Heiner Müller(海纳·穆勒)

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Heiner Müller(海纳·穆勒)

Heiner Müller(海纳·穆勒)

海纳·穆勒(1929-1995)是1960年以来最重要的德国剧作家,同时他也是诗人、散文家、戏剧导演。他用后现代的手法让作品具有丰富的诗意和意义,充满了解读的可能。他被誉为“贝克特之后最伟大的剧场诗人”。

1947年他加入德国社会主义统一党(Sozialistische Einheitspartei Deutschlands, SED),并于1954年开始在德国作家协会中任职。之后,穆勒成为了德意志民主共和国最重要的戏剧家之一,并获得了1959年的Heinrich Mann奖和1990年的Kleist奖。1961年,穆勒的剧作《Die Umsiedlerin》(The Resettler Woman)只演出了一场便被当局封杀,并被德国作家协会开除,从此穆勒与东德的关系开始恶化。随后的几年,东德政府也并没有放松对他的警惕,不仅在1965年阻止了穆勒的剧作《Der Bau》(Construction Site)的公演计划,还在1970年代初雪藏了他的《Mauser》。然而,尽管处于如此困境之中,穆勒的作品却开始在东、西德都颇具名声。很多这个时期的穆勒剧作都在西德首演,其中包括《Germania Death in Berlin》,该剧于1978年在Munich Kammerspiele首演。

1982年,海纳·穆勒导演了自己的剧作《The Mission》(Der Auftrag)。Jean Jourdheuil于1979年在巴黎第一次将穆勒的《哈姆雷特机器》(Die Hamletmaschine)搬上世界的舞台。之后,他的剧作在1970年代中后期被陆续翻译成英文,他的饱受争议之作《Mauser》也在1975年德克萨斯州奥斯汀市首次公演。

随着他在世界范围内的声名鹊起,穆勒也在东德重获认可,并在1984年开始任教于东德艺术学院(Akademie der Künste),短短两年后他便加入了西柏林的艺术学院。直到1988年柏林墙倒塌前,穆勒才再次被纳入东德作家协会。晚年,穆勒写了一些戏剧作品,但像贝克特一样,他将自己的创作重心更多地放在了诗歌上。1995年12月30日,穆勒因咽喉癌在柏林病逝,并安葬在柏林著名的Dorotheenstadt公墓,那里安息着许多德国最重要的艺术家和哲学家,包括布莱希特、黑格尔、亨利希曼等。

 

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Heiner Müller

Heiner Müller(海纳·穆勒)

Heiner Müller (January 9, 1929 - December 30, 1995) was a German (formerly East German) dramatist, poet, writer, essayist and theatre director. Described as "the theatre's greatest living poet" since Samuel Beckett, Müller is arguably the most important German dramatist of the 20th century after Bertolt Brecht. His "enigmatic, fragmentary pieces" are a significant contribution to postmodern drama and postdramatic theatre.

Biography
Müller was born in Eppendorf, Saxony. He joined the Socialist Unity Party of Germany (Sozialistische Einheitspartei Deutschlands, SED) in 1947 and began serving for the German Writers' Association (Deutscher Schriftsteller-Verband, DSV) in 1954. Müller became one of the most important dramatists of the German Democratic Republic and won the Heinrich Mann Prize in 1959 and the Kleist Prize in 1990.

His relationship with the East German state began to deteriorate, however, with his drama Die Umsiedlerin (The Resettler Woman) which was censored in 1961 after only one performance. Müller was banned from the Writers' Association in the same year. The East German government remained wary of Müller in subsequent years, preventing the premiere of Der Bau (Construction Site) in 1965 and censoring his Mauser in the early 1970s. Yet despite these hardships, Müller’s work began to gain popularity both in West Germany and internationally at this time. Many of his best-known plays from this period were premiered in the West: this includes Germania Death in Berlin, which was first performed in 1978 at the Munich Kammerspiele. Heiner Müller himself directed a production of The Mission (Der Auftrag) in Bochum in 1982. In Paris, Jean Jourdheuil directed the world premiere of Hamletmachine (Die Hamletmaschine) in 1979. English translations, first by Helen Fehervary and Marc Silberman, then by Carl Weber, introduced Müller to the English speaking world in the mid- and late 1970s; Müller's controversial play Mauser was first performed in 1975 in Austin, Texas.

Due to his growing worldwide fame, Müller was able to regain acceptance in East Germany. He was admitted to the Academy of the Arts (Akademie der Künste) of the GDR in 1984 — only two years before he became a member of the Academy of the Arts of West Berlin. Despite earlier honors, Müller was not readmitted to the East German Writers' Association until 1988, shortly before the end of the GDR. After the fall of the Wall, Müller became president of the East German Academy of the Arts for a short time in 1990 before its inclusion in the West German Akademie. In 1992, he was invited to join the directorate of the Berliner Ensemble, Brecht's former company at the Theater am Schiffbauerdamm, as one of its five members along with Peter Zadek, Peter Palitzsch, Fritz Marquardt and Matthias Langhoff. In 1995, shortly before his death, Müller was appointed as the theatre’s sole artistic director.

During the last five years of his life, Müller continued to live in Berlin and work all over Germany and Europe, mostly directing productions of his own works. He wrote few new dramatic texts in this time, though, like Brecht, he did produce much poetry in his final years. In the last half-decade of his life, Müller also worked towards transforming the interview into a literary genre. Müller died in Berlin of throat cancer in 1995, acknowledged as one of the greatest living German authors and the most important German language dramatists since Bertolt Brecht. Müller is buried at Berlin's famous Dorotheenstadt Cemetery, the final resting place of some of Germany's most important artists and philosophers: including Bertolt Brecht, Georg Wilhelm Friedrich Hegel, Karl Friedrich Schinkel, and Heinrich Mann.

Among his better known works, other than those already mentioned, are Der Lohndrücker (The Scab), Wolokolamsker Chaussee (Volokolamsk Highway) Parts I–V, Verkommenes Ufer Medeamaterial Landschaft mit Argonauten (Despoiled Shore Medea Material Landscape with Argonauts), Philoktet (Philoctetes), Zement (Cement), Bildbeschreibung (Description of a Picture aka Explosion of a memory) and Quartett.

Over a decade after his death, Müller continues to have an enormous influence on European playwriting, dramaturgy, and performance. In 1998, the journal New German Critique devoted a special issue to his work. He is the only playwright to have ever received such an honor. In 2009, one of Europe’s leading intellectual publishing houses, Suhrkamp, issued the final three volumes in a twelve-volume edition of Müller's collected works. The only twentieth century German dramatist who holds the same status is Bertolt Brecht.

Müller has also paved the way for a new generation of directors, playwrights, and dramaturgs who regard themselves as "samplers." Müller adopted Brecht's notion of Kopien (German for "copying"), the practice of regarding texts by others as material to be used, imitated, and rewritten. In regards to Brecht's own oeuvre, Müller stated "To use Brecht without criticizing him is treason." For Müller, the work of other writers and artists was not seen as private property; it was to be used as raw material for his own work. Thus, Müller's work in the theater marks the beginning of a tradition of densely poetic dramaturgy based in the logic of association, rather than linear "dramatic" narrative.

Jonathan Kalb, theater critic for The New York Times, describes Müller's legacy on theatre as replacing the "closed" didactical form of the Brechtian parable with "open" dramatic forms offering multiple meanings based, in Hans-Thies Lehmann's words, on a surreal "montage dramaturg... in which the reality-level of characters and events vacillates hazily between life and dream and the stage becomes a hotbed of spirits and quotes outside any homogeneous notion of space and time." In reference to Müller, Tony Kushner declares, "Write into the void, learn to embrace isolation, in which we may commence undistractedly our dreadful but all-important dialogue with the dead. Forget about love and turn your face to history." With Müller’s work, theater is a forum for examining history; it is "a dialogue with the dead."

Heiner Müller(海纳·穆勒)

Major works
- Zehn Tage, die die Welt erschütterten (Ten Days that Shook the World) (1957)  [co-authored with Hagen Müller-Stahl, after John Reed's book]
- Der Lohndrücker (The Scab) (1958)    
- Die Korrektur (The Correction) (1958) [with Inge Müller]
- Die Umsiedlerin (The Resettled Woman) (1961)    
- Der Bau (The Construction Site) (1965 / 1980)    
- Sophokles: Oedipus Tyrann (Sophocles: Oedipus the King) (1967)  [adaptation of Sophocles' tragedy]
- Philoktet (Philoctetes) (1968) [an adaptation of Sophocles' tragedy as a Lehrstuck]
- Lanzelot (Lancelot) (1969)  [a libretto with Ginka Tsholakova for opera by Paul Dessau]
- Prometheus (Prometheus) (1969)  [translation of tragedy ascribed to Aeschylus]
- Macbeth  (Macbeth) (1971)  [adaptation of Shakespeare's play]
- Zement (Cement) (1972 / 1973)    
- Der Horatier (The Horatian) (1968 / 1973) [a Lehrstuck based on the same Roman legend that Brecht used for his The Horatians and the Curiatians]
- Mauser (Mauser) (1970 / 1975)  [a Lehrstuck that 'answers' Brecht's The Decision]
- Traktor (Tractor) (1974 / 1975) [revision of text first written between 1955–1961]
- Die Schlacht (The Battle: Scenes from Germany) (1974 / 1975)  [revision of text first written in early 1950s; an 'answer' to Brecht's Fear and Misery of the Third Reich]
- Germania Tod in Berlin  (Germania Death in Berlin) (1971 / 1978) [utilizes 'synthetic fragment' structure]
- Leben Gundlings Friedrich von Preußen Lessings Schlaf Traum Schrei (Gundling's Life Frederick of Prussia Lessing's Sleep Dream Scream: A Horror Story) (1976 / 1979)    
- Die Hamletmaschine (Hamletmachine) (1977 / 1979)    
- Der Auftrag (The Mission) (1979 / 1980)    
- Quartett (Quartet) (1981 / 1982)  [based on Laclos's Dangerous Liaisons]
- Verkommenes Ufer Medeamaterial Landschaft mit Argonauten (Despoiled Shore Medea Material Landscape with Argonauts) (1982 / 1983)[utilizes 'synthetic fragment' structure in version of story of Medea]
- the CIVIL warS a tree is best measured when it is down (1984)  [contribution to libretto of Robert Wilson's opera]
- Bildbeschreibung (Explosion of a Memory / Description of a Picture) (1984 / 1985)  [dream narrative utilizing automatic writing in portions of composition]
- Anatomie Titus Fall of Rome Ein Shakespearekommentar (Anatomy Titus Fall of Rome A Shakespeare Commentary) (1985) [adaptation of Shakespeare's Titus Andronicus]
- Description of a Picture or Explosion of a Memory  (1986)  [Prologue to Robert Wilson's Alcestis]
- Death Destruction & Detroit II  (1987) [contribution to libretto of Robert Wilson's opera]
- Wolokolamsker Chaussee  (Volokolomsk Highway) (1984–1987 / 1988)  [cycle of plays also known as The Road of Tanks]
- Hamlet/Maschine  (Hamlet/Machine) (1989 / 1990) [combination of translation of Shakespeare's Hamlet and Müller's own Hamletmachine]
- Mommsens Block  (Mommsen's Block) (1992 / 1994) [a "poem / performance text"]
- Germania 3 Gespenster am toten Mann (Germania 3 Ghosts at Dead Man) (1995 / 1996) [produced posthumously]

Stage productions directed by Heiner Müller
- The Mission (Der Auftrag), Volksbühne am Rosa-Luxemburg-Platz, Berlin/GDR, 1980–1983 [German premiere; directed with Ginka Tscholakowa] [10]
- The Mission (Der Auftrag), Schauspielhaus Bochum, 1982 [directed with Ginka Tscholakowa]
- Macbeth, Volksbühne am Rosa-Luxemburg-Platz, Berlin/GDR, 1982–1985 [Müller’s translation and adaptation of William Shakespeare’s Macbeth; directed with Ginka Tscholakowa]
- The Scab (Der Lohndrücker), Deutsches Theater, Berlin/GDR, 1988–1991 [production also included Müller’s The Horatian (Der Horatier) and Volokolomsk Highway IV, Centaurs (Wolokolamsker Chaussee IV, Kentauren)]
- Hamlet/Machine (Hamlet/Maschine), Deutsches Theater, Berlin/GDR, 1990–1993 [Müller’s translation of William Shakespeare’s Hamlet staged with the East German premiere of Müller’s own Hamletmachine]
- Mauser, Deutsches Theater, Berlin, 1991–1993 [production also included Müller’s Herakles 2 or the Hydra (Herakles 2 oder die Hydra), Quartet (Quartett), and Volokolomsk Highway V, The Foundling (Wolokolamsker Chaussee V, Der Findling)]
- Duell Traktor Fatzer, Berliner Ensemble, Berlin 1993–1996 [the production was composed of Müller's Volokolomsk Highway III, The Duel (Wolokolamsker Chaussee III, Das Duell), Mommsens Block, and Tractor (Traktor), as well as his working of Brecht's fragmentary Downfall of the Egotist Johann Fatzer]
- Richard Wagner's Tristan und Isolde, Bayreuth Festspielhaus, Bayreuth 1993–1999 [conducted by Daniel Barenboim]
- Quartet (Quartett), Berliner Ensemble, Berlin, 1994–1997
- Bertolt Brecht's The Resistible Rise of Arturo Ui (Der aufhaltsame Aufstieg des Arturo Ui), Berliner Ensemble, Berlin, 1995–present

Literature - Primary material
- Müller, Heiner. 1984. Hamletmachine and Other Texts for the Stage. Ed. and trans. Carl Weber. New York: Performing Arts Journal Publications. ISBN 0933826451.
- Müller, Heiner. 1989a. Explosion of a Memory: Writings by Heiner Müller. Ed. and trans. Carl Weber. New York: Performing Arts Journal Publications. ISBN 1555540414.
- Müller, Heiner. 1989b. The Battle: Plays, Prose, Poems by Heiner Müller. Ed. and trans. Carl Weber. New York: Performing Arts Journal Publications. ISBN 155554049X.
- Müller, Heiner. 1990. Germania. Trans. Bernard Schütze and Caroline Schütze. Ed. Sylvère Lotringer. Semiotext(e) Foreign Agents Ser. New York: Semiotext(e). ISBN 0936756632.
- Müller, Heiner. 1995. Theatremachine. Ed. and trans. Marc von Henning. London and Boston: Faber. ISBN 0571175287.
- Müller, Heiner. 2001. A Heiner Müller Reader: Plays | Poetry | Prose. Ed. and trans. Carl Weber. PAJ Books Ser. Baltimore and London: The Johns Hopkins University Press. ISBN 0801865786.

Literature - Secondary material
- Banham, Martin. 1995. The Cambridge Guide to World Theatre. Cambridge: Cambridge University Press. ISBN 0521434378.
- Friedman, Dan, ed. 2003. Müller in America: American Productions of Works by Heiner Müller Vol.1. New York: Castillo. ISBN 0966247116.
- Kalb, Jonathan. 1998. The Theater of Heiner Müller. 2nd rev. ed. Cambridge: Cambridge University Press, 2001. ISBN 0879109653.
- Kushner, Tony. 2001. Foreword. In A Heiner Müller Reader: Plays | Poetry | Prose. by Heiner Müller. PAJ Books Ser. Baltimore and London: The Johns Hopkins University Press. ISBN 0801865786. p. xi–xvii.
- Weber, Carl. 2001. Chronology. In A Heiner Müller Reader: Plays | Poetry | Prose by Heiner Müller. PAJ Books Ser. Baltimore and London: The John Hopkins University Press. ISBN 0801865786. p. 239–244.
- Wright, Elizabeth. 1989. Postmodern Brecht: A Re-Presentation. Critics of the Twentieth Century Ser. London and New York: Routledge. ISBN 0415023307.

Links
www.heinermueller.de
www.internationale-heiner-mueller-gesellschaft.de

 

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