c · brecht's joan dark, messianic member of the salvation army in early-twentieth-century...
TRANSCRIPT
no
tes
1. G
ener
ally
, the
titl
es o
f th
ese
met
al s
culp
ture
s ar
e se
lect
ed,
alm
ost
casu
ally
, fro
m m
ains
trea
m
film
s, a
s T
rock
el s
eeks
to
sepa
rate
a w
ork
from
its
nam
e-th
at
is, t
o in
dica
te t
he s
truc
ture
of
narr
ativ
e w
ithou
t re
cour
se t
o th
e sp
ecifi
cs o
f its
sto
ry.
2.
A r
elat
ed v
isua
l-ver
bal
pun
tran
sfor
med
Jea
nne
d'A
rc in
to B
rech
t's J
oan
Dar
k, m
essi
anic
mem
ber
of t
he S
alva
tion
Arm
y in
ear
ly-t
wen
tieth
-cen
tury
C
hica
go,
in S
aint
Joa
n of
the
Sto
ckya
rds
(192
8),
his
radi
cally
rev
isio
nist
life
of
the
med
ieva
l mar
tyr.
3.
Thi
s co
llage
d so
undt
rack
is
com
pose
d of
som
e tw
enty
ext
ract
s. F
or a
ful
ler
disc
ussi
on,
refe
r
to L
ynne
Coo
ke,
"In
Med
ias
Res
," in
Ros
emar
ie T
rock
el (M
unic
h: S
amm
lung
Goe
tz, 2
002)
, pp
.
23-2
9.
Bor
n in
195
2 in
Sch
wer
te,
Ger
man
y, R
ose
mar
ie T
rock
el s
tudi
ed p
aint
ing
with
Wer
ner
Sch
riefe
rs a
t th
e W
erkk
unst
schu
le
in C
olog
ne f
rom
19
74 t
o 19
78.
Sin
ce h
er
debu
t sh
ow a
t G
aler
ie P
hilo
men
e M
ager
s (la
ter
Mon
ika
Spr
uth,
Col
ogne
) in
Bon
n
in 1
983,
she
has
exh
ibite
d w
idel
y in
Eur
ope
and
Nor
th A
mer
ica
and
was
inc
lude
d
in s
uch
maj
or s
how
s as
the
Ven
ice
Bie
nnia
l (1
999,
19
96),
Ist
anbu
l B
ienn
ial
(199
9,
1995
), a
nd D
ocum
enta
X (
with
Car
sten
Hol
ler,
199
7).
Rec
ent
one-
pers
on e
xhib
ition
s
wer
e pr
esen
ted
at t
he S
amm
lung
Goe
tz, M
unic
h (2
002)
, D
e P
ont
Fou
ndat
ion
for
Con
tem
pora
ry A
rt,
Tilb
urg
(200
1),
Mod
erna
Mus
eet,
Sto
ckho
lm (
2001
),
the
Ger
man
pavi
lion
in t
he V
enic
e B
ienn
ial
(199
9),
and
the
Kun
stha
lle,
Ham
burg
(tr
avel
ing
thro
ugho
ut
Eur
ope,
199
8).
She
liv
es a
nd w
orks
in
Col
ogne
.
sele
cted
b
iblio
gra
ph
y
Pro
Tes
t: R
osem
arie
Tro
ckel
Man
us S
plee
n 2.
Col
ogne
: W
alth
er K
onig
, 20
02.
Tex
t by
Ros
emar
ie T
rock
el.
Ros
emar
ie T
rock
el. M
unic
h: S
amm
lung
Goe
tz, 2
002.
Tex
ts b
y Jo
sefin
a A
yerz
a, L
ynne
Coo
ke,
lngv
ild G
oetz
, Rei
nald
Sch
umac
her,
and
Ste
phan
Urb
asch
ek.
Ros
s, C
hris
tina.
"V
isio
n an
d In
suffi
cien
cy a
t th
e T
urn
of t
he M
illen
nium
: R
osem
arie
Tro
ckel
's
Dis
trac
ted
Eye
," O
ctob
er,
no. 9
6 (S
prin
g 20
01 )
, pp.
86-
11
0.
Ros
emar
ie T
rock
el: L
a B
ienn
ale
di V
enez
ia 1
999.
2 v
ols.
New
Yor
k: N
abe
Pre
ss,
1999
. T
exts
by W
ilfrie
d D
ickh
off,
Gud
run
lnbo
den,
Ral
ph M
elch
er, J
oan
Sim
on, J
eann
ette
Sto
sche
k,
and
Lisa
Zei
ger.
Ros
emar
ie T
rock
el: B
odie
s of
Wor
k 19
86-1
998.
H
ambu
rger
Kun
stha
lle,
in a
ssoc
iatio
n w
ith
Okt
agon
Ver
lag,
Col
ogne
, 19
98.
Tex
ts b
y S
imon
e de
Bea
uvoi
r, W
ilfrie
d D
ickh
off,
Mar
guer
ite
Dur
as, Y
ilmaz
Dzi
ewio
r, S
ebas
tian
Ege
nhof
er,
Birt
e F
rens
sen,
Gud
run
lnbo
den,
Mel
itta
Klie
ge,
Cat
herin
e La
mpe
rt,
Hol
ger
Lieb
s, a
nd U
we
M. S
chne
ede.
Par
kett,
no.
33
(Sep
tem
ber
1992
). C
olla
bora
tion
with
Ros
emar
ie T
rock
el. T
exts
by
Ver
oniq
ue
Bac
chet
ta,
Ann
e M
. Wag
ner,
and
Bar
rett
Wat
ten.
Reb
ecca
Com
ay w
ill le
ctur
e on
Ros
emar
ie T
rock
el a
t D
ia o
n T
hurs
day,
Dec
embe
r 12
,
2002
, 6:
30 p
m.
Sup
port
for
thi
s ex
hibi
tion
has
been
pro
vide
d by
The
And
y W
arho
l F
ound
atio
n fo
r th
e
Vis
ual A
rts,
Ake
Ske
ppne
r, a
nd t
he m
embe
rs o
f th
e D
ia A
rt C
ounc
il.
site
map
an
d c
hec
klis
t
-->
I 13
0 12
/2 11
~ 3\
10
4f
1.
Ph
ob
ia,
2002
5
alum
inum
pla
tes
blac
k co
tton
trim
min
g in
stal
latio
n si
ze:
81 '2
x 6
1 /2 f
eet
cour
tesy
Mon
ika
Spr
i.ith
Gal
erie
, C
olog
ne,
and
Bar
bara
Gla
dsto
ne G
alle
ry,
New
Yor
k
2.
Bey
on
d t
he
Val
ley
of
the
Do
lls, 2
000
50 a
lum
inum
pla
tes
inst
alla
tion
size
: 10
x 1
91 '2
feet
co
urte
sy M
onik
a S
pri.i
th G
aler
ie,
Col
ogne
, an
d B
arba
ra G
lads
tone
G
alle
ry,
New
Yor
k
3.
No
Wo
man
No
Cry
, 20
00
50 a
lum
inum
pla
tes
inst
alla
tion
size
: 11
x 1
63 /4
fe
et
cour
tesy
Mon
ika
Spr
i.ith
Gal
erie
, C
olog
ne,
and
Bar
bara
Gla
dsto
ne G
alle
ry,
New
Yor
k
4.
Ran
cho
Del
uxe
, 20
01
15 a
lum
inum
pla
tes
inst
alla
tion
size
: 9
x 10
1 '2 f
eet
cour
tesy
Mon
ika
Spr
i.ith
Gal
erie
, C
olog
ne,
and
Bar
bara
Gla
dsto
ne
Gal
lery
, N
ew Y
ork
5.
Bla
ckb
oar
d J
un
gle
, 20
02
72 a
lum
inum
pla
tes
inst
alla
tion
size
: 11
3 /4 x
63 /4
fe
et
cour
tesy
Mon
ika
Spr
i.ith
Gal
erie
, C
olog
ne,
and
Bar
bara
Gla
dsto
ne
Gal
lery
, N
ew Y
ork
6.
Tre
asu
re o
f th
e S
ierr
a M
adre
, 20
02
77 a
lum
inum
pla
tes
inst
alla
tion
size
: 9
x 1 2
1 '2 f
eet
cour
tesy
Mon
ika
Spr
i.ith
Gal
erie
, C
olog
ne,
and
Bar
bara
Gla
dsto
ne
Gal
lery
, N
ew Y
ork
7.
Man
u's
Sp
leen
2,
2002
vi
deo
proj
ectio
n w
ith s
ound
bl
ack
and
whi
te,
10:3
0 m
inut
es
cour
tesy
Mon
ika
Spr
i.ith
Gal
erie
, C
olog
ne,
and
Bar
bara
Gla
dsto
ne
Gal
lery
, N
ew Y
ork
8.
Man
u's
Sp
leen
4,
2002
vi
deo
proj
ectio
n w
ith s
ound
co
lor,
7 :4
2 m
inut
es
cour
tesy
Mon
ika
Spr
i.ith
Gal
erie
, C
olog
ne,
and
Bar
bara
Gla
dsto
ne
Gal
lery
, N
ew Y
ork
9.
Man
u's
Sp
leen
3,
2001
vi
deo
proj
ectio
n w
ith s
ound
co
lor,
1 :5
0 m
inut
es
cour
tesy
Mon
ika
Spr
i.ith
Gal
erie
, C
olog
ne,
and
Bar
bara
Gla
dsto
ne
Gal
lery
, N
ew Y
ork
10.
Man
u's
Sp
leen
1, 2
000,
vi
deo
proj
ectio
n w
ith s
ound
co
lor,
7:2
0 m
inut
es
cour
tesy
Mon
ika
Spr
i.ith
Gal
erie
, C
olog
ne,
and
Bar
bara
Gla
dsto
ne
Gal
lery
, N
ew Y
ork
11.
Man
u's
Sp
leen
5,
2002
vi
deo,
sile
nt
colo
r, 1
:30
min
utes
co
urte
sy M
onik
a S
pri.i
th G
aler
ie,
Col
ogne
, an
d B
arba
ra G
lads
tone
G
alle
ry,
New
Yor
k
1 2.
Lea
vin
g L
as V
egas
, 200
2 vi
deo
proj
ectio
n si
lent
co
lor,
5:1
2 m
inut
e lo
op
cour
tesy
Mon
ika
Spr
i.ith
Gal
erie
, C
olog
ne,
and
Bar
bara
Gla
dsto
ne
Gal
lery
, N
ew Y
ork
13.
Maq
uet
tes
for
un
real
ized
bo
oks
an
d c
atal
og
ues
, 19
83-2
000
Priv
ate
Col
lect
ion
C
C<
0 0 C
< "' " " i -"'
~ " ~ E ,g
~
( .; -"
' )
u 0 ..=
!!' :. E
~ 0 "' 0 t §
C
I \.
/
Ro
sem
arie
Tro
ckel
S
ple
en
Oct
ob
er 1
6, 2
002-
Jun
e 15
, 20
03
Dia
cen
ter
for
the
arts
54
8 w
est
22n
d s
tree
t n
ew y
ork
Ro
sem
arie
T
rock
el
Spl
een
Whe
n yo
u ar
e yo
ung
you
thin
k of
bei
ng a
n ac
tivis
t, a
polit
ical
act
ivis
t. T
his
rais
es t
he
ques
tion
of w
heth
er y
ou r
eally
wan
t to
do
som
ethi
ng f
or o
ther
peo
ple
or t
o de
mon
stra
te
a ki
nd o
f se
lf-ad
mira
tion.
Whe
n I s
tart
ed t
o w
ork
on B
rigitt
e B
ardo
t th
at w
hole
dis
cuss
ion
cam
e ba
ck b
ecau
se s
he i
s su
ch a
con
trov
ersi
al f
igur
e-an
d sh
e re
calls
Mot
her
Cou
rage
.
It's
very
inte
rest
ing
that
she
has
this
qua
lity
of b
eing
a m
odel
for
eve
ryth
ing.
And
yet
she
is
alw
ays
deco
nstr
uctin
g he
r ow
n ro
le, e
ven
if no
t al
way
s in
a v
ery
refle
ctiv
e w
ay ...
. T
he f
act
of b
eing
a m
odel
doe
sn't
indi
cate
whe
ther
it's
a p
ositi
ve m
odel
, whe
ther
it's
goo
d or
bad
.
A m
odel
is n
ot s
trai
ghtfo
rwar
d, n
ot s
o cl
ear:
it's
mad
e ou
t of
circ
umst
ance
s, i
nclu
ding
you
r
own
pers
pect
ive.
The
re i
s no
mod
el f
or h
ow t
o de
al w
ith a
mod
el.
-Ros
emar
ie
Tro
ckel
Def
ined
as
'the
seat
of
emot
ions
and
pas
sion
s," s
plee
n is
the
sem
inal
con
cept
inf
orm
ing
a
cycl
e of
sho
rt v
ideo
pro
ject
ions
, ba
sed
on a
you
ng w
oman
nam
ed M
anu,
whi
ch R
osem
arie
Tro
ckel
has
bee
n in
volv
ed w
ith f
or s
ome
time.
For
thei
r pr
esen
tatio
n at
Dia
she
has
orch
estr
ated
an
inst
alla
tion
arou
nd a
seq
uenc
e of
arc
hite
ctur
al i
nter
vent
ions
. F
ive
free
stan
ding
wal
ls, w
hose
out
er s
urfa
ces
are
arm
ored
in
an i
nter
lock
ing
patte
rn o
f m
obile
met
al p
late
s, c
ut a
pat
h th
roug
h th
e re
furb
ishe
d w
areh
ouse
gal
lery
. On
the
obve
rse
of
each
is
a pr
ojec
tion,
sca
led
to s
ite.
In th
e re
cess
es o
f th
e sp
ace,
two
vitr
ines
con
tain
maq
uette
s fo
r un
real
ized
boo
ks a
nd c
atal
ogue
s. A
djac
ent
is a
brie
f am
bien
t lo
opin
g vi
deo,
Leav
ing
Las
Veg
as (2
002)
, sh
ot b
y a
cam
era
crui
sing
slo
wly
thr
ough
a s
ilent
sto
rage
site
whe
re a
band
oned
ref
riger
ator
s aw
ait
recy
clin
g. T
his
ghos
tly f
oota
ge i
s su
gges
tivel
y,
if in
defin
ably
, con
nect
ed w
ith t
he s
heat
hed
scul
ptur
al w
alls
.'
Man
u's
Spl
een
1 (2
000)
is
set
in
a ce
met
ery.
Afte
r tw
o co
nsor
ts h
ave
shift
ed a
cor
pse
in a
n op
en g
rave
to
one
side
, m
akin
g ro
om f
or a
sec
ond
incu
mbe
nt,
Man
u ju
mps
in
and
falls
bac
k, p
rone
, as
if sh
e to
o w
ere
dead
. Jus
t as
abr
uptly
, she
cla
mbe
rs o
ut,
and
the
trio
lea
ves
as c
asua
lly a
s it
had
arriv
ed. T
houg
h th
e co
nver
satio
n is
nev
er h
eard
, a h
eart
stop
ping
ly p
lang
ent
mel
ody
acco
mpa
nies
the
epi
sode
, its
hau
ntin
g re
frai
n lin
gerin
g in
the
view
er's
min
d lo
ng a
fter
the
cred
its h
ave
rolle
d. A
ttrac
tive,
rel
axed
, Tro
ckel
's p
rota
goni
sts
are
blith
ely
imm
une
to a
ny s
ugge
stio
n of
the
mac
abre
or
goth
ic h
orro
r: e
mot
iona
l cu
es
are
inst
ead
trig
gere
d by
the
unfo
rget
tabl
e so
undt
rack
.
The
whi
msi
calit
y pe
rmea
ting
Man
u's
Spl
een
1 is
mat
ched
by
a di
sorie
ntin
g ca
pric
ious
ness
in M
anu'
s S
plee
n 3
(200
1 ),
whi
ch a
ddre
sses
birt
h, a
lbei
t ob
lique
ly, a
nd a
esth
etic
cre
ativ
ity,
by im
plic
atio
n. A
t a
baby
sho
wer
, a
preg
nant
wom
an,
agai
n M
anu,
blo
ws
out
the
cand
les
on a
cak
e am
id m
uch
hila
rity
and
exci
tem
ent.
As
she
puffs
, th
e bu
rst
of a
bal
loon
is
hear
d,
and
her
stom
ach
sim
ulta
neou
sly
defla
tes.
Usu
ally
con
side
red
a co
nditi
on o
f hy
ster
ia,
here
fal
se p
regn
ancy
thr
eate
ns t
o be
com
e a
colle
ctiv
e m
ania
, in
that
its
unm
aski
ng f
ails
to i
nter
rupt
thi
s ef
ferv
esce
nt c
eleb
ratio
n. I
ndee
d th
e br
ief
epis
ode
repe
ats
twic
e m
ore,
to
the
allu
ring
stra
ins
of M
adon
na's
rec
ordi
ng o
f "D
on't
Tel
l Me"
pla
yed
back
war
ds,
in r
ewin
d.
Onc
e ag
ain,
wha
t sh
ould
hav
e be
en a
dis
turb
ing,
eve
n un
cann
y, e
vent
ref
utes
str
aigh
tforw
ard
inte
rpre
tatio
n. S
lyly
and
gla
ncin
gly,
Man
u's
Spl
een
3 in
timat
es t
hat
even
thos
e cu
ltura
lly
\ co
nstr
ucte
d no
tions
tha
t in
scrib
e th
e m
ost
fund
amen
tal
form
s of
fem
ale
crea
tivity
int
o
the
soci
al c
an b
e fr
eed
of t
heir
debi
litat
ing
path
olog
ical
, m
enta
l, an
d em
otio
nal
attr
ibut
es.
Sim
ilarly
, as
evid
ence
d in
the
inau
gura
l vi
deo
in th
e se
ries,
that
sel
f-ob
sess
ed
mor
bid
mel
anch
olia
rom
antic
ally
cre
dite
d to
mal
e ge
nius
may
pro
ve b
ut a
gui
se t
o be
ado
pted
at
will
.
For
mul
ated
with
the
ter
se c
onci
sion
of
a te
levi
sion
inf
omer
cial
or
an M
TV
clip
, the
se w
orks
posi
tion
the
view
er a
s a
disp
assi
onat
e w
itnes
s to
con
stru
ctio
ns o
f id
entit
y pr
emis
ed o
n a
labi
le r
ole-
play
ing.
In M
anu'
s S
plee
n 2
(200
2),
the
epon
ymou
s fig
ure
beco
mes
the
adj
unct
to
a sp
eake
r at
a de
mon
stra
tion
prot
estin
g th
e pr
opos
ed d
emol
ition
of
two
key
cultu
ral
icon
s, th
e C
olog
ne
Kun
stve
rein
, an
d K
unst
halle
whi
ch f
or d
ecad
es h
ave
been
the
site
of
vang
uard
exh
ibiti
ons
and
rela
ted
prog
ram
min
g. S
hot
in b
lack
and
whi
te i
n a
docu
men
tary
mod
e, th
is w
ork
feat
ures
the
ren
owne
d ac
tor
Udo
Kie
r, a
nat
ive
of t
he c
ity, w
hom
Tro
ckel
inv
ited
to r
ead
a sp
eech
she
wro
te f
or b
oth
this
vid
eo a
nd a
s he
r ow
n co
ntrib
utio
n to
the
ong
oing
cam
paig
n, t
o w
hich
she
is
pass
iona
tely
com
mitt
ed.
Con
flatin
g in
vent
ion
and
actu
ality
,
fictio
n an
d hi
stor
y, M
anu'
s S
plee
n 2
elud
es e
asy
clas
sific
atio
n; f
or, w
hile
fol
low
ing
Tro
ckel
's
dire
ctiv
es,
the
acto
r, in
his
ow
n rig
ht a
s a
loca
l citi
zen,
sim
ulta
neou
sly
cont
ests
the
pol
itica
l
deci
sion
. T
heir
dres
s, m
ien,
and
man
ner
add
a fu
rthe
r tw
ist:
he a
nd M
anu
infu
se i
nto
this
deba
te a
cou
nte
Q:
ultu
ral
aura
red
olen
t of
the
six
ties,
the
era
in w
hich
the
Kun
stve
rein
and
Kun
stha
lle w
ere
esta
blis
hed.
In c
ontr
ast,
Man
u's
Spl
een
5 (2
002)
tr
eats
the
med
ium
of
vide
o as
a c
onve
nien
t de
vice
for
reco
rdin
g a
quix
otic
ges
te,
an a
gile
im
prov
isat
ion
redo
lent
of
a F
luxu
s pe
rfor
man
ce
or a
ctio
n. H
ere,
as
else
whe
re i
n th
e se
ries,
the
unas
sum
ing
mod
esty
of
the
ende
avor
, the
disa
rmin
g lig
htne
ss o
f to
uch,
and
the
com
ic t
ende
rnes
s be
tray
Tro
ckel
's s
igna
ture
sen
sibi
lity.
Beg
uilin
g ye
t cr
yptic
, M
anu
is a
key
rol
e m
odel
in
Tro
ckel
's c
urre
nt p
anth
eon,
am
ong
the
mos
t po
tent
and
per
sist
ent
of w
hom
is
Brig
itte
Bar
do!.
BB
: th
ose
ubiq
uito
us i
nitia
ls
inev
itabl
y co
njur
e th
e F
renc
h ac
tres
s w
ho h
as lo
ng t
ease
d an
d ta
xed
adm
irers
as
wel
l as
detr
acto
rs,
prov
okin
g w
ildly
div
erse
res
pons
es f
rom
suc
h di
sput
atio
us f
emin
ists
as
Sim
one
de B
eauv
oir
and
Mar
guer
ite D
uras
. The
y al
so b
elon
g to
the
Ger
man
pla
ywrig
ht B
erto
lt
Bre
cht,
who
se M
othe
r C
oura
ge i
s si
mila
rly c
onte
sted
. W
ar p
rofit
eer
or m
isgu
ided
mat
erna
l
prot
ecto
r? E
xplo
iter
or h
isto
ry's
vic
tim?
Or
...
Man
u's
Spl
een
4 (2
002)
di
still
s an
d co
nden
ses
Bre
cht's
pla
y in
to a
six
-and
-a-h
alf-
min
ute
vide
o pr
ojec
tion.
Its
cas
t of
hyb
rid c
hara
cter
s ce
nter
on
Cou
rage
(pl
ayed
by
Man
u) w
ho,
dres
sed
in a
Cou
rreg
es o
utfit
, pr
imps
and
pre
ens
in f
ront
of
a fr
ying
pan
/mirr
or.
Kat
trin
,
her
ill-s
tarr
ed m
ute
daug
hter
, is
mel
ded
into
tha
t qu
inte
ssen
tial
fem
ale
mar
tyr
Joan
of
Arc
,
who
se m
ost
here
tical
act
s, in
the
judg
men
t of
the
pro
secu
ting
eccl
esia
stic
al a
utho
ritie
s,
incl
uded
her
ref
usal
to
rem
ove
men
's a
ttire
and
res
ume
clot
hes
appr
opria
te t
o he
r st
atus
(and
gen
der)
.' T
he p
rost
itute
Yve
tte, w
ho a
lone
pro
fited
fro
m t
he w
ar b
y fin
ally
mar
ryin
g a
colo
nel,
is c
onfla
ted
with
Jac
kie
O; f
ittin
gly,
she
spe
nds
her
time
polis
hing
and
ser
vici
ng a
gian
t ca
non.
Like
Bre
cht,
Tro
ckel
lam
inat
es m
ultip
le r
efer
ence
s an
d na
rrat
ives
.' F
or e
xam
ple,
Frie
dric
h vo
n S
chill
er, C
arl
Dre
yer,
Rob
ert
Bre
sson
, an
d P
eter
Tch
aiko
vsky
(am
ong
the
num
erou
s ot
hers
who
tac
kled
the
sub
ject
of
Joan
of
Arc
) w
ere
criti
cal
to h
er c
ompo
site
cre
atio
n. E
qual
ly d
eter
min
ing
wer
e ce
rtai
n co
nsta
nts
in
her
own
prac
tice,
fro
m t
he s
ymbo
lic a
nd a
ssoc
iativ
e ro
le s
he h
as lo
ng a
ccor
ded
dres
s, c
ostu
me,
and
cou
ture
, to
her
abi
ding
fas
cina
tion
with
a p
anop
ly o
f in
stan
tiatio
ns o
f th
e id
ol, c
ult
figur
e, a
nd s
tar
in th
e co
ntem
pora
ry c
ultu
ral
imag
inar
y.
Mem
orab
le, t
oo, i
s ho
w b
oth
Bre
cht
and
Tro
ckel
use
mus
ical
int
erlu
des
to
punc
tuat
e th
e un
fold
ing
of a
tale
, as
com
men
tary
or
coun
terp
art.
A c
onst
antly
inte
rrup
ted
radi
o tr
ansm
issi
on,
mad
e by
Kat
trin
sw
itchi
ng t
he d
ial f
rom
sta
tion
to
stat
ion
in a
fran
tic a
ttem
pt t
o un
ders
tand
the
inf
amy
unra
velin
g ac
ross
the
wor
ld,
is th
e ve
hicl
e fo
r T
rock
el's
bril
liant
ly c
ompa
cted
sou
ndtr
ack.
He
r m
ise-
en-s
cene
is m
odel
ed o
n th
e de
finin
g pe
rfor
man
ce b
y th
e B
erlin
er E
nsem
ble
in 1
949,
in
whi
ch t
he i
sola
ted
cart
is
turn
ed i
n on
e di
rect
ion
whi
le b
eing
hau
led
in a
noth
er.
War
's in
evita
ble
fodd
er,
the
sons
Eile
f an
d S
wis
s C
hees
e ar
e qu
ickl
y di
spat
ched
.
Gar
bed
in f
lesh
-col
ored
le
otar
ds t
o en
hanc
e th
eir
imm
atur
e in
noce
nce,
the
y
are
sedu
ced
by th
e ga
ping
thr
oat
of t
he c
anon
, sac
rific
ed t
o a
vora
ciou
s P
hallu
s.
Iden
tical
blo
nds
occu
py th
e pr
ompt
er's
box
, a c
horu
s co
mpr
ised
of
Bar
do!
and
her
doub
le.
(i;}
Man
u's
Spl
een
4, th
e os
mot
ic f
low
of
desi
re a
nd d
ashe
d ho
pes,
of
irony
and
earn
estn
ess,
aga
in p
erta
ins
to t
he w
ork'
s re
posi
tioni
ng i
n th
e 19
60s.
The
fai
led
utop
ian
drea
ms
of t
he C
old
War
-with
its
doo
med
offs
prin
g, l
iber
atio
n an
d re
sis
tanc
e m
ovem
ents
-are
po
igna
ntly
con
jure
d in
Joh
n Le
nnon
's y
earn
ing
refr
ain
"imag
ine
all t
he p
eopl
e." S
ince
war
and
bus
ines
s ar
e, a
ccor
ding
to
Bre
cht,
but
two
side
s of
the
sam
e co
in, t
he p
ostw
ar w
orld
was
fac
ed w
ith a
his
toric
al p
re
dica
men
t of
unp
rece
dent
ed g
ravi
ty. I
nitia
lly d
ecep
tivel
y ly
rical
, ulti
mat
ely
deep
ly
disq
uiet
ing
, Tro
ckel
's p
resc
ient
rew
orki
ng o
f B
rech
t's c
lass
ic is
unn
ervi
ngly
tim
ely.
Men
tors
at
once
fla
wed
and
ins
pira
tiona
l, de
Bea
uvoi
r, D
uras
, Bar
do!,
and
oth
ers
offe
r ex
empl
ary,
if n
ot p
resc
riptiv
e, e
xplo
ratio
ns o
f ge
nder
rol
es. B
ut,
in th
eir
mul
tiple
, al
mos
t co
ntra
ry, a
ppro
ache
s to
the
con
cept
of
the
role
mod
el, s
uch
anti
thet
ical
fig
ures
ind
icat
e w
hy i
t is
so
diffi
cult
to i
dent
ify a
the
oret
ical
ly c
onsi
sten
t,
anal
ytic
ally
gro
unde
d fe
min
ist
agen
da w
ithin
Tro
ckel
's p
ract
ice.
In
her
art,
the
fem
inin
e an
d fe
min
ist
cons
tant
ly i
nter
twin
e an
d re
frac
t, pe
rsis
tent
ly c
onfo
undi
ng
dogm
atic
for
mul
atio
n. T
his
ceas
eles
s pr
obin
g of
rec
eive
d no
tions
, cl
iche
d
conv
entio
ns,
and
inst
itutio
naliz
ed v
alue
s is
effe
cted
by
sub
terf
uge,
beg
uile
men
t,
cont
radi
ctio
n, a
nd r
igor
ous
circ
umve
ntio
n of
the
por
tent
ous,
mon
umen
tal,
and
alle
gedl
y si
gnifi
cant
. F
orsw
earin
g a
foun
datio
n in
wha
t ar
e de
emed
ess
entia
list.
trut
hs,
the
Spl
een
serie
s is
pre
mis
ed o
n th
e be
lief
that
wha
t is
in c
onte
ntio
n ar
e
not
visi
ons
of r
ealit
y bu
t st
ereo
type
s an
d ar
chet
ypes
, tho
se p
erva
sive
and
top
ical
repr
esen
tatio
ns t
hat
only
mas
quer
ade
as u
npro
blem
atic
and
una
ssai
labl
e.
L.C
.