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The Prison-House of Narrative

The Prison-House of Narrative THE PRISON-HOUSE OF NARRATIVE Maxwell Miller The Marriage of Maria Braun, directed by Thomas Ostermeier, playscript by Peter Märthesheimer and Pea Frölich, from the film by Rainer Werner Fassbinder, 2010 Brooklyn Academy of Music Next Wave Festival, Brooklyn, New York, November 17–21, 2010. owards the end of The Marriage of Maria Braun, the titular heroine finally builds the house of her dreams. The randomly scattered furniture that had earlier populated the stage, anonymous as a hotel lobby, is reconstituted into a living room. A small model of this home spins slowly downstage, recorded by a live feed camera and projected on the upstage wall: the Teutonic ideal of a single family home. This house, the fulfillment of a decade of sacrifice, stands as a testament to the marriage that has formed the bedrock of Maria’s life. But despite the momentous occasion, the feeling among the characters is not one of celebration but of resigned incarceration. This house was always intended to be the home where Maria and her husband Hermann would finally start their life as man and wife, a life deferred by World War II and then his imprisonment. Instead, it becomes her emotional tomb as she http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

The Prison-House of Narrative

PAJ: A Journal of Performance and Art , Volume 33 (2) – May 1, 2011

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Publisher
MIT Press
Copyright
©© 2011 Maxwell Miller
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/PAJJ_a_00039
Publisher site
See Article on Publisher Site

Abstract

THE PRISON-HOUSE OF NARRATIVE Maxwell Miller The Marriage of Maria Braun, directed by Thomas Ostermeier, playscript by Peter Märthesheimer and Pea Frölich, from the film by Rainer Werner Fassbinder, 2010 Brooklyn Academy of Music Next Wave Festival, Brooklyn, New York, November 17–21, 2010. owards the end of The Marriage of Maria Braun, the titular heroine finally builds the house of her dreams. The randomly scattered furniture that had earlier populated the stage, anonymous as a hotel lobby, is reconstituted into a living room. A small model of this home spins slowly downstage, recorded by a live feed camera and projected on the upstage wall: the Teutonic ideal of a single family home. This house, the fulfillment of a decade of sacrifice, stands as a testament to the marriage that has formed the bedrock of Maria’s life. But despite the momentous occasion, the feeling among the characters is not one of celebration but of resigned incarceration. This house was always intended to be the home where Maria and her husband Hermann would finally start their life as man and wife, a life deferred by World War II and then his imprisonment. Instead, it becomes her emotional tomb as she

Journal

PAJ: A Journal of Performance and ArtMIT Press

Published: May 1, 2011

There are no references for this article.