Staging Elfriede Jelinek In Australia Poetics Ethics Politics

Contesting Performance is a collection of essays by international scholars that addresses the global development of performance research in the late twentieth and early twenty-first centuries. The collection functions as a critical reader on diverse approaches to studying performance that contest dominant paradigms of performance studies.

The conviction that the development and promotion of the arts, humanities and culture through the study of literature and the aesthetic are the fundamental constituents of any progress in society is at the heart of this volume. The essays gathered here explore the role of the imagination and aesthetic awareness in an age when the corporatization of knowledge is in the process of transforming literary studies, and political commitment is in danger of disappearing behind a supposedly post-ideological late-capitalist consensus. The main focus of the volume is the mutual implication of aesthetics and ideology and the status and value of different types of art within the political arena. Challenging issues in contemporary aesthetics are examined within the wider framework of current debates on the disappearance of the real, the crisis in representation, and the use of new media. The wide range of examples collected here, stretching from experimental poetry in post-war Germany, political commitment in twentieth-century French theatre, and countercultural Rumanian theatre under Ceaușescu, to Neo-Victorian fiction, Verbatim theatre in the UK, and political theatre for the masses in Estonia, vouchsafe unique insights into the intersection of aesthetics and ideology and the practical consequences thereof. As such, the volume opens up a space for a meaningful engagement with authentic forms of art from inside and outside the Anglosphere, and, ultimately, uses these examples as a platform from which to imagine some form of “aesthethics”, representing an ideal union of aesthetics and ideology. This concept, first coined by the French philosopher Philippe Lacoue-Labarthe, will prove to be relevant both within the parameters of the examples discussed here, but also beyond, for the contributors to this volume are unanimous in refusing to believe that aesthetics and ideology can exist one without the other, and in recognizing the centrality of ethics in any discussion of these notions.

In post-World War II Austria, Gerti, a woman on the verge of a breakdown due to her husband's relentless sexual attentions, wanders away from home one day and is rescued by an ambitious young man who turns out to be much like her husband.

Novel examining the violent side of Austrian society.

Erika Kohut teaches piano at the Vienna Conservatory by day. By night she trawls the city's porn shows while her mother, whom she loves and hates in equal measure, waits up for her. Into this emotional pressure-cooker bounds music student and ladies' man Walter Klemmer. With Walter as her student, Erika spirals out of control, consumed by the ecstasy of self-destruction. A haunting tale of morbid voyeurism and masochism, The Piano Teacher, first published in 1983, is Elfreide Jelinek's Masterpiece. Jelinek was awarded the Nobel Prize For Literature in 2004 for her 'musical flow of voices and counter-voices in novels and plays that, with extraordinary linguistic zeal, reveal the absurdity of society's clichs and their subjugating power. The Piano Teacher was adapted into an internationally successful film by Michael Haneke, which won three major prizes at Cannes, including the Grand Prize and Best Actress for Isabelle Huppert.