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