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Violence and Gender in the “New” EuropeViolent Authenticities: The Work of Emine Sevgi Özdamar and Feridun Zaimoglu

Violence and Gender in the “New” Europe: Violent Authenticities: The Work of Emine Sevgi Özdamar... [In 2002 I attended a play based on the life of Emine Sevgi Özdamar, Die Deutschlandtür geht auf und gleich wiederzu [The Germany-Door Opens and Closes Immediately] at the Prater, a small experimental stage associated with the Volksbühne on Rosa-Luxemburg-Platz in Berlin. The Germany-Door humorously highlights the paradoxical nature of the characters that Özdamar has conceived of and played. Promotional materials repeat a line from the play: “I always had these mother roles. I am the mother of all filmic Turkish Germans. Perhaps even the grandmother” (“Die Deutschlandtür”). Two actors played Özdamar: Claudia Contreras, who formerly had a career in revolutionary Nicaraguan theater, and Mesut Özdemir, at the time known in Berlin as a transperformer at “Salon Oriental” (R. Müller). At the kitchen table, the two “Emines” exchanged stories in which both actors became the character of Özdamar (while the “real” Özdamar sat in the audience), interweaving their biographies to represent Özdamar both as a revolutionary theater mother and a flirtatious gender-bending performer. During much of the play, clips from Özdamar’s film and television work appeared as backdrop to the performance, roles in which she often played “the mother wearing the headscarf.”] http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png

Violence and Gender in the “New” EuropeViolent Authenticities: The Work of Emine Sevgi Özdamar and Feridun Zaimoglu

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Publisher
Palgrave Macmillan US
Copyright
© Palgrave Macmillan, a division of Nature America Inc. 2013
ISBN
978-1-349-43525-8
Pages
173 –198
DOI
10.1057/9781137007094_6
Publisher site
See Chapter on Publisher Site

Abstract

[In 2002 I attended a play based on the life of Emine Sevgi Özdamar, Die Deutschlandtür geht auf und gleich wiederzu [The Germany-Door Opens and Closes Immediately] at the Prater, a small experimental stage associated with the Volksbühne on Rosa-Luxemburg-Platz in Berlin. The Germany-Door humorously highlights the paradoxical nature of the characters that Özdamar has conceived of and played. Promotional materials repeat a line from the play: “I always had these mother roles. I am the mother of all filmic Turkish Germans. Perhaps even the grandmother” (“Die Deutschlandtür”). Two actors played Özdamar: Claudia Contreras, who formerly had a career in revolutionary Nicaraguan theater, and Mesut Özdemir, at the time known in Berlin as a transperformer at “Salon Oriental” (R. Müller). At the kitchen table, the two “Emines” exchanged stories in which both actors became the character of Özdamar (while the “real” Özdamar sat in the audience), interweaving their biographies to represent Özdamar both as a revolutionary theater mother and a flirtatious gender-bending performer. During much of the play, clips from Özdamar’s film and television work appeared as backdrop to the performance, roles in which she often played “the mother wearing the headscarf.”]

Published: Nov 12, 2015

Keywords: Muslim Woman; German Democratic Republic; Strange Star; Public Intellectual; Military Coup

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