She remembered her father putting on her mother’s bonnet to make the children laugh.

Her time was running out but she continued to sit by the window, leaning her head against the window curtain, inhaling the odour of dusty cretonne. Down far in the avenue she could hear a street organ playing. She knew the air. Strange that it should come that very night to remind her of the promise to her mother, her promise to keep the home together as long as she could. She remembered the last night of her mother’s illness; she was again in the close dark room at the other side of the hall and outside she heard a melancholy air of Italy. The organ-player had been ordered to go away and given sixpence. She remembered her father strutting back into the sickroom saying:

„Damned Italians! coming over here!“

As she mused the pitiful vision of her mother’s life laid its spell on the very quick of her being—that life of commonplace sacrifices closing in final craziness. She trembled as she heard again her mother’s voice saying constantly with foolish insistence:

„Derevaun Seraun! Derevaun Seraun!“

She stood up in a sudden impulse of terror. Escape! She must escape! Frank would save her. He would give her life, perhaps love, too. But she wanted to live. Why should she be unhappy? She had a right to happiness. Frank would take her in his arms, fold her in his arms. He would save her.

She stood among the swaying crowd in the station at the North Wall. He held her hand and she knew that he was speaking to her, saying something about the passage over and over again. The station was full of soldiers with brown baggages. Through the wide doors of the sheds she caught a glimpse of the black mass of the boat, lying in beside the quay wall, with illumined portholes. She answered nothing. She felt her cheek pale and cold and, out of a maze of distress, she prayed to God to direct her, to show her what was her duty. The boat blew a long mournful whistle into the mist. If she went, tomorrow she would be on the sea with Frank, steaming towards Buenos Ayres. Their passage had been booked. Could she still draw back after all he had done for her? Her distress awoke a nausea in her body and she kept moving her lips in silent fervent prayer.

A bell clanged upon her heart. She felt him seize her hand:

„Come!“

All the seas of the world tumbled about her heart. He was drawing her into them: he would drown her. She gripped with both hands at the iron railing.

„Come!“

No! No! No! It was impossible. Her hands clutched the iron in frenzy. Amid the seas she sent a cry of anguish!

„Eveline! Evvy!“

He rushed beyond the barrier and called to her to follow. He was shouted at to go on but he still called to her. She set her white face to him, passive, like a helpless animal. Her eyes gave him no sign of love or farewell or recognition.

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Endspiel. Clov.

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Depressiv

Die Beckett-Gesellschaft wünscht allen Freunden Becketts ein depressionsfreies Weihnachten.

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Neue Übersetzung von A Portrait of the Artist as a Young Man

James Joyce

Once upon a time and a very good time it was there was a moocow coming down along the road and this moocow that was coming down along the road met a nicens little boy named baby tuckoo…

His father told him that story: his father looked at him through a glass: he had a hairy face.

He was baby tuckoo. The moocow came down the road where Betty Byrne lived: she sold lemon platt.

O, the wild rose blossoms

On the little green place.

He sang that song. That was his song.

O, the green wothe botheth.

When you wet the bed first it is warm then it gets cold. His mother put on the oilsheet. That had the queer smell.

Ein Porträt des Künstlers als junger Mann

Roman

Cover: Ein Porträt des Künstlers als junger MannManesse Verlag, München 2012
ISBN 9783717522225
Gebunden, 352 Seiten, 24,95 EURBestellen bei Buecher.de

KLAPPENTEXT

Aus dem Englischen von Friedhelm Rathjen. Mit Nachwort von Marcel Beyer. Mit dieser in Dublin spielenden, autobiografisch gefärbten Coming-of-Age-Geschichte schrieb sich James Joyce in die Weltliteratur ein. Thematisch steckt in diesem aufsehenerregenden Roman schon ein Großteil dessen, was den berühmten Iren ausmacht: Kunst, Sex, Religion, Rebellion und all die damit einhergehenden Verwicklungen. Ein Junge macht sich auf die Suche nach sich selbst. Anfangs noch ganz im Bannkreis von Konventionen und Autoritäten, entdeckt er nach und nach seine geistigen Fähigkeiten, seine zwiespältige Gefühlswelt und seine Sexualität. Die Hürden seiner Selbstfindung sind vielfältig, muss er sich doch als angehender Künstler von Übervätern emanzipieren. Auch mit der puritanischen Rolle der katholischen Kirche setzt er sich auseinander. Zwischen Moral und Amoral, Anpassung und Auflehnung entwickelt er schließlich den Mut, eigene Wege zu beschreiten.

Rezensionsnotiz zu Neue Zürcher Zeitung, 15.12.2012

Rezensent Manfred Koch lobt Friedhelm Rathjens neue Übersetzung von James Joyce‘ Roman „Ein Porträt des Künstlers als junger Mann“ als Gewinn. Denn, auch wenn der Kritiker dieser Übertragung keinen klaren Vorzug gegenüber der im Jahre 1972 erschienenen Übersetzung von Klaus Reichert geben möchte, besticht Rathjens Version, die erstmals auf der Grundlage der Kritischen Edition des Originals beruht, seiner Meinung nach durch ihre Anpassung an die deutsche Umgangssprache. So liest Koch hier nicht wie bei Reichert, dass ein Schüler dem anderen droht, „seine Schuhspitze in den Steiß zu stecken“, sondern amüsiert sich über Rathjens drastische Formulierung, in welcher der Schüler seinem Freund „mal richtig in den Arsch treten will“. Auch wenn dem Kritiker diese Version zeitgemäßer und „sympathischer“ erscheint, muss er doch feststellen, dass sie von Joyce‘ Differenziertheit weit entfernt ist und so empfiehlt er, Rathjens und Reicherts Übersetzungen abwechselnd zu lesen.

Quelle: Perlentaucher.

PS.: Ich empfehle das Original.

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Der Bau

>>Das vergebliche Streben ist ein Hauptmotiv in Kafkas Arbeiten, das Scheitern an einer unzugänglichen höheren Macht durchzieht sein Œuvre. Hier kann man es täglich erleben. Schade, dass sein Romanfragment „Das Volkstheater“ heute als verschollen gilt.<<

Worum geht es?

Um das Gängegewirr eines U-Bahnhofes?

Mehr hier:

http://diepresse.com/home/leben/mode/kolumnezumtag/1316670/Als-Franz-Kafka-eine-UBahnStation-plante

 

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