Drama

Blauschmuck by Katharina Winkler PDF

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By Katharina Winkler

Filiz wächst in einem kurdischen Dorf in der Türkei auf. Sie ist zwölf, als sie sich in den um wenige Jahre älteren Yunus verliebt und mit ihm von einem gemeinsamen Leben im Westen träumt: »›Wie wollen wir leben, Yunus?‹ / ›In denims. Wir werden Jeanshosen tragen. In Deutschland.‹« Mit fünfzehn heiratet sie Yunus – heimlich und gegen den Willen ihres Vaters. Doch mit der Hochzeit platzen auch die Träume von Freiheit und Autonomie: Statt denims trägt Filiz jetzt Burka; gemeinsam mit den drei Kindern, die in dieser Ehe geboren werden, ist sie der körperlichen und seelischen Brutalität ihres Mannes und ihrer Schwiegermutter ausgesetzt. Daran ändert auch die Emigration der Familie in den Westen nichts – vorerst. Denn nach einer neuerlichen Eskalation der Gewalt gelingt Filiz das vermeintlich Unmögliche: die Befreiung aus physischer und psychischer Abhängigkeit.

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Filiz wächst in einem kurdischen Dorf in der Türkei auf. Sie ist zwölf, als sie sich in den um wenige Jahre älteren Yunus verliebt und mit ihm von einem gemeinsamen Leben im Westen träumt: »›Wie wollen wir leben, Yunus? ‹ / ›In denims. Wir werden Jeanshosen tragen.

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Along these lines, a patently comical intrusion – “moo” – modestly crude and mocking, delivers the multilayered content of the sequence in terms more succinct than an elaborated verbal irony might accomplish. The juxtapositions here are finely wrought, with only the bookends of an estate sale and possible marriage to lend Lopakhin’s quick appearance 44 The character of irony in Chekhov and monosyllabic bleat an unexpected magnitude. Gilman argues persuasively for Chekhovian scenic construction to be understood as a “dramatic field” as opposed to a “dramatic line,” and cites the playwright’s letter to his brother in which Chekhov says, “the more mosaiclike the results, the better” (Plays 217).

He remembers the tiniest little details in a flash. (Mrs. ) MRS. SOLNESS: All right, Miss Wangel, your room’s all ready for you now. (812) Such moments are splendidly crafted and layered with successive ironic tonalities. Dr. Herdal is unabashedly arch in calling attention to Hilda’s continued presence, and Hilda herself is playfully, wickedly ironic in praising Solness’s memory, since his recollections of Lysanger have, from her point of view, been so very fallible. Adding to this tone is the fact that if there is one thing Solness remembers all too well it is what he has helped to bring about in Aline’s life – and here, just at this moment, Aline walks in, as if she has been conveniently brought to mind and summoned.

2 Indeed, as Maurice Valency reports in The Breaking String, Chekhov “disapproved strongly of Stanislavksy’s intention of casting himself as Gaev. He wanted him for Lopakhin” (264). Chekhov endows Lopakhin with select behavioral mannerisms, such as the waving of his arms and the checking of his watch, and he incorporates scenic moments for the character that are so distinct, such potent encapsulations of the play’s tones and directions, that each one becomes a finely wrought gestus of the drama’s wider currents and ironic arrangements.

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Blauschmuck by Katharina Winkler


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