Af Niels-Martin Trier Josefsen © 2016 Lindhardt og Ringhof Uddannelse, København – et forlag under Lindhardt og Ringhof Forlag A/S, et selskab i Egmont. Forlagsredaktion: Ulla Benzon Malmmose Grafisk tilrettelægning og omslag: Ulla Korgaard, Designeriet Billedredaktør: Ulla Barfod Mekanisk, fotografisk, elektronisk eller anden gengivelse af denne bog eller dele heraf er kun tilladt efter Copydans regler. Forlaget har forsøgt at finde og kontakte alle rettighedshavere. Tryk: Livonia Print 1. udgave 1. oplag 2016 ISBN 978 87 70 666 848
Content Forord 5 Chapter 1: Postmodernism What is Postmodernism?
7 8
The Average American Male Chad Kultgen (2007)
Chapter Three, “Century Fucking City” Some Chapter, “An Average Sunday” Some Chapter, “The 98 Percent Rule”
85 89 92
Niels-Martin Trier Josefsen (2016)
Chapter 2: In-Yer-Face Theatre
11
Survivor Chuck Palahniuk (1999)
Chapter 46 Attempts on Her Life
94
13
Martin Crimp (1997)
Assholes Finish First
Scene One
Tucker Max (2011)
In-Yer-Face Theatre
Excerpt from “The DC Halloween Party and the Worst Girl I’ve Ever Fucked”
16
100
Aleks Sierz (2001)
Excerpt from Chapter One, “What is In-Yer-Face Theatre?”
Suggestions for Further Reading
Chapter 4: Queer Readings
106
107
Blasted What are Queer Readings
Sarah Kane (1995)
109
Scene One Scene Two Scene Three Scene Four Scene Five
24 38 49 58 63
Niels-Martin Trier Josefsen (2016)
Suggestions for Further Reading
66
Anne Rice (1976)
Chapter 3: Dick Lit and Fratire
67
Troll Bridge
112
Neil Gaiman (1993)
Interview with the Vampire
1 22
Excerpt from Part One Nice Girl With 5 Husbands
What is Dick Lit?
69
131
Fritz Leiber (1951)
Niels-Martin Trier Josefsen (2016)
The Powerbook Apathy and Other Small Victories
Jeanette Winterson (2000)
“Open Hard Drive”
Paul Neilan (2006)
Excerpt from Chapter Two Excerpt from Chapter Three Excerpt from Chapter Four
142
73 78 81
Suggestions for Further Reading
150
Credits
152
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Forord I det senmoderne samfund er det svært at beskæftige sig med litteratur og kultur uden at beskæftige sig med postmodernismen. Samtidig kan det være svært at sætte finger på, hvad postmodernismen er, da strømningens tendenser kommer til udtryk på mange forskellige måder i en lang række af forskelligartede udtryksog tolkningsformer. Denne bog samler tre af disse bud på, hvordan strømningen kommer til udtryk. Som modernismen der kom før den, arbejder postmodernismen med den grundtese, at livet er præget af en vis meningsløshed afstedkommet af et opgør med de traditionelle værdigivende og moraldefinerende institutioner. Den store forskel er, at denne meningsløshed ikke nødvendigvis er noget dårligt, men at manglen på faste regler i stedet inviterer til en leg med konventionerne. Postmodernismen lader sig nødigt definere for stramt, da det ligger i dens natur at bryde regler og rammer, men i det indledende kapitel POSTMODERNISM gøres et forsøg på at gengive nogle af hovedtendenserne på et niveau, som egner sig til undervisningen i den danske gymnasieskole. Bogens første hovedkapitel er IN-YER-FACE THEATRE – en hårdtslående britisk teatergenre fra 1990’erne, hvor unge forfattere nedbrød både genrekonventioner i forhold til form og indhold, og grænserne for hvad man kan gøre og sige fra en teaterscene. Hoveddelen af kapitlet udgøres af et genredefinerende værk – Sarah Kanes Blasted – som er gengivet i bogen i sin helhed, og som har en lærerguide på bogens hjemmeside. DICK LIT AND FRATIRE er to genrer – én fiktion og én non-fiktion – hvor fokus er på den postmoderne mand og dennes udfordringer. Ansigt til ansigt med en verden som ikke giver mening, og hvor man ikke selv kan gøre en forskel, står den postmoderne mand over for et selvrealiseringsprojekt, som gribes an med sex, vold og apati, og hvor en kynisk humor gennemsyrer udtryksformen. Endeligt beskæftiger QUEER READINGS sig – som navnet antyder – ikke med en måde at skrive på, men en måde at læse på. Afsnittet griber fat i en række tekster fra forskellige genrer og forskellige perioder – også fra før postmodernismen – og giver redskaberne til at læse disse tekster med et særligt fokus på seksualitetsog kønsopfattelser, som udfordrer det heteronormative.
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Det er i postmodernismens natur, at ting skilles ad, bygges op på nye måder og sættes sammen med fremmedelementer. De tre forløb kan køres som beskrevet i bogen, de kan suppleres med tekster fra bogens hjemmeside eller forslagene til videre læsning, eller teksterne kan bruges til at supplere eksisterende forløb. Bogen fungerer derfor som en ressource for både nye og erfarne lærere. En særlig tak skal gå til 3.c på Esbjerg Gymnasium og HF årgang 2014/2015 for at sidde igennem de tre forløb og til Conny Dæncker Koch for råd i det afsluttende arbejde med bogen. Niels-Martin Trier Josefsen, Kolding 2016.
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Chapter 1
POSTMODERNISM
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Chapter 1: Postmodernism
What is Postmodernism? (2016) By Niels-Martin Trier Josefsen
endures udholder / vedbliver a wide array en bred vifte established etablerede myriad utal / usĂŚdvanligt mange modes medier
Postmodernism is a movement that began in the late twentieth century and endures to this day. It stretches across a wide array of arts and with
labeled kaldt fractured slĂĽet i stykker exponentially eksponentielt
its focus on experimentation and the breakdown of the established genres, it covers a myriad of ideas and modes of expression that are seemingly unconnected, though they would all be labeled postmodern. As modernism that came before it, postmodernism operates with the notions of reality being fractured and existence being ultimately meaningless. But whereas modernism looks at the meaninglessness of existence and despairs, postmodernism embraces the meaninglessness and uses it as an offset for experimentation, often as a source of dark humor, and as a free pass to search for new meaning accepting that there is no one clear answer.
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Chapter 1: Postmodernism
CONTEXT The world in which the movement of postmodernism arose and still evolves is one that is increasingly complex. Instead of providing answers to all the big questions of humanity, the progression of technology and globalization has instead added complexity to our lives as the flow of information available to us has grown exponentially. The old sources of truth such as major ideologies and religions have become free-for-all buffets which individuals can pick and choose from when defining themselves. Online as well as in real life, you have the options available to be whomever you want. Institutions that were once taken for granted – such as the nuclear family – and labels that used to be simple to apply – such as gender – are now questioned and supplemented with a host of new options. The fascination of popular culture is as endless as the options and availability of said pop culture. In every regard the world has become smaller and our freedom has become greater. Along with knowledge and options, globalization and technology have also brought a new awareness of threats facing our existence as well as entirely new threats adding to the complexity of existence. The threats of terror, pandemics, environmental disasters, weapons of mass destruction, surveillance, and technology-based crimes are seemingly inescapable and impossible to protect oneself against. And with every option available and no clear answer given, a lack of direction and feelings of anxiety should be no surprise. Freedom is unlimited, but ultimately it is meaningless.
buffets buffeter / tag-selvborde nuclear family kernefamilie pandemics pandemier / globale sygdomsudbrud surveillance overvågning inescapable uundgåelige distorted forvrænget fluid flydende
GENRE, FORM, AND INTERPRETATION In postmodernist literature, nothing is sacred. The old and established rules for how one ought to write have been thrown to the side and experimentation is king. The elitism of literary circles has been rejected and popular culture has been embraced as equal to the established classics. Everything can be mixed and referenced in terms of genre and content, paving the way for pastiche, intertextuality, and new genre hybrids. Often postmodern narratives will be complex and fragmented in nature, illustrating the perception of a fragmented reality. It is not uncommon for narratives to take their offset in easily recognizable and realistic situations, but reality is at the same time presented as being distorted. With dark humor and curious observations the absurdity and meaninglessness of life in underlined at every turn. The lack of clear answers to the big questions in life are commonly matched by a lack of a clear answers in the narratives as information that readers would take for granted in traditional storytelling is simply left out. Characters are often presented without a full context as identity markers such as names and occupations are left out, and it is not uncommon for stories to end without fulfilling endings.
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Chapter 1: Postmodernism
conveyed formidlet scope rammer
Truth and reality are fluid in postmodern narratives and often readers cannot trust the events being conveyed to them. As no clear answers are given, the possibilities for interpretation are wide open. There is no one correct interpretation of a postmodern narrative and readers are free to interpret however they see fit. Going off of the idea that the author of a given text is not important and that readers are thus free to interpret, postmodernism has also given way to new ways of reading in addition to its new ways of writing.
THE THREE STABS The entirety of postmodernist literature with all its hybrid genres, readings, and things that defy these categories is beyond the scope of this book. Postmodernism is fluid and complex, but in its fluidity and complexity patterns evolve. This book looks at three of these patterns, trying to pin down two very different postmodern genres as well as a postmodern reading approach. These are not all that postmodernism has to offer – these are just three stabs at the movement – but they do illustrate how very differently some of these ideas may be expressed and they may provide inspiration for further reading into other aspects of postmodernism.
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Chapter 2
IN-YER-FACE THEATRE
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Chapter 2: In-Yer-Face Theatre
A play like "Attempts on her Life" can be - and has been - interpreted and staged in many different ways
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Chapter 2: In-Yer-Face Theatre
Attempts on Her Life (1997) By Martin Crimp
SCENE ONE beep – Anne. (pause) It’s me. (pause) I’m calling from Vienna. (pause) No, sorry; I’m calling from … Prague. (pause) It’s Prague. (pause) I’m pretty sure it’s Prague. Anyway, look … (breath) Anne … (breath) I want to apologise, (breath) I realise how much I’ve hurt you, my sweet sweet darling, and … (breath) Ah. Look. Look, there’s somebody on the other line, Anne. I really really – I’m sorry – but I really really have to take this call. I’ll get back to you. ‘Monday 8.53 a.m.’
board stige ombord / gå ombord device enhed / objekt / instrument vehicle transportmiddel / bil showroom salgslokalet / udstillingsrummet collection afhentning
beep – Anne. Hi. Listen. I only have a moment. Are you there? No? Okay. Look. It’s this. What we were discussing? You remember? Well what about this, what about this, what about if, let’s say, let’s say, let’s just say … that the trees have names? Okay? That’s right – the trees. You think – I know – you think I’m crazy. But let’s just accept for a moment shall we that the trees have names. Then what if, what if, what about if … this was her tree. Shit. Sorry. Look, I have to board now. But think about that. The trees have names. And one of them is hers. I have to run. ‘Monday 9.35 a.m.’ beep – (spoken in e.g. Czech) You know who this is. You leave the device in a small truck at the back of the building. You’ll get the truck from Barry. Barry will contact you with more instructions. ‘Monday 11.51 a.m.’ beep – … Oh. Hello? It’s Mum … ‘Monday 1.05 p.m.’ beep – Hello, this is Sally at Cooper’s. Just to let you know that the vehicle is now in the showroom and ready for your collection. Thank you.
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Chapter 2: In-Yer-Face Theatre
distressing bekymrende
‘Monday 1.06 p.m.’ beep – We know where you live you fucking bitch. You’re dead, basically. The things you fucking did. We don’t forget. (pause) You’ll wish you’d never been born. ‘Monday 1.32 p.m.’ beep – … Anne? Hello? It’s Mum again. (pause) Got your postcard. (pause) Looks very nice. (pause) And the photo. Is that really you? (pause) Glad you’re making friends and so on. (pause) The thing is, Anne, there just isn’t any money to send you. I’ve spoken to your dad, and he says no, absolutely not. We hear a man’s voice in the background. ‘Not another penny. Just you make that clear.’ Mum replies: ‘I’m telling her, I’m telling her.’ The back into the phone: I’m really sorry, Anne darling, but we just can’t keep on doing it. Man’s voice again: ‘If you don’t tell her, I’ll bloody well talk to her.’ Look, I have to go now, darling. Your dad sends his love. All Right? God bless. ‘Monday 2.20 p.m.’ beep – Anne? Are you there? Pick up the phone, Annie. (pause) Okay … It’s a quarter after ten here in Minnesota and we’re just calling to say our thoughts and prayers are with you, Annie. And we love you very much. ‘Monday 4.13 p.m.’ beep – Annie? BrillIant. It’s moving. It’s timely. It’s distressing. It’s funny. It’s sexy. It’s deeply serious. It’s entertaining. It’s illuminating. It’s cryptic. It’s dark. Let’s meet. Call me. ‘Monday 10.21 p.m.’ beep – Anne. Good evening. Let me tell you what I’m going to do to you. First you’re going to suck my cock. Then I’m going to fuck you up the arse. With a broken bottle. And that’s just for starters. Little miss cunt. ‘Monday 10.30 p.m.’ beep – Anne? Pick up the phone. (pause) I know you’re there. (pause) It’s no use hiding, Anne. Hiding from what? (pause) The world? Hiding from the world, Anne? Come on. Grow up. Grow up, Anne, and pick up the phone.
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Chapter 2: In-Yer-Face Theatre
Pause. So what is this then? A cry for help? Don’t tell me this is a cry for help. Because what am I supposed to do exactly about your cry for help? Mm? (pause) And what if you’re lying there, Anne, already dead? Mm? Is that the scenario I’m supposed to imagine? The scenario of a dead body rotting next to the machine? Faint laugh Pause.
scenario situation / scenarie machine telefonsvarer larvae larver fashionable moderigtige halogen-lit halogenoplyste disused nedlagte
The what, the larvae of flies listening to your messages? Or if your building has been destroyed. Or if your city has been destroyed.The airports and the shoe shops. The theatres and the fashionable halogen-lit cafés that have sprung up in the disused warehouses by the disused canals. Mm? Faint laugh. So only the larvae of insects are listening to your messages. Listening to me, Anne, as they tunnel through your remains. Pause. I’m growing morbid, Anne. I think you should pick up the phone and make me smile, make me smile the way you used to, Anne. I know you’re there. I know you’re there, Anne. And I know that if I’m patient, you’ll answer me. Pause. You will answer me, won’t you Anne. ‘Tuesday 12.19 a.m.’ ‘That was your last message. To save all messages press one.’ Pause. ‘All messages deleted.’
ANALYSIS:
Answer the following questions: 1) Story and characters: a. Who are the people leaving messages on Anne’s answering machine? b. What do we learn of Anne based on the messages left for her? 2) Language and structure: a. Comment on the language of the text. b. Comment on the structure of the text. c. What does the author achieve by telling his story in this manner? 3) How is this text postmodern?
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Chapter 2: In-Yer-Face Theatre
In-Yer-Face Theatre (2001) Aleks Sierz
EXCERPT FROM CHAPTER ONE, “WHAT IS IN-YER-FACE THEATRE?”
It offends today, but we look harder and we know, it will not offend tomorrow. (Urgentine in Howard Barker’s Scenes from an Execution)
tunnel graver tunneller lively summende / livligt snatch snuppe / bortføre / sexistisk udtryk for vagina acquires skaffer sig rehearsal teaterprøver boasting der praler huddled sammenkrøbet is trembling ryster bruises blå mærker there’s a draught det trækker foetal position fosterstilling ladykiller kvindebedårer / scorekarl cowers kryber sig sammen full-on intenst mutilated vansirede / lemlæstede squirmed krympede sig
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On 4. November 1998, a small but lively audience filled the Pleasance theatre in north London for the opening night of Snatch, a seventy-five-minute play by twenty-one-year-old Peter Rose. Put on by the Soho Theatre Company, it kicked off a four-week season of new drama. As the programme explained, to make the most of the excitement generated when the ‘text is lifted off the page and, for the very first time, acquires a life of its own’, each play was given only one week of rehearsal. This both saved money and meant that the work was seen in its ‘most raw and energetic state’. Set in an untidy flat, Snatch begins with two students, Paul and Simon, boasting about a girl they’ve picked up and raped during the night. As dawn breaks, a huddled figure lying at the back of the stage begins to move. When she gets up, Beth is trembling and covered in bruises. ‘It could be worse,’ she says, ‘I could be you.’ ‘There’s a draught,’ says one of the blokes. ‘Shut your legs.’ Simon goes
out and Beth curls up in a foetal position. Paul, who claims to be a real ‘ladykiller’, tries to rape her again. Suddenly, there is a red flash and Beth and Paul swap bodies. Now Beth strides around the room showing off ‘her’ muscles and Paul cowers, defenceless in a woman’s body. Beth gags and ties him up. When Simon returns, she invites him to abuse ‘Beth’, and he does so, unaware that he is having sex with his mate. Beth returns with a tattoo on ‘her’ forehead. It reads RAPIST. Simon is appalled. Then Beth cuts off ‘her’ penis. As the blood spreads, there is another flash and Beth and Paul swap bodies again. Beth blinds Simon and leaves, shouting: ‘I’ll get over this – I will.’ With a full-on play such as this, you expect an emotional reaction from the audience. When Beth mutilated ‘her’ manhood, there were gasps. Some people hid their eyes. Next to me, two young women squirmed. Men instinctively squeezed their thighs together. There were groans. When the play was over, and
Chapter 2: In-Yer-Face Theatre
The posters for in-yer-face theatre cannot be as graphic as the plays themselves, but that does not stop them from trying to be provocative.
the audience began to leave, some people complained about the play’s viciousness, others hated its brutal images, but a few were excited by its emotional punch. Rose’s youth was mentioned, his writing praised, his imagination attacked. It was pointed out that even when Beth had become a bloke, it was a woman’s body that bore the brunt of male attack; others noted that, compared to the laddish banter, the woman’s voice was muted. Most tried to come to grips with the anger and agony shown onstage. But, above all, what was striking was the buzz of discussion – this audience
had gone to the theatre and emerged shaken, talking, arguing, feeling. Watching Snatch, I was reminded of the gut rage of Sarah Kane’s Blasted, the gender issues of Mark Ravenhill’s Shopping and Fucking and the fearsome violence of Anthony Neilson’s Penetrator. It was neither the first play of its kind nor the last, but it was one of those moments when you feel that a new sensibility has become the norm in British theatre. In-yer-face theatre had not only arrived, it had become the dominant theatrical style of the decade. The widest definition of in-yer-face
viciousness ondskab / brutalitet bloke fyr (britisk slang) brunt størstedelen laddish drengerøvsagtigt (britisk) to come to grips with at håndtere / at få hold på gut rage ukontrolleret vrede
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Chapter 2: In-Yer-Face Theatre
scruff of the neck nakkeskindet jolts rusker op i affronts konfronterer contemplate overveje / reflektere/betragte in detachment på afstand experiental umiddelbart / oplevelsesorienteret blatantly åbenbar, grov boundaries grænserne visceral mavevendende superlatives 3. gradsformer af tillægsord explore udforske sensibility følsomhed/ modtagelighed deliberate overlagte/ velovervejede naturalistic naturalistisk/ forbundet med teatertradition fokuseret på realistisk virkelighedsgengivelse renegotiated genforhandlet gaze blik controversy strid/ meningsudveksling
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theatre is any drama that takes the audience by the scruff of the neck and shakes it until it gets the message. It is a theatre of sensation: it jolts both actors and spectators out of conventional responses, touching nerves and provoking alarm. Often such drama employs shock tactics, or is shocking because it is new on tone or structure, or because it is bolder or more experimental than what audiences are used to. Questioning moral norms, it affronts the ruling ideas of what can or should be shown onstage; it also taps into more primitive feelings, smashing taboos, mentioning the forbidden, creating discomfort. Crucially, it tells us more about who we really are. Unlike the type of theatre that allows us to sit back and contemplate what we see in detachment, the best in-yerface theatre takes us on an emotional journey, getting under our skin. In other words, it is experiental, not speculative. The phrase ‘in-yer-face’ is defined by the New Oxford English Dictionary (1998) as something ‘blatantly aggressive or provocative, impossible to ignore or avoid’. The Collins English Dictionary (1998) adds the adjective ‘confrontational’. The phrase originated in American sports journalism during the mid-seventies, and gradually seeped into more mainstream slang over the following decade. It implies that you are being forced to see something close up, that your personal space has been invaded. It suggests the crossing of normal boundaries. In short, it describes perfectly the kind of theatre that puts audiences in just such a situation. How can you tell if a play is inyer-face? It really isn’t difficult: the language is usually filthy, characters talk about unmentionable subjects, take
their clothes off, have sex, humiliate each another, experience unpleasant emotions, become suddenly violent. At its best, this kind of theatre is so powerful, so visceral, that it forces audiences to react: either they feel like fleeing the building or they are suddenly convinced that it is the best thing they have ever seen, and want all their friends to see it too. It is the kind of theatre that inspires us to use superlatives, whether in praise or condemnation. Usually, when writers use shock tactics, it is because they have something urgent to say. If they are dealing with disturbing subjects, or want to explore difficult feelings, shock is one way of waking up the audience. Writers who provoke audiences or try to confront them are usually trying to push the boundaries of what is acceptable – often because they want to question current ideas of what is normal, what it means to be human, what is natural or what is real. In other words, the use of shock is part of a search for deeper meaning, part of a rediscovery of theatrical possibility – an attempt by writers to see just how far they can go. Provocation in performance can range from a new tone of voice being heard for the first time, a question of sensibility, to deliberate attacks on an audience’s prejudices. The most successful plays are often those that seduce the audience with a naturalistic mood and then hit it with intense emotional material, or those where an experiment in form encourages people to question their assumptions. In such cases, what is being renegotiated is the relationship between audience and performers – shock disturbs the spectator’s habitual gaze. Controversy may often be sought,
Chapter 2: In-Yer-Face Theatre
but usually only takes off by chance. For a play to be controversial, it needs to touch raw nerves. Often, although the audience’s feelings of discomfort and outrage are real enough, the form that controversy takes is itself a performance: walkouts, letters to the press, leader articles denouncing a ‘waste of public money’, calls for bans or cuts in funding, mocking cartoons, questions in parliament, or even prosecution on charges of obscenity or blasphemy. A useful distinction can be made between the hot and cool versions of inyer-face theatre. The hot version – often performed in small studio theatres with audiences of between fifty and 200 people – uses the aesthetics of extremism. The language is blatant, the actions explicit, the emotions heightened. Here, the aggression is open and the intention is to make the experience unforgettable. Cooler versions mediate the disturbing power of extreme emotions by using a number of distancing devices: larger auditoriums, a more naturalistic style or a more traditional structure. Comedy is the most effective distancing device and can sometimes completely defuse an emotionally fraught situation. After all, a common reaction to terror is either to ignore it or to laugh at it. But whether hot or cool, this kind of theatre should always have an unusual power to trouble the audience emotionally, to contain material that questions our ideas about who we are. For this reason, what outraged audiences say is often revealing: the vocabulary of disgust nearly always involves ideas about what is dirty, what is natural, what is human, what is right and proper. Most in-yer-face theatre challenges the distinctions we
use to define who we are: human/animal; clean/dirty; healthy/unhealthy; normal/ abnormal; good/evil; true/untrue; real/ unreal; right/wrong; just/unjust; art/life. These binary oppositions are central to our worldview; questioning them can be unsettling. But the terms in which a play is attacked says as much about the attackers as about the play. Often, some members of the audience are blinded by their own outrage – they remember words or scenes that never occurred onstage. Such incidents show just how malleable memory can be. In-yer-face theatre always forces us to look at ideas and feelings we would normally avoid because they are too painful, too frightening, too unpleasant or too acute. We avoid them for good reason – what they have to tell us is bad news: they remind us of the awful things human beings are capable of, and of the limits of our self-control. They summon up ancient fears about the power of the irrational and the fragility of our sense of the world. At the same time, theatre is similar to other cultural forms in that it provides a comparatively safe place in which to explore such emotions. Experiential theatre is potent precisely when it threatens to violate that sense of safety. A play’s content can be provocative because it is expressed in blatant or confrontational language or stage images, but its power as drama also depends greatly on its form. The further a play departs from the conventions of naturalism, especially those of the well-made three-act drama, the more difficult it is for many audiences to accept. On the other hand, some shocking emotional material may be made more acceptable by being placed within a
walkouts udvandringer fra teatret prosecution retsforfølgelse blatant grov/pågående emotionally fraught følelsesmæssigt anspændt distinctions skelnen / sondringer binary binære / todelte malleable påvirkelig / formbar summon up påkalder ancient ældgammel potent stærkt
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