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Siting Futurity - The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna
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82 siting futurity ated alcoholic. The story resonated with Bowie as it came at the end of his drug-addled American period, after which he fled for the healing anonymity and productivity of Berlin. As Dene October notes in his reading of what he calls the Bowie-Newton matrix, “[p]laying the role had a profound effect upon him, one he felt more intensely than with his other characters, like he was outering ‘a spirit within’ […], an identity that crystalized in the artwork to the albums Station to Station and Low, re-emerged in the Thin White Duke, and again, much later, in work that reflects back on his life” (October 2019, 107). When a liver cancer diagnosis forced him to confront the certainty of death, Bowie chose to revisit the unhappy, immor- tal alien he had so uncannily embodied in the 1970s, who had wanted to die but could not. Lazarus, his first and only musi- cal, on which he collaborated with Irish playwright Enda Walsh, picks up the story where the film left off, finds a derelict, gin- soaked Newton in his Manhattan apartment slowly going out of his mind and follows his interactions with a number of char- acters who may or may not be figments of his imagination. Its debut on December 7, 2015, in the New York Theater Workshop in New York’s East Village, was Bowie’s last public appearance before his death the following month, on January 10, 2016, two days after his sixty-ninth birthday. To the great surprise of many, including Lazarus’s German translator Peter Torberg, it has not been on English-language stages but rather on German-language ones that Lazarus has taken off. Of the first dozen productions of Lazarus, only the first two, in New York and London, were not in German. Af- ter playing in New York until January 20, 2016 and at London’s King Cross Theatre from November 8, 2016 to January 22, 2017,2 Lazarus saw its German premiere on February 3, 2018 at the 2 One of the London performances was filmed and screened for one night only in New York on May 2, 2018.
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Siting Futurity The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna
Titel
Siting Futurity
Untertitel
The “Feel Good” Tactical Radicalism of Contemporary Culture in and around Vienna
Autor
Susan Ingram
Verlag
punctumbooks
Ort
New York
Datum
2021
Sprache
englisch
Lizenz
CC BY-NC-SA 4.0
ISBN
978-1-953035-48-6
Abmessungen
12.6 x 20.2 cm
Seiten
224
Schlagwörter
activism, Austria, contemporary art, contemporary theater, protest culture, radicalism, social protest, Vienna
Kategorie
Geographie, Land und Leute

Inhaltsverzeichnis

  1. Preface 11
  2. Introduction 19
  3. 1. (Re)Forming Vienna’s Culture of Resistance: The Proletenpassions @ #Arena 39
  4. 2. Converting Kebab and Currency into Community on Planet #Ottakring 57
  5. 3. Lazarus’s Necropolitical Afterlife at Vienna’s #Volkstheater 81
  6. 4. Hardly Homemad(e): #Schlingensief’s Container 101
  7. 5. From Grand Hotels to Tiny Treasures: Wes Anderson and the Ruin Porn Worlds of Yesterday 119
  8. 6. Capitalism, Schizophrenia, and #Vanlife: The Alpine Edukation of Hans Weingarter 143
  9. 7. #Hallstatt: Welcome to Jurassic World 161
  10. Bibliography 189
  11. Filmography 215
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