Abstract
This chapter examines Feridun Zaimoglu’s first major commission, undertaken together with Günter Senkel; a radical rewrite of Shakespeare’s Othello for the reopening of the Kammerspiele in Munich which scandalised audiences on its premiere. Focusing on the world premiere as performative intervention into the Munich theatre landscape, I move away from a common reading which positions Zaimoglu as Othello to one which aligns him with Shakespeare and examine the rewrite as a particularly practical way of establishing oneself as a playwright within the German theatrical establishment. The final section of this chapter compares Zaimoglu’s success in this area with that of other Turkish-German playwrights such as Nurkan Erpulat and Nuran David Calis who also make use of the rewrite.
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Notes
- 1.
- 2.
“Geschichte und Geschichten der Migration mit dem für Kanak Attak zentralen Fokus auf die Dynamik der Kämpfe präsentiert”.
- 3.
Heidenreich also highlights the 2003 performance “Le Show Papers Royal” as taking place in SO 36 Berlin, the “go create resistance” at Schauspielhaus Hamburg (2004) and “Dönerstress” at the Präter, Berlin which was partially funded by the Hauptstadtkulturfond (2013, 349–50). See also El-Tayeb (2011, 122–28; 144–61).
- 4.
For discussion of this see Cheesman (2002).
- 5.
Later the same year Zaimoglu/Senkel’s Casino Leger (Casino Casual) premiered at Schauspiel Frankfurt (dir. Marlon Metzen) and their Ja. Tu es. Jetzt (Yes. Do it. Now) premiered at Junges Theater Bremen (dir. Nomena Struß). These plays are published in Zaimoglu and Senkel (2004).
- 6.
“‘n Amokthriller, Alter”.
- 7.
Hagen is both an actress and since 2007 a film director with her own production company, Equality Films.
- 8.
This was followed by Koppstoff (the title is roughly translatable as “head material” or “head stuff”); cf. Dickinson et al. 2008, 1) in 1998, a collection similar in style but offering female perspectives. In 1998, extracts from Kanak Sprak and Koppstoff were performed by actors from the Junges Theater Bremen as a telegenic example of Zaimoglu’s work on a television debate involving the author (see Cheesman 2007, 1–11). This programme can be viewed online under the title “Feridun Zaimoğlu vs. Heide Simonis” at http://www.youtube.com/watch?v=wrV7adgbcMc and http://www.youtube.com/watch?v=Redlbxp0284 [both last accessed 17 July 2014].
- 9.
On the political performances and interventions staged by Kanak Attak in the late 1990s and early 2000s as a group see El-Tayeb (2011, 122–28; 144–61), and on their Kanak TV in particular see Göktürk (2009) and Breger (2015). Zaimoglu’s relationship to Kanak Attak, which formed in 1998, appears to have come to an end in 1999 over his use of the name in the title of a film amongst other differences (Cheesman 2002, 192).
- 10.
The dramaturge for the premiere production was actually Marion Tiedke not Zaimoglu.
- 11.
These questions are also raised in a more earnest and reflective manner in Christian M. Billing’s review (2007, 198 n. 2). Such questions remain open partly because while English-language Shakespeare scholars have thus far concentrated on the play in performance, those with access to German have mainly addressed the play as dramatic text and translation.
- 12.
Although not with respect to this play, Kidnie highlights that the heritage context of the RSC can lead to particularly adverse reactions to more adventurous Shakespeare productions (2009, 45–64).
- 13.
The fact that Perceval’s production began with the actor playing Brabantio slowly taking off his clothes is seen by Michael Dobson as “the perfect comic undergraduate parody of every cliché […] of modern German theatre” (2007, 287).
- 14.
“um den Skandal zu feiern”.
- 15.
- 16.
Further subsequent examples would include Necati Öziri’s The Engagement in San Domingo—A Contradiction (Die Verlobung in San Domingo—Ein Widerspruch, 2019) which sets Öziri “against Kleist”.
- 17.
“Klassikerverhunzung”.
- 18.
“Etikettenschwindel”.
- 19.
“Shakespeare pur”.
- 20.
None of the articles to draw comparisons between Zaimoglu and Senkel’s Othello and the “original” explain which folio they take as their point of comparison. In my 2012 interview with Zaimoglu he was unable to remember which English-language edition he and Senkel had used as the primary basis for their translation. In my own comparisons between the Zaimoglu/Senkel Othello and that of Shakespeare, I made use of the Arden edition (Shakespeare 2001).
- 21.
“Luk Perceval wollte deshalb von Anfang an die Figur Bianca streichen und zugleich die Figur Emilia in der Bearbeitung aufwerten”.
- 22.
This also affects the extent to which the excellent close readings which exist of the dramatic text apply to an analysis of the performance. Unless noted otherwise all quotations from the published text used in this chapter were also present in the Kammerspiele/Thalia production.
- 23.
Kaynar describes the piece as “explicitly translated” (2011, 236). Indeed, the text points to its own status as “rewrite” not only via the significant changes it makes to the plot and characters, but also via the insertion of self-referential lines absent from any version of the “original” Shakespeare such as Rodrigo’s despairing cry: “If things carry on like this I’m going to freak out and become a shitting poet” (“Wenn’s so weiter geht dreh ich durch, un werd n Scheiß Poet”; Shakespeare et al. 2004, 27). This line does not appear in the cut of the script used in the world premiere, however, which further condensed and adapted Zaimoglu and Senkel’s rewrite to form the basis for a striking two-hour performance.
- 24.
Dorn had also been a director there since 1976.
- 25.
“[e]ine programmatische Entscheidung für zeitgenössisches Theater und gegen unangreifbaren Klassizismus”.
- 26.
“[w]as anderswo nicht weiter auffällt, erscheint hier als Kampf zweier Prinzipien”.
- 27.
“die sich möglichst eng – soweit das überhaupt von einer Übersetzung gesagt werden kann – am Original orientierten”.
- 28.
“Ein Theater für Regisseure, die das Stück inszenieren (also weder ihre Obsessionen noch einen Kommentar)”.
- 29.
“Ich hasse Originaltreue wie die Pest. Dass ein Text hoch und heilige Miasmen ausströmt, das peitscht mich eher an, dem Text den Garaus zu machen. Ich will die Menschen vor mir haben, ich will die Geschichte verstehen, und was im Original steht, das interessiert mich nicht vom Wortlaut her sondern vom Sinn. […] [I]ch [habe] den Acker umgepflügt, denn ich hatte die Geschichte verstanden”.
- 30.
- 31.
Tom Cheesman argues that Zaimoglu/Senkel’s Othello breaks with a long history of German translations in its approach to the language of race within the text (2009, 23–27). While this may be the case, I suggest here that it does so by engaging with German translation traditions in approach.
- 32.
“verharmloste Version”.
- 33.
“Shakespeare war ein Provocateur, hat die Geschichte verfälscht. Das war ein Volksautor. Er hat gespielt mit der Provokation”.
- 34.
The role of jazz in the production is also significant. The production in fact toured not only to international Shakespeare festivals, but also to the 2008 Copenhagen jazz festival and Luk Perceval’s production of Othello is mentioned in a chapter on Shakespeare and Jazz (Sanders 2007, 26). As Sanders also notes elsewhere, in postcolonial Othello rewrites such as Harlem Duet, jazz is also invoked as a part of Black heritage (33). Billing, who provides a detailed description of Jens Thomas’ music in his review, argues that the German context where Jazz was often whitewashed alters the way in which this music signifies (2007, 198, n. 6).
- 35.
“nach drei, vier Jahre, wo sie das immer gespielt haben, sind die Schauspieler immer freier […] und auch immer musikalischer mit dem Text [geworden]”.
- 36.
Shakespeare’s Iago uses this phrase in Act I, scene i, and the line is retained in Zaimoglu and Senkel’s version of the dramatic text (Shakespeare et al. 2004, 9).
- 37.
“Wir trugen Luk dieses Stück zur Eröffnung an, gerade auch um eine besondere, jüngere Tradition, die dieses Haus mit Shakespeare pflegt, fortzusetzen. Als dann die Radikalität von Feridun Zaimoglu und Günter Senkels Bearbeitung für diesen Othello hinzukam, wurde uns bewusst, dass dadurch eine neue Positionierung des Theaters, wie wir sie uns wünschten, deutlich zum Ausdruck kommen würde”.
- 38.
“nicht mehr in ihre Vertrautheit zurückkehren würden”. According to Werner’s review, the reactions of the audience at the premiere can be seen as “a final rebellion against the loss of the comfortably familiar, the recognizable” (“eine letzte Rebellion gegen den Verlust des Wohlvertrauten, Wiedererkennbaren”: Werner 2003).
- 39.
As a point of comparison, the second German production of the play, a piece directed by Stefan Nagel for off-scene theatre Theater der Keller in Cologne, provoked nothing like the same degree of controversy. The association of off-scene theatres with less bourgeois audiences may well have had a role to play here, however, the marketing of the play may also have made a difference. While the world premiere had positioned itself firmly within the Shakespeare matrix, the Theater der Keller production appeared as part of the theatre’s programme for a season exploring adaptations of stage classics.
- 40.
While Cheesman positions the iconoclasm at work in the play as one issuing from Zaimoglu’s idiosyncratic relationship to the Muslim faith (2010, 214), there is little to link Zaimoglu’s own faith to the character of Othello within the rewritten text.
- 41.
“Schoko” (Choco) is used as a nickname for Othello by other characters in this rewrite.
- 42.
Nilsson also discusses Othello as “transcultural subject” in relation to the postmonolingual paradigm not only on the basis of the character’s arrival in Venice but also with respect to the interweaving of what she terms Judeo-Christian and Islamic myths in his speeches within the play-text (2018, 543–46). Some of Nilsson’s points about the use of racialized language in the play may overlap with my own here, however as Nilsson had access to my 2014 doctoral dissertation during the preparation of her article, I do not reference her at those particular points.
- 43.
“sie sind Menschenmüll […]. Deshalb sind sie kanaken, deshalb bin ich ein kanake, deshalb bist du ein kanake. Wir sind bastarde, freund”.
- 44.
“Menschenmüll braucht Verwendung. Recycling auf hohem Niveau”.
- 45.
In the cut of the script used in the premiere production, this is shifted to Act IV, Scene ii.
- 46.
“Diese Menschen-Automaten aus Fleisch und Blut leben in einer Welt des Scheins und Scheinmüssens. Die Verstellung ist ihnen zur tödlichen Natur geworden […] Was wir da sehen ist unsere Tragödie. Eine Wirklichkeit, in der Authentizität durch Posen ersetzt ist”.
- 47.
“Giftspur des Wortes”.
- 48.
Cheesman locates this turning point at Act II (2010, 208). I would argue that Othello’s language only becomes vulgar, as opposed to angry, in Act III.
- 49.
“Zuckerschnütchen”.
- 50.
“Hurensau”.
- 51.
“[w]as haben Fotzelecken und die Mafia gemeinsam? Ein Ausrutscher mit der Zunge und du steckst in großer Scheiße” On the misogynistic as well as racist bent of many of the jokes in the play, including this one, see Billing (2007, 194; 199, n. 10).
- 52.
This scene is grudgingly admitted to be successful even by the mainly negative review given by Mirko Weber (2003).
- 53.
“Du liegst auf dem gepanzerten Rücken, du strampelst wie ein dicker Käfer”.
- 54.
Cheesman also identifies this quote more broadly as “Kafkaesque” in his discussion of the existential aspects of the dramatic text (2010, 217).
- 55.
“Ich bin meines Staates Diener”. This motto was seen to differentiate the rule of Frederick the Great from that of the French model of Louis XIV, epitomised by the phrase “L’Etat c’est moi!”. Via this citation, Othello thus becomes a General whose downfall is linked to a specifically Prussian militarism.
- 56.
In contrast, Kaynar suggests that: “The tragedy of the foreign author-dramaturge, as well as of his theatrical agent, lies in the fact that, unlike Pirandello’s Enrico IV, the outsider – especially the privileged and successful one such as Othello or Zaimoglu – is neither capable of being his authentic self nor is he incapable of internalizing the white mask that he himself has grafted onto his face” (2011, 235). Kaynar seems to suggest that it is Othello/Zaimoglu’s failure to wholly occupy only one position, “to internalise” the mask, which constitutes the tragedy here. In Pirandello’s work, however, mask after mask is typically revealed in an unending and ultimately impossible search for “the authentic self”, a process which suggests that freedom is only possible in the “flow” between “forms” (cf. Krysinski 1999). Put differently then, my argument is that the tragedy in fact arises from Othello’s inability to “play” with the masks, as opposed to internalise one of them.
- 57.
On casting and assumptions of whiteness in Germany in the 1980s, see Sieg (2002, 10–13). There has also been a lack of engagement with the history of blackface and the racializing mode of representation it engenders in the German context. This has recently been challenged by members of an anti-racist activist group named Bühnenwatch, who publicly campaigned against the use of blackfacing in the representation of Black characters by white actors at the Deutsches Theater and others from 2011 on. See documentation in Voss (2014, 229–40) as well as analysis of the German “blackfacing debates” which ensued in Dodua Otoo (2012), Sieg (2015) and Sharifi (2018).
- 58.
This casting is played on purposefully in the script, which as we have seen followed rather than preceded the casting decision. Frequent references to race as “mask” present in the full dramatic text, but struck out in the Munich version, highlight its distinction from a core identity: “I am unmasked before you” declares Othello to Desdemona, for example (“Vor dir bin ich unmaskiert”; Shakespeare et al. 2004, Act II, scene ii, 40).
- 59.
“Da Othello nicht sichtbar der schwarze General ist, sondern gleichsam zu diesem schwarzen General durch die anderen gemacht wird, ist der Fokus auf das Stück plötzlich ein anderer. Ich sehe nicht schon von Anfang an das Opfer”.
- 60.
“Neger”. This could also be translated as N***** but as that term is also in use in German I use the above translation here.
- 61.
The Saxon accent is often looked down on and ridiculed as an East German accent; this identifies the actor as “Other” in a German context in a different way.
- 62.
“Schoko”; “der Neger”; “Schokoplätzchen”. For examples of this naming see, for example, Shakespeare, Zaimoglu, and Senkel, Othello, Akt II, Scene I, p. 32; p. 36; p. 35. The association with traditional German words for sweets such as the “Negerkuss” and “Mohrenkopf” created by many of the confectionary terms used is discussed in more detail by Cheesman (2010, 209).
- 63.
“durch die Präsenz der Musik erhalten diese Wörter ihre Schattenseiten. Und die Schattenseite ist universalle Einsamkeit oder besser: Diese Sehnsucht nach Liebe”.
- 64.
This longing was expressed by, for example, Alexander Altmann in his review for the Bayerische Staatszeitung (2003).
- 65.
Emphasis in original. Similarly the language of capture, criminality and aggressive re-appropriation is employed by Kaynar, who characterises the play as “hostile”, “vandalizing”, and claims it “colonizes” Shakespeare (2011, 236).
- 66.
There is a particular irony here in that the potential emotional impact on any Black audience members of listening to or reading the litany of hate speech thrown at Othello in the play is not considered. While playing with the Turkish experience of racialization in Germany through an exaggerated use of hate speech in Zaimoglu/Senkel’s Othello script may be radical in terms of the Turkish-German relationship whether this universalizes, appropriates or sidelines Black and particularly Black German experience is a question to be considered further.
- 67.
For a critical perspective on white normativity at the Munich Kammerspiele see Anta Helena Recke (2018).
- 68.
On Shakespeare as adopted German national author see, for example, Habicht (1989, 113).
- 69.
A detailed reading of Nathan Messias is provided by Cheesman (2012).
- 70.
The exception being Nathan Messias, which premiered at the Ballhaus Naunynstraße in a production directed by Neco Çelik, whose work is discussed in the next chapter, “The ‘Neo-Muslima’ Enters the Scene”.
- 71.
Zaimoglu/Senkel also returned to the Kammerspiele in 2011 with their play Alpsegen, directed by Sebastien Nübling.
- 72.
This is a method which has since been adopted to great success as a means of developing and supporting playwrights with a background of migration by the Maxim Gorki theatre’s Studio Я (est. 2013–2014). There devising work which to some extent merges the roles of director, actor and playwright has also been a key technique in developing new theatre.
- 73.
“geschlossene Gesellschaft”.
- 74.
- 75.
“Ich behaupte mal, dass ich Shakespeare besser kenne als Neuköllner Straßengeschichten. Aber den Intendanten fehlten bis jetzt der Mut, mich auch solche Stoffe inszenieren zu lassen. Das ändert sich gerade”. Here I have used my own translation rather than that provided in Sharifi’s 2017 chapter. Sharifi also discusses Crazy Blood, however, her discussion focuses on the way in which the piece plays with concepts of identity without relating this to the metatheatrical elements of the play (2011a, 40–42). See also Voss, who views the play as an example of a “performative reflexion of ethnic differentiation” (“performative Reflexion von ethnischer Differenzierung”; 2014, 171–218).
- 76.
His subsequent success is reflected in invitations to direct at institutions such as the Deutsches Theater, Maxim Gorki theatre, the Ruhrtriennale and Düsseldorfer Schauspielhaus, where his work has included adaptations of Chekhov’s The Cherry Orchard, and Kafka’s The Castle.
- 77.
“MARIAM: Bist du Türkin oder was? / MUSA: Warum haben Sie uns das nicht gesagt? / SONIA: Weil das niemand was angeht! Das hier ist eine deutsche Schule, hier wird deutsch gesprochen, klar?”
- 78.
“Beabsichtigt ihr den Tabubruch anhand eines Klassikers im Kulturtempel Theater?”
- 79.
“Tabubruch ist was für pubertierende Bettnässer”.
- 80.
“grober Fall von Klassikerverhunzung”. For a discussion of Zaimoglu’s relationship to the German Romantic movement as one opposed to monumentalism and the creation of (religious and national) idols, see Littler (2012, 235–37).
- 81.
“Dieser Text verhält sich zum Original wie der Koran zur Bibel. Er hat dem Urtext alles Widersprüchliche ausgetrieben und mit ihm auch alle Poesie, alle Tiefe. Der Rest ist Plattheit”.
- 82.
Jens Thomas’s musical accompaniment was also criticized by Posener as a “mixture of Monoglian throat-singing, call to prayer, and yodelling” (“Mischung aus mongolischem Obertongesang, Muezzin-Ruf und Jodeln”: 2010), i.e. as having been somehow islamicized. The audiovisual recording I had access to did not suggest anything similar to me (cf. Perceval 2010).
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Stewart, L. (2021). Zaimoglu/Senkel/Shakespeare: Othello (2003) and the Turkish-German Rewrite. In: Performing New German Realities. Contemporary Performance InterActions. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-69848-5_4
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