The fishermen's revolt

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Movie
German title The fishermen's revolt
Original title Восстание рыбаков
Vosstanie Rybakov
Country of production Soviet Union
original language Russian
Publishing year 1934
length 88 (92) minutes
Rod
Director Erwin Piscator
Michail Doller
script Georgi Grebner
production W. Chaika, Meshrabpom film
music Ferenc Szabó
Wladimir Fere
Nikolai Tschemberdschi
camera Pyotr Yermolov
Mikhail Kirillov
cut M. Shitova
occupation

The uprising of the fishermen ( Russian Восстание рыбаков , Vosstanie rybakow ) is a feature and early sound film based on the novella Uprising of the fishermen by St. Barbara by Anna Seghers , which was published between 1931 and 1934 on behalf of the German-Russian Meschrabpom-Film Aktiengesellschaft in the Soviet Union came into being. Originally, a German and a Russian version directed against the growing Nazi movement were to be produced. Due to considerable organizational deficits and differences between the film company and the director, only the Russian version could be completed. It is the debut feature film of the German director Erwin Piscator .

The film deals with a strike among workers at the Bredel shipping company. The strike was triggered by an accident in the fish processing department, for which the workers blame the excessive work pace on the shipping company's fishing fleet. After the death of a strike leader, the strike escalated and spread from deep-sea fishermen to the region's independent coastal fishermen.

The fishermen's uprising resembles the style of the work of the Soviet film directors Sergej Eisenstein and Vsevolod Pudowkin from the transition from silent to sound film in its editing effects, long tracking shots and lighting direction . Due to the technology of the moving camera and its independent sound control, the feature film stands in contrast to the Russian film tradition.

The fishermen's uprising premiered in the Soviet Union in October 1934. An export version with subtitles was distributed in other European countries the following year. The film was presented for the first time in Germany during the 6th West German Short Film Festival in March 1960. He has been in since film clubs , cinemas and film festivals like the Berlinale 2012 presents, but the "precarious situation copy a larger reception" slowed.

action

The fishermen's uprising deals with a strike among the impoverished deep-sea fishermen or sailors in the coastal town of Port Sebastian (also: San Sebastian), which is triggered by deteriorating working conditions on the ships of the shipping company Bredel. The fishermen on one of Bredel's ships bring in the catch. A shark came on board as bycatch and is still dying to try to eat a small fish. The sailors gutting the fish are repeatedly asked to work faster. The pace of work on the ships of Bredel's fishing fleet has increased significantly, as the shipowner only uses three men per shift instead of four. When a worker cuts off his thumb with a cleaver, the fishermen spontaneously stop work in protest.

In view of the accident, the deep-sea fishermen ask the captain to withdraw the intensification of work. Four men should be employed again per work shift. When the captain rejects this request, the deep-sea fishermen decide to go on strike. The fishing fleet must return to the port of the capital Port Sebastian. The wages are withheld from the sailors in the shipping company office in Port Sebastian. The garrison commander and the shipowner Bredel witness the orderly departure of the striking sailors. The commander has soldiers deployed.

Strike leader Hull calls for a joint strike between the deep-sea fishermen from Port Sebastian and the coastal fishermen in the area, whose economic situation is slightly better than that of the deep-sea fishermen. A joint labor dispute did not materialize, however, as the shipowner Bredel promised the small fishermen in the area one hundred percent more wages for their catch. The small fishermen then run out for Bredel, but lose half of their catch on stormy seas. The deep-sea fishermen, on the other hand, prevail with their demands against the shipping company and initially resume work. Bredel breaks his promise to pay the coastal fishermen a wage supplement. When the coastal fishermen have to realize that Bredel does not feel bound by his promise, they still meet the deep-sea fishermen from Port Sebastian. In Desak's inn in the small coastal town of St. Barbara, the deep-sea and coastal fishermen discuss a joint labor dispute. However, the gathering is broken up by an act of arson.

A group around the moderate fisherman Kerdhuys decided against the strike and wanted to go fishing for Bredel the day after the unsuccessful meeting in St. Barbara. In the morning, the individualist Martin Kedennek from St. Barbara and his people, who want to strike the shipping company, lie in wait for Kerdhuys and his colleagues. Kedennek tries with a knife to stop Kerdhuys from breaking the strike. When Kedennek attacks Kerdhuys, he is struck down by the bullet of one of the soldiers who the garrison commander mobilized. The next morning there is another direct confrontation between strikers and a group of coastal fishermen around the well-off boat owner Bruyk, who - like Kerdhuys the day before - wants to sail for Bredel in the dunes. The young fisherman Andreas, who lives with the Kedennek family, also apparently joins the strike breakers. However, Andreas is secretly planning an explosives attack on Bruyk's fishing boat.

The mood in the coastal fishermen's communities is tense. The mourning fishermen from the entire coastal region flock to the funeral of Martin Kedennek. The shipowner Bredel arranges for more soldiers to be sent to St. Barbara as he fears that the conflict will escalate. Bredel asked the clergyman to stop the mourners at the grave. At the tomb, the situation threatens to get out of control. The fishermen's displeasure at a preaching sermon by the clergyman, who sharply condemned Kedennek's actions, breaks out into a cry from the widow, Marie Kedennek. Marie Kedennek knocks the Bible out of the priest's hand and tears it up. Meanwhile, the soldiers in St. Barbara are looking for the revolutionary sailor Hull from Port Sebastian, whom Bredel identified as the actual ringleader of the strike movement. The soldiers devastate Desak's pub and rape the prostitute Marie, who works as a temporary worker for Desak and who has a relationship with Andreas. The funeral is interrupted by explosions on Bruyks ship caused by Andreas. The explosions give the signal for an uprising by the coastal fishermen against the shipowner and the summoned military, who are approaching the cemetery in a rifle chain.

There was bitter fighting between the insurgent fishermen and their wives and the military, during which the saboteur Andreas was shot while trying to escape. After the soldiers had captured strategically important weapon positions, the outnumbered rebels led by strike leader Hull decided the unequal fight for themselves. In the turmoil of the uprising, Bredel managed to escape.

Relationship to the literary original

The feature film based on the novel Revolt of the Fishermen of St. Barbara of Anna Seghers , for the author in 1928 of the Kleist Prize was awarded. Piscator made major changes to the fable. From the pessimistic proposal, in which the misery of the fishermen is described in detail, he made a militant appeal for the popular front against Nazi Germany. The director pointed out that he had initially relocated the film plot “from northern Spain to northern Germany”, thereby enabling the main characters to “get in touch with those who were currently in a similar social position. It corresponded to the small fisherman, the small farmer ”. Piscator's geographical considerations initially relate to the unfinished German version of the film. Film scholar Günther Agde also interprets the completed Russian version of the film from 1934 as a “virtually placeless, but clearly non-Russian film”. Piscator originally wanted to reach a German film audience and the unorganized and politically unorganized layers in Germany, which he thought were particularly susceptible to National Socialism . Anna Seghers had already shown that these layers were “dependent until they were exhausted”. On the other hand, he wanted to illustrate how one could remain independent when organizing in a union.

According to the theater scholar Peter Diezel, Piscator took on the "anti-fascist united front and the inclusion of the petty-bourgeois classes" in his film adaptation, in keeping with the strategic guideline of Thälmann's KPD leadership . Compared to Anna Seghers, however, this manifested itself as a “rather brutal approach”, as it meant nothing less than a “deconstruction of her narrative text”. To this end, as he later summed up, Piscator had introduced a seaman's union in his literary film adaptation , which "worked on the trawlers sent by large fisheries and had started a strike because the fourth man in a work group had been taken away." Meanwhile, the small-scale fishermen continued to work and thus basically became strikebreakers; it followed a series of won and lost strikes. According to Piscator, however, “because the organized helped the unorganized, even when it was no longer a matter of their own cause, these strikes were transformed from purely economic to political actions and - at least I hoped - became a call against a system like the Nazis intended it. "

Anna Seghers (1966)

The Seghers expert Helen Fehervary also comes to the conclusion that Piscator is deconstructing an essential element of his literary model: The subject in Seghers' model is the "failed strike by the fishermen against the shipping company, which controls their wages and their entire life. In the end, the boats sail under the same conditions that gave rise to the uprising. The everyday life of class relations is thus restored. ”This element of failure in Seghers' submission is evidence of the revolutionary history in Central Europe after the First World War . At the beginning of Seghers' narrative, the failure of the rebels is visualized with an allegory of the uprising: Long after the rebellion of the fishermen, the uprising “still sat on the empty, white, summery, bare marketplace” and “quietly addressed his own people who he was born with, raised, cared for and looked after for what was best for her ”, thought. Piscator's film lacks this allegorical moment, since it aims at a successful uprising.

While the geographical setting of Seghers' story cannot be determined, Piscator imagined “a story explicitly set on the German North Sea coast” that evoked the naval and Spartacus uprisings of 1918 and 1919: “The murder of Karl Liebknecht echoes in Kedennek's martyrdom in January 1919 to; In the funeral procession and burial scenes, the response from the mourning masses who accompanied Liebknecht's coffin through the streets of Berlin. ”In terms of the plot and characterization of the characters, however, according to Fehervary, Grebner's script mostly stuck to Seghers' original. But the crucial difference between the narrative and the film lies at the end of the film, namely the revolt of armed sailors, which Seghers does not. While Seghers retrospectively represents a failed uprising, at Piscator armed sailors come to the aid of the poorly prepared and organized fishermen. After the last fight, the film ends “with a victorious song, beaming faces and a happy ending for everyone, except for the Bredel shipping company and their hired soldiers.” Here you can feel behind the camera the “deeply felt, one would almost say desperate call from the film director for Activism in times of crisis. "

The cultural scientist Simone Schofer differentiates the psychological characterization style of the book from the “politicized” portrayal of people in the film. Seghers put individuals more in the foreground and extensively portray individual reactions and feelings in order to make the development of the uprising understandable for the reader. The feature film, on the other hand, aims to describe the uprising itself, so that the viewer does not always fully understand individual actions. In the film, however, the female characters, who in Seghers' mostly stereotypical roles in the household and at the stove, are more exposed and actively involved in the economic and political struggle. While Seghers 'narrative is characterized by an emphatically unsentimental, sober form of representation, Piscator is above all about awakening the revolutionary consciousness of a workers' community in the masses and calling for cohesion in struggle. This can be clearly seen in the "somewhat unrealistic victory of the fishermen over the soldiers" at the end of the film, after an unequal fight with bare hands and sticks against machine guns. Although Seghers' submission was geared to the “inevitable tragedy of defeat” from the outset, her work was nonetheless not in contradiction to Piscator's intentions, since even with her the men did not give up hope of the uprising and the uprising in the following year was still “ crouched in the squares of the place.

Film analysis

The State Film Archive of the GDR was in his series "Film music" soon after Piscator's death an undated information sheet on The Revolt of the Fishermen out of the theater director Piscator thus in his only film, the wide range of cinematic expression have ruled supreme. The constant alternation between close-ups, long shots and long tracking shots, the atmospheric lighting and the symbolic imagery are emphasized as a striking cinematic aesthetic means of design: “The close-up and detail shots bring order to the crowd scenes and constantly force the viewer to make personal statements. It is both symbolic and at the same time expressive atmospheric expressiveness. ”The author of the information sheet refers to the entry symbol of the dying shark, which is devouring a fish with its last twitches, to a knife flashing in the sand, as the fronts of the workers face to face, as well as on the boots of the soldiers who freeze Marie shortly before the rape sequence. Incidentally, the highlights of the film are due to an assembly technique trained on Eisenstein's silent films , through which the dramaturgical contrasts are increased to “incredible speed”. In addition to the camera work, the crowd scenes and the parallel montages , the sound management, which was still young at the time, is cited: "The sound is particularly effective in the functional incorporation of songs and fighting songs that are repeated at the height of the action". As a static, reflective element, the choir of deep-sea fishermen forms a counterpoint to the play about the small fishermen.

The Germanist Klaus Gleber describes the preferred use of “cut effects and montage” as characteristic of Piscator's film: “The latter is both contrasting (while the priest invokes the divine right to power, the Soldateska rages) and symbolically reinforcing (surf as an illustration of the Survey) related. Close-up shots, long tracking shots are just as much a part of the inventory as the image, which is based on the viewer's power of association. ”The communication scientist Hermann Haarmann also emphasizes the rapid camera movements and movements, angled camera work and rapid editing sequences - unusual for the time. However, Piscator's film always maintains the “balance between aesthetic innovation and traditional schematization”, especially with regard to the more conventional character management including physiognomy, posture and clothing on the one hand and an avant-garde design language borrowed from epic theater on the other. The avant-garde design language includes the brief introduction of the characters through their faces at the beginning of the film, the spoken and faded-in comments - the subtitles are reminiscences of the silent film - and the choral element of the music. The fact that after each “film chapter” a choir intervenes in the plot is due to Bertolt Brecht's Lehrstück-Theater , from which Piscator borrows.

Jasmin Arnold recognizes an innovation in film aesthetics in the fact that Piscator "interspersed the noises of the ships with words, chants and choirs." With regard to the assembly principles, she points out that Piscator has long since ceased to have them consistently, but only where they seemed appropriate to him. used. He left long discussions unedited and approached the speakers. For the cultural scientist Bianca Schemel, the cinematic use of the choir, which is often led "too static and wooden", shows Piscator's origins in theater direction. Schemel also refers to the special effect of the rear projection that Piscator used when the assassin Andreas escaped from the military: “Andreas' flight and his pursuit by the soldiers are filmed with a special effect , the rear projection. In this one part of the scene is filmed and the actor is then recorded again before the film that has already been shot. "

Hermann Haarmann also points out the film's “heavy lighting direction”, which is handled with virtuosity in connection with natural motifs and landscape images, among other things: “Pipe and cigarette smoke rises everywhere, and in the backlight it envelops heads or silhouettes - even silhouettes confirm the use of the strongly symbolizing light. "At the same time, the intensive" emphasis on the elements (sea with ebb and flow, rising and waning storm, moonlit night and bright day) "reinforces the" impressive play of light. These motives from nature converge in the demonstrative escalation of the social struggle as a quasi-naturally developing conflict between the strikers, the strike breakers and the soldiers bought by the state, church and bourgeoisie who do the dirty business. "

subjects

On the occasion of the re-screening of the film at the Berlinale 2012, film scholar Günter Agde emphasizes the close look at the “work in the details of its execution” that Der Aufstand der Fischer shares with other Meschrabpom-Film productions. The “furious beginning” of the film shows “an abundance of details of fishing at sea, salvage and landing in the harbor.” At the same time, however, this demonstration of different forms of work reveals “an almost naive trust of the filmmakers in the physical strength of the workers that pointed beyond the films. ”Apart from the technological side of the topos“ work ”, these cinematic sequences would have given the cinema audience of the time interesting insights into everyday life in the Soviet world of work. In this respect, these images have their own documentary value beyond the film. The treatment of the work topos quickly shifts from the initial focus on concrete work processes to aspects such as intensification of work, organized labor disputes and their violent suppression.

The film is shaped by the endeavor, in line with the KPD policy of the time, to oppose the growing Nazi movement at the end of the Weimar Republic with an anti-fascist united front , for which the petty-bourgeois classes were to be won over. On the basis of the labor dispute that the deep-sea fishermen and the petty bourgeois coastal fishermen, who, unlike the deep-sea fishermen, have their own means of production , wage with the shipping company, Piscator wants to demonstrate the necessity of a joint, union-organized fight. A West German study on Piscator's work in Soviet emigration in 1975 pointed out that the petty bourgeoisie, since being constantly threatened by large capital and increasingly threatened with proletarianization during the crisis , would become a potential helper of fascism, which promised a solution to the crisis but withholding his means of solution. Here it is “for the avant-garde of the proletariat to create clarity and to point out the revolutionary alternative.” The necessity and success of such a policy are the subject of the Piscator film.

Exile research in the GDR in the 1970s also took up this thematic focus of the film . The united front issue becomes particularly clear at the end of the film, when a speaking choir formulates a call to all the exploited to join the united front. But even the beginning of the film shows this conception. Since, in the opinion of GDR exile researcher Renate Waack-Ullrich, the film wants to enlighten the middle classes , afflicted by petty-bourgeois ideology, about their own social situation, Piscator begins it “not with the story of the [coastal] fishermen, but with the main contradiction that is becoming increasingly acute between capitalists and working class : Bredel's fishing ship. "

According to Renate Waack-Ullrich, the fishermen, as the representatives of the petty bourgeoisie, are only “introduced into the action when the main contradiction between capitalists and the working class is exposed. For the outcome of the strike, it is decisive - this is mainly shown optically - whether the fishermen go over to the side of the capitalists or to the side of the sailors. ”Their actions are then presented in the following decisive stages: how they get through wrong Bredel's promises are tempted to break the strike, as most, despite their material hardship, do not want to understand that they have long been proletarianized, and how only several dead in their own ranks bring them to desperate joint action. At the end of the film, the moderate fisherman and unsuccessful strike breaker Kerdhuys finally opens up to the insight that only a joint labor dispute can lead to success.

From the point of view of the communication scientist Hermann Haarmann, Piscator positions his film project “exactly where there is a need for argumentation: in the agitation of the middle classes, who are objectively threatened with proletarianization, but who at the same time believe every promise of social advancement.” The seducibility through ideology and propaganda do a rest. Since the middle classes are the basis for the success of fascism, Piscator, in the sense of the classical fascism theory , which "makes the social status between the classes, between the bourgeoisie and the proletariat, liable for the National Socialist conflagration", placed particular emphasis on the small-scale fishermen . Haarmann, however, interprets the political intention underlying the film project as deceptive. In the face of a split workers' movement , whose factions accused each other of breaking their word and left fascism at the end of the Weimar Republic, the wish of intellectual KPD sympathizers, who at the beginning of the 1930s “are still hoping for a turning point, and is effective you want to work ”, was an illusion.

Adverse production conditions

Not available: destroyer of the Soviet Black Sea Fleet (1924)

In the summer of 1930, Piscator had initially planned to film Theodor Plievier's successful debut novel Des Kaisers Kulis , which dealt with the precarious working conditions on the ships of the imperial navy . According to the Germanist Klaus Gleber, the realization of a lavishly conceived film with revolutionary content in Germany would have "encountered considerable difficulties, especially since the 'Münzenberg Group' does not have the necessary means of production". The left-wing media entrepreneur Willi Munzenberg put Piscator in touch with the Soviet stock company Meschrabpom-Film. In negotiations in Moscow, Piscator agreed with Meschrabpom-Film in September 1930 on a film adaptation of the Plievier novel. In April 1931 he traveled to Moscow with a first exposé for the script. Piscator had asked to be allowed to use ships of the Soviet Black Sea Fleet for the shooting . With these ships he wanted to recreate the Skagerrak battle of 1916, which was dealt with in Plievier's novel . It was only weeks after his arrival in Moscow that Meshrabpom-Film informed him that his application to use the Black Sea Fleet had been rejected. The Soviet Foreign Minister, People's Commissar for Foreign Affairs Maxim M. Litvinow , feared diplomatic entanglements with the German Reich in this case and refused. Anna Seghers' novella Revolt of the Fishermen of St. Barbara was negotiated as a substitute . Peter Diezel assumes that the intensive preoccupation with the subject of the sailors 'revolt of 1918 and thematic analogies between Plievier's and Seghers' works contributed to Piscator's decision to choose a suitable follow-up project for the narrative by Anna Seghers.

The port of Murmansk (1928)

Since a subsequent synchronization was not yet possible for technical reasons, both a German and a Russian version of the film should be shot. The script for the planned German version of Der Aufstand der Fischer was supposed to be written by the Austro-British writer Anna Wiesner , who had also worked on Piscator's synopsis for Des Kaiser Kulis . The scriptwriter Grigori Grebner wrote the Russian version of the script. Although Piscator had next to no experience in the cinematic profession, Meschrabpom-Film had planned for the work on the script and for the shooting only five, at most six months. This meant that considerable problems were inevitable. In July 1931, Piscator began taking the first nature photographs in the port city of Murmansk on the Arctic Ocean . The Arctic film motifs and the long summer twilight phases made a lasting impression on him: "Those glorious white nights there in the north that last three months, or the nets frozen in the ice." In the course of the same month he engaged fourteen German and Austrian actors during a stay in Berlin for the film project, including Lotte Lenya as prostitute Marie and Paul Wegener as shipowner Bredel. At the beginning of August 1931, the interior shots in the Meschrabpom studio in Moscow were to begin, but a fire broke out. A fire destroyed two of a total of three studios, including the decorations installed in them, and required weeks of renovation work.

Paul Wegener (1932), Bredel actor in the canceled German film version

Piscator decided without further ado to prepare the exterior shots on the Ukrainian Black Sea coast near Odessa instead , but material bottlenecks and transport difficulties for the decoration led to delays. The director spent a considerable amount of his time waiting “for financial resources, for film teams, for material”. There were disputes over the scope of the buildings for the St. Barbara film village. Piscator threatened to abandon the work and then renegotiated his contract with Meschrabpom in August 1931. When the recordings in Odessa could finally have started in mid-September 1931, the work was hampered by stormy weather. Meschrabpom then ordered the Soviet film director Lev Kuleschow to Odessa to provide Piscator's administrative support . Kuleschow should work out a detailed recording schedule for the film. At the same time, Piscator director Michail Doller was appointed as the first assistant. When there was another delay, all that remained was to suspend the work for the time being, as the contracts with the German actors already expired in November 1931.

Piscator lodged several complaints with political authorities such as the Central Committee of the Communist Party of the Soviet Union against the desolate production conditions and the poor supervision of the demanding film project by Meschrabpom-Film . At the beginning of 1932, the Mezhrabpom management informed Piscator that the plan for a German version of the film would be dropped and only a Russian version could be shot. Again a new contract was negotiated. After a long break, Piscator was able to continue filming with Soviet actors in Odessa in the late spring and summer of 1932. The cooperation with the Soviet actors, who came from different acting traditions ( Stanislawski , Meyerhold , Mayakowski ), turned out to be difficult. In autumn 1932 the film was shot in the rebuilt Meschrabpom studio in Moscow. In the spring of 1933, when the National Socialists came to power, Piscator's intention to reach a wider German audience with a political film was undone. He was only able to take on the film music in autumn 1933, but had to replace Juri A. Schaporin , who was responsible as a composer, with younger colleagues in view of insufficient cooperation. At the same time, it became apparent that the film assembly would take more months. In the spring of 1934, Piscator completed the film project, which, with interruptions, had taken almost three years to complete. The film took the final hurdle and was approved by the main cinema administration. The official film premiere was set for October 1934.

Movie poster

The film poster for the Russian original version from 1934 was designed by the commercial artist Michail Weksler. The poster for the black and white film is designed in color. The film title is set off from the actual illustration on the upper edge of the poster in white letters on a red background. The poster shows three characters from the film, the strike leader Kedennek, the boatman Bruyk with his characteristic tobacco pipe and in the background the prostitute Marie on a sea background in strong yellow and green tones. Kedennek and Bruyk are characterized by characteristics such as striped clothing, flat caps, whistles or sailor frills as seafarers and coastal fishermen. The poster thus focuses on the two opposing positions within the communities of coastal fishermen, some of whom, following Kedennek, join the sailors' strike or, like the relatively well-off boat owner Bruyk, go out to fish for Bredel as "strike breakers". The upper image segment contains information on other participating film artists. (Western) European distribution companies advertised the subtitled export version for the (Western) European market with their own film poster.

Contemporary reception

Film theorist Vsevolod Pudovkin (1920) defended the film against Ossip Brik's criticism.
Film critic Béla Balázs praised the "three-dimensional characteristics" of the characters. (Bronze portrait in Szeged)

A few months before the official premiere in Moscow cinemas, in May 1934, the Deutsche Zentral-Zeitung, which was published in Moscow, published a differentiated appraisal of the film by the Soviet critic Sergei Dinamov, who was entranced by the artistic quality of the film and "completely banned". Still, Dinamov complained that the plot was so complicated that "in the middle of the film all threads get tangled and it is difficult to follow the plot." A few weeks after Dinamov's criticism followed in the journal published by the Association of Filmmakers (ARRK) “Kino” a drastic slap. The prominent author of this review, the avant-garde writer Ossip Brik , chalked the film as having "consistent pathos", the "divergent styles" and the "lack of a dramatically increasing tension". Brik put all the blame for the supposed failure of the project - a common practice at the time for attacks on unpopular film projects - on the management of Meschrabpom-Film. The film company did not adequately accompany Piscator on his excursion into film directing and did not familiarize him with the actual needs of the Soviet cinema audience. Jasmin Arnold assumes that Brik conducted his attack on the Meschrabpom "with the approval of government agencies." The communication scientist Hermann Haarmann also interpreted the demolition as part of a "staged press campaign" that Brik started under official pressure.

In the following month Piscator seconded a group of renowned directors of the Meschrabpom film around Vsevolod Pudovkin in Izvestia , who praised the fishermen's uprising as a “realistic work”, praised the “closeness to life and truthfulness of the individual drawing of his heroes”, and the film as “a clever trend art “Defended and attacked Brik sharply.

On October 5, 1934, Piscator's feature film premiered in Moscow cinemas. Whether it could be seen in other parts of the country besides Moscow and probably Leningrad is by no means certain in view of the considerable deficiencies in the comprehensive supply of films to the Soviet cinemas of the time. The Austrian critic Hugo Huppert said the film was very topical after the premiere in the “Deutsche Zentral-Zeitung” in view of the “events in Spain” - that is, an uprising by the Spanish socialists and the bourgeois Catalan government in the run-up to the Spanish Civil War . The Hungarian film critic Béla Balázs , who reviewed the film for the “Rote Zeitung”, recognized Der Aufstand der Fischer as “not a completed masterpiece”, but nevertheless described Piscator as a great film director given the “special differentiation of the characters”. The uprising of the fishermen is the first sound film that fulfills the expectation of a “differentiated, so to speak psychologically deeper, so to speak three-dimensional characteristic”. This is evident in the impressive play of the female figures as well as in the many gradations of the political characters.

The writer Ernst Ottwalt complained in the German edition of the magazine “Internationale Literatur”, which appeared in Moscow, that the fishermen's uprising suffered from “a certain lack of clarity, from a lack of understanding”, but he also firmly rejected Brik's argument. Piscator dared "with all consistency in the artistic and in the political [...] to present the cause instead of the external, superficial tension of the action, instead of the external, superficial tension of the action." In the following year, Meschrabpom-Film distributed an export version of Der Aufstand der Fischer , for which subtitles were made in several languages. The export version could not be shown in Nazi Germany, but could be seen in several major Western European cities such as Zurich, Brussels and Paris - even after Meschrabpom-Film was closed in July 1936. A 1936 Spanish movie poster suggests screenings in Spain. There were probably also screenings in Copenhagen and Warsaw, as film copies were made there later.

The communist writer Arthur Koestler , who had attended a closed screening in Zurich, rejected the film in the Parisian exile press because of its “deep mendacity”, since Piscator unrealistically implied that the long way from the mass misery of fishermen to the victorious revolution without complications. The investigative journalist Leo Lania , who reviewed the film for the exile organ “Pariser Tageszeitung”, took the opposite view . From Lania's point of view, as a film director, Piscator had broken new aesthetic paths as in his theatrical work, since Der Aufstand der Fischer combined various stylistic elements into a work of art that could claim to convey “important approaches for the further development of a great political mass drama”.

Rediscovery in Germany

Cinémathèque royale de Belgique, Brussels

At the 6th West German Short Film Festival , which took place in Oberhausen in February and March 1960, the film was officially shown in West Germany for the first time on March 4, 1960, in a 65-minute copy that was cropped. The founder of the West German Short Film Festival, Hilmar Hoffmann , had learned of the existence of two 16 mm copies of the film in the “Cinémathèque royale de Belgique” and the Cinémathèque française last year . The director of the Belgian Cinémathèque, Jacques Ledoux , had agreed to a screening of The Fishermen's Uprising as part of a retrospective in Oberhausen. The “Film-Telegram” was impressed by the dynamic crowd scenes: “Ant-like, nervous and feverish, the swaying to and fro of fear and anger in the shooting scenes - the counter-movements of the masses culminate in the spirited counter-cut of the images to oppressive drama.” The magazine “Filmforum "Acknowledged a masterful picture direction:" When here a clenched fist is stretched against the ceiling and captured by the camera together with a lamp, when the bible of the boiling clergyman is torn up at the funeral and the sharp sea wind drives the leaves across the cemetery [ …] - the image content is always cleverly assigned to the sequence of events. ”Then the film torso was increasingly shown in West German film clubs . Piscator was happy about the positive media coverage in the Federal Republic of Germany, but found the Belgian copy of his film basically "horrible and completely wrongly cut".

The film became known to a wider West German audience when it was shown on West German television ( NDR ) on February 20, 1965 with an introduction by Hilmar Hoffmann . On the occasion of the television premiere, the film critic Dietrich Kuhlbrodt described the film as an “irreplaceable document of German film history” and praised the “further development of the Eisenstein and Pudowkin assembly principles by Piscator”. On May 1, 1965, the “Archivfilmtheater” Camera, the cinema of the State Film Archives of the GDR, was officially premiered in East Berlin in East Berlin. An information sheet from the State Film Archive of the GDR characterized the fishermen's uprising as one of the “top works of the sound film era in the Soviet Union” and placed the film in a row with other masterpieces: “With its excitingly current statement, the wonderfully adequate form, the passionate partisanship forced, it [that is, the work] has achieved an honorable place in film history next to such masterpieces as' Tschapajew 'or' Der Weg ins Leben '. ”In November 1975 the film was published on the occasion of Anna Seghers' 75th birthday in a "revision" also shown on the television of the GDR (DFF 2).

Berlinale poster 2012

Neue Visionen Filmverleih presented a restored version, which had been reconstituted from several film copies, on March 1, 2001 in Berlin. Hermann Haarmann commented the following year in the “Frankfurter Allgemeine Zeitung”: “Piscators film is a work of art of particular quality that not only borrows from the greats of the 'Russian film' ( Alfred Kerr ) like Eisenstein and Pudowkin, but also the young medium independently Image and sound dramaturgically developed. Against Eisenstein's advice, Piscator insists on moving the camera. He attaches them to the bow of a ship or lets them go carousel. Cross-fades are another design element. However, this by no means meets the taste of Josef Stalin , who in a private preview in the Kremlin expresses his displeasure with the foreigner Piscator. "

Piscator's feature film was the subject of an installation by the Frankfurt artist Jeronimo Voss , which was shown in the Frankfurter Kunstverein (2010), in a Berlin gallery (solo exhibition, 2011), in the Vienna Secession (2013) and in the Württembergischer Kunstverein Stuttgart (2013/14) . Voss started from the experience of the failure of Piscator's intended effect - at the moment of the cinema premiere, the NSDAP , against which the feature film was supposed to be directed, was already in power. Voss worked with video and overhead projectors and ink drawings on film. According to the publicist Hili Perlson, Voss' phantasmagorical reconstruction did not mean that Piscator's film project of the 1930s was lost to history, “but instead uses its failure as the starting point for the present.” The 2012 Berlinale awaited in its “Retrospective 2012: The Red Dream Factory” with the German Premiere of a 60-minute silent version of the film. The silent film version was accompanied by fragments of a film music by Hanns Eisler . In the early summer of 1931, Eisler composed two polyphonic choirs for piano accompaniment for the unrealized German version of the film, which premiered on February 12, 2012 in Berlin. The fragments of the choir had been found in the Hanns Eisler archive of the Berlin Academy of the Arts . Seven decades after its premiere, the film had remained dramaturgically effective, as the impressions of a critic document: “When the light comes on in the hall, you feel a bit disheveled. With the ears still at a time when something was imminent, with the eyes already back to the festival business [...]. "

literature

  • Jasmin Arnold: The revolution is eating its children. German film exile in the USSR . Tectum, Marburg 2003, ISBN 978-3-82888-479-3 .
  • Peter Diezel: Erwin Piscator's film “Uprising of the Fishermen” . In: Argonaut ship . Yearbook of the Anna Seghers Society Berlin and Mainz e. V. Ed .: Anna Seghers Society Berlin and Mainz e. V. Issue 16. Berlin 2008, pp. 68–79.
  • Peter Diezel: In constant dissent. Erwin Piscator and the Meshrabpom Film Society . In: Filmexil, vol. 20 (Filmmuseum Berlin / edition text + kritik 2004), pp. 39–56.
  • Helen Fehervary: Landscapes of an Insurrection - and How They Move. Erwin Piscator's and Thomas Langhoff's film adaptations of Anna Seghers' “Uprising of the Fishermen of St. Barbara” . In: Argonaut ship. Yearbook of the Anna Seghers Society Berlin and Mainz e. V. Ed .: Anna Seghers Society Berlin and Mainz e. V. Issue 16. Berlin 2008, pp. 80-88.
  • Hermann Haarmann (Ed.): Erwin Piscator on the Black Sea. Letters, memories, photos . Bostelmann & Siebenhaar, Berlin 2002, ISBN 3-934189-83-0 .
  • Norman Kruze: Fil'm Ervina Piskatora “Vosstanie rybakov” , in: Kinovedicheskie zapiski 24 (1994/95), pp. 120-139.
  • Bianca Schemel: Erwin Piscator and “Wosstanije rybakow” (uprising of the fishermen) . In: Rainhard May, Hendrik Jackson (ed.): Films for the Popular Front. Erwin Piscator, Gustav von Wangenheim , Friedrich Wolf - anti-fascist filmmakers in exile in the Soviet Union . Stattkino Berlin, Berlin 2001, pp. 89–111, ISBN 3-00-007540-2 .

Web links

Individual evidence

  1. ↑ Erwin Piscator: [From the foreword to the French edition of the Political Theater ], in: Erwin Piscator: Theater, Film, Politik. Selected writings . Edited by Ludwig Hoffmann. Henschel, Berlin 1980, pp. 386-399, here p. 392
  2. ↑ Günter Agde: In the Controversy of Images. Utopias and Topoi , in: Günter Agde, Alexander Schwarz (eds.): The red dream factory: Meschrabpom-Film and Prometheus (1921-1936) . Bertz + Fischer, Berlin 2012, pp. 77–89, here p. 89
  3. ↑ The plot is based on reconstructed film copies based on the subtitled export version from 1935. Copies of the export version exist both in the Gosfilmofond State Feature Film Archive in Belyje Stolby near Moscow and in various Western European film archives. It is not known whether the original version of the 1934 film has been preserved.
  4. ↑ An excerpt from the German version of the screenplay, which includes the film plot up to the strike decision, contains: Erwin Piscator. A working biography in 2 volumes. Volume 2, Moscow - Paris - New York - Berlin 1931–1966 . Edited by Knut Boeser and Renata Vatková. Edition Hentrich, Berlin 1986, pp. 9-12.
  5. ↑ Jean Paul Goergen: Vosstanie Rybakov ( "Revolt of the Fishermen"). USSR, 1934. A film by Erwin Piscator . A documentation. Self-published, Berlin 1993, p. 15
  6. ↑ Günther Agde: With the look to the west , in: Günter Agde, Alexander Schwarz (ed.): The red dream factory: Meschrabpom-Film and Prometheus (1921-1936) . Bertz + Fischer, Berlin 2012, pp. 141–147, here p. 143. - The Russian version of the film from 1934 is virtually placeless, among other things because the sets and props have both German and Russian inscriptions.
  7. ↑ Jean Paul Goergen: Vosstanie Rybakov ( "Revolt of the Fishermen") . Self-published, Berlin 1993, p. 15
  8. ↑ Peter Diezel: Erwin Piscator's film “Uprising of the Fishermen” . In: Argonaut ship. Yearbook of the Anna Seghers Society Berlin and Mainz e. V. Ed .: Anna Seghers Society Berlin and Mainz e. V. Issue 16. Berlin 2008. pp. 68–79, here p. 72
  9. ↑ Jean Paul Goergen: Vosstanie Rybakov ( "Revolt of the Fishermen") . Self-published, Berlin 1993, p. 15
  10. ↑ Jean Paul Goergen: Vosstanie Rybakov ( "Revolt of the Fishermen") . Self-published, Berlin 1993, p. 15
  11. ↑ Helen Fehervary: Landscapes of an Insurrection - and how they move. Erwin Piscator's and Thomas Langhoff's film adaptations of Anna Seghers' “Uprising of the Fishermen of St. Barbara” . In: Argonaut ship. Ed .: Anna Seghers Society Berlin and Mainz. Issue 16. Berlin 2008, pp. 80–88, here p. 81
  12. ↑ Quoted from Helen Fehervary: Landscapes of an uprising - and how they move. In: Argonaut ship. Issue 16. Berlin 2008, pp. 80–88, here p. 81 f.
  13. ↑ Helen Fehervary: Landscapes of an Insurrection - and how they move. In: Argonaut ship. Issue 16. Berlin 2008, pp. 80–88, here p. 83
  14. ↑ Helen Fehervary: Landscapes of an Insurrection - and how they move. In: Argonaut ship. Issue 16. Berlin 2008, pp. 80–88, here p. 83
  15. ↑ Helen Fehervary: Landscapes of an Insurrection - and how they move. In: Argonaut ship. Issue 16. Berlin 2008, pp. 80–88, here p. 84
  16. ↑ Simone Schofer: Two "uprisings" - but defeat and victory. The story "Uprising of the Fishermen of St. Barbara" by Anna Seghers and the film adaptation "Uprising of the Fishermen" by Erwin Piscator . In: Rainhard May, Hendrik Jackson (ed.): Films for the Popular Front. Erwin Piscator, Gustav von Wangenheim, Friedrich Wolf - anti-fascist filmmakers in exile in the Soviet Union . Stattkino Berlin, Berlin 2001, pp. 112-133, here p. 118
  17. ↑ Simone Schofer: Two "uprisings" - but defeat and victory . In: Rainhard May, Hendrik Jackson (ed.): Films for the Popular Front . Stattkino Berlin, Berlin 2001, pp. 112-133, here pp. 120 f.
  18. ↑ Simone Schofer: Two "uprisings" - but defeat and victory . In: Rainhard May, Hendrik Jackson (ed.): Films for the Popular Front . Stattkino Berlin, Berlin 2001, pp. 112-133, here p. 125
  19. ↑ Simone Schofer: Two "uprisings" - but defeat and victory . In: Rainhard May, Hendrik Jackson (ed.): Films for the Popular Front . Stattkino Berlin, Berlin 2001, pp. 112-133, here p. 127 f.
  20. ↑ rk: Der Aufstand der Fischer , in: Film-Blätter, No. 63. State Film Archive of the German Democratic Republic, Berlin undated [1967], p. 3
  21. ↑ rk: Der Aufstand der Fischer , in: Film-Blätter, No. 63. State Film Archive of the GDR, Berlin undated [1967], p. 3
  22. ↑ rk: Der Aufstand der Fischer , in: Film-Blätter, No. 63. State Film Archive of the GDR, Berlin undated [1967], p. 4
  23. ↑ rk: Der Aufstand der Fischer , in: Film-Blätter, No. 63. State Film Archive of the GDR, Berlin undated [1967], p. 4
  24. ↑ Klaus Gleber: theater and public. Peter Lang, Frankfurt am Main 1979, p. 304 - Gleber paraphrases film critic Dietrich Kuhlbrodt without making this clear, cf. Dietrich Kuhlbrodt, in: Filmkritik, 9th year, 4th issue, April 1, 1965, p. 217
  25. ↑ Hermann Haarmann (Ed.): Erwin Piscator on the Black Sea . Bostelmann & Siebenhaar, Berlin 2002, p. 54 f.
  26. ↑ Hermann Haarmann (Ed.): Erwin Piscator on the Black Sea . Bostelmann & Siebenhaar, Berlin 2002, p. 54 f.
  27. ↑ Jasmin Arnold: The revolution eats its children. German film exile in the USSR . Tectum, Marburg 2003, p. 76
  28. ↑ Jasmin Arnold: The revolution eats its children . Tectum, Marburg 2003, p. 76 - Arnold paraphrases both aspects, however, only film critic Dietrich Kuhlbrodt without making this clear, cf. Dietrich Kuhlbrodt, in: Filmkritik, 9th year, 4th issue, April 1, 1965, p. 217
  29. ↑ Bianca Schemel: Erwin Piscator and "Wosstanije rybakow" (uprising of the fishermen) . In: Rainhard May, Hendrik Jackson (ed.): Films for the Popular Front. Erwin Piscator, Gustav von Wangenheim, Friedrich Wolf - anti-fascist filmmakers in exile in the Soviet Union . Stattkino Berlin, Berlin 2001, pp. 89–111, here p. 109
  30. ↑ Bianca Schemel: Erwin Piscator and "Wosstanije rybakow" (uprising of the fishermen) . In: Rainhard May, Hendrik Jackson (ed.): Films for the Popular Front . Stattkino Berlin, Berlin 2001, pp. 89–111, here p. 108
  31. ↑ Hermann Haarmann (Ed.): Erwin Piscator on the Black Sea . Bostelmann & Siebenhaar, Berlin 2002, p. 48
  32. ↑ Hermann Haarmann (Ed.): Erwin Piscator on the Black Sea . Bostelmann & Siebenhaar, Berlin 2002, p. 48
  33. ↑ Günter Agde: In the Controversy of Images. Utopias and Topoi , in: Günter Agde, Alexander Schwarz (eds.): The red dream factory: Meschrabpom-Film and Prometheus (1921-1936) . Bertz + Fischer, Berlin 2012, pp. 77–89, here p. 86
  34. ^ Hermann Haarmann, Lothar Schirmer , Dagmar Walach: The "Engels" project. An anti-fascist theater of German emigrants in the Soviet Union (1936–1941) . Georg Heintz, Worms 1975, p. 58
  35. ↑ Exile in the USSR . Band leaders: Simone Barck, Klaus Jarmatz. 2nd Edition. Philipp Reclam jun., Leipzig 1989 (art and literature in anti-fascist exile 1933–45 in seven volumes, vol. 1.2), p. 571
  36. ↑ Exile in the USSR . Band leaders: Simone Barck, Klaus Jarmatz. 2nd Edition. Philipp Reclam jun., Leipzig 1989, p. 573
  37. ↑ Hermann Haarmann (Ed.): Erwin Piscator on the Black Sea . Bostelmann & Siebenhaar, Berlin 2002, p. 54
  38. ↑ Hermann Haarmann (Ed.): Erwin Piscator on the Black Sea . Bostelmann & Siebenhaar, Berlin 2002, p. 54
  39. ↑ Hermann Haarmann (Ed.): Erwin Piscator on the Black Sea . Bostelmann & Siebenhaar, Berlin 2002, p. 53
  40. ↑ Klaus Gleber: theater and public. Peter Lang, Frankfurt am Main 1979, p. 301
  41. ^ Letter from Erwin Piscator to Jossif Wissarionowitsch Stalin , August 7, 1934, in: Erwin Piscator: Briefe. Volume 1: Berlin - Moscow 1909–1936 . Edited by Peter Diezel. B&S Siebenhaar, Berlin 2005, pp. 299–303, here p. 302
  42. ↑ Peter Diezel: Erwin Piscator's film “Uprising of the Fishermen” . In: Argonaut ship, issue 16 . Berlin 2008, pp. 68–79, here p. 69
  43. ↑ Peter Diezel: Erwin Piscator's film “Uprising of the Fishermen” . In: Argonaut ship, issue 16 . Berlin 2008, pp. 68–79, here p. 69
  44. ^ Conversation with Piscator in Prague, 1934, in: Erwin Piscator: Theater, Film, Politik. Selected writings . Edited by Ludwig Hoffmann. Henschel, Berlin 1980, pp. 121–124, here p. 122
  45. ↑ Jean Paul Goergen: Vosstanie Rybakov ( "Revolt of the Fishermen") . Self-published, Berlin 1993, p. 20
  46. ↑ Peter Diezel: Erwin Piscator's film “Uprising of the Fishermen” . In: Argonaut ship, issue 16 . Berlin 2008, pp. 68–79, here p. 70
  47. ^ Lynn Mally: Erwin Piscator and Soviet Cultural Politics , in: Jahrbücher für Geschichte Osteuropas , 51st Vol. (2003), Part 2, pp. 236-253, here p. 239 (translation: Wikipedia)
  48. ^ Letter from the Meschrabpom-Film to the Comintern , 2. – 10. October 1931, in: Oksana Bulgakowa (ed.): The unusual adventures of Dr. Mabuse in the land of the Bolsheviks. The book for the film series “Moscow-Berlin” . Friends of the Deutsche Kinemathek, Berlin 1995, pp. 202–205, here p. 204
  49. ↑ John Willett : Erwin Piscator. The opening of the political age on the theater . Suhrkamp, ​​Frankfurt a. M. 1982, p. 84 f.
  50. ↑ In the opinion of the film historian Oksana Bulgakowa, Piscator had driven the studio "to the brink of bankruptcy" with the most expensive film in the history of the Meschrabpom film (Oksana Bulgakowa (ed.): The unusual adventures of Dr. Mabuse in the land of Bolsheviks . Berlin 1995, p. 186).
  51. ↑ Günter Agde, Alexander Schwarz (ed.): The red dream factory: Meschrabpom-Film and Prometheus (1921-1936) . Bertz + Fischer, Berlin 2012, p. 140
  52. ↑ There is evidence of a Spanish film poster from 1936 ( La Revuelta des los Pescadores ).
  53. ↑ Sergej Dinamow: Piscators Film - an excellent work , in: Deutsche Zentral-Zeitung, May 6, 1934, quoted from: Peter Diezel: Erwin Piscators Film "Aufstand der Fischer" , in: Argonautenschiff, Heft 16 . Berlin 2008, pp. 68–79, here p. 77
  54. ↑ Ossip Brik, Plody seperatisma , in: Kino, May 22, 1934, quoted from: Peter Diezel: Erwin Piscator's film "Aufstand der Fischer" , in: Argonautenschiff, Heft 16 . Berlin 2008, pp. 68–79, here p. 76
  55. ↑ Jasmin Arnold: The revolution eats its children . Tectum, Marburg 2003, p. 78
  56. ^ Hermann Haarmann: Farewell to Europe: "An important work of art ..." , in: Exile in the Soviet Union 1933–1945 . Edited by Hermann Haarmann and Christoph Hesse. Tectum, Marburg 2010, pp. 121–131, here: p. 126
  57. ↑ Wsewolod Pudowkin, Wladimir Schnejderow, Boris Barnet et al., In: Iswestija, June 10, 1934, quoted from: Peter Diezel: Erwin Piscator's film "Aufstand der Fischer" , in: Argonautenschiff, Heft 16 . Berlin 2008, pp. 68–79, here p. 76
  58. ↑ “New films only reached Moscow and Leningrad with real reliability. The provincial cities and especially the rural population were very often in a 'cinema desert'. Films didn't even arrive, were already damaged, were shown with defective projectors, often without sound. […] The existing distribution system was […] prone to errors, so that not every cinema really got the films that its respective viewers wanted or should see. ”Eberhard Nembach: Stalin's film policy. The restructuring of the Soviet film industry 1929–1938 . Gardez! St. Augustin 2001, pp. 60f.
  59. ↑ Hugo Huppert: A film from the united front - for the premiere of the sound film "Uprising of the Fishermen" by E. Piscator , in: Deutsche Zentral-Zeitung, October 12, 1934, quoted from: Jasmin Arnold: The revolution eats its children . Tectum, Marburg 2003, p. 77
  60. ^ Béla Balázs: "The Fishermen's Revolt". Piscator's first film , in: Rote Zeitung (Leningrad), October 24, 1934, quoted from: Peter Diezel: Erwin Piscator's film “Uprising of the Fishermen” , in: Argonautenschiff, issue 16 . Berlin 2008, pp. 68–79, here p. 77 f.
  61. ↑ Ernst Ottwalt: "The uprising of the fishermen". Comments on Erwin Piscator's first sound film , in: Internationale Literatur , Heft 6, 1934, pp 147–156, quoted from: Peter Diezel: Erwin Piscator's film "Aufstand der Fischer" , in: Argonautenschiff, Heft 16 . Berlin 2008, pp. 68–79, here p. 77
  62. ↑ Jean Paul Goergen: Vosstanie Rybakov ( "Revolt of the Fishermen") . Self-published, Berlin 1993, p. 4
  63. ^ Arthur Koestler: Piscators Fischer von Sankt Barbara , in: Das Neue Tage-Buch (Paris), February 9, 1935
  64. ^ Leo Lania: Piscator, Nicolai Ekk, Eisenstein, Pudowkin. From the Soviet film production , in: Pariser Tageszeitung, June 14, 1936
  65. ↑ Klaus Gleber: theater and public. Peter Lang, Frankfurt am Main 1979, p. 305
  66. ↑ Quoted from: Piscator. Der Bürgerschreck , in: Der Spiegel, Issue 9, February 24, 1960, pp. 70 f.
  67. ↑ Dieter Krusche, in: Filmforum, No. 10, 1959, quoted from: Piscator. Der Bürgerschreck , in: Der Spiegel, Issue 9, February 24, 1960, p. 71
  68. ^ Letter from Erwin Piscator to Hilmar Hoffmann, October 20, 1959, in: Erwin Piscator: Briefe. Volume 3.2: Federal Republic of Germany, 1955–1959 . Edited by Peter Diezel. B&S Siebenhaar, Berlin 2011, p. 764
  69. ↑ Dietrich Kuhlbrodt, in: Filmkritik , 9th year, 4th issue, April 1, 1965 (= 100th issue continuous count), p. 216 f.
  70. ↑ rk: Der Aufstand der Fischer , in: Film-Blätter, No. 63. State Film Archive of the GDR, Berlin undated [1967], p. 4
  71. ^ Hermann Haarmann: Bad luck in the car, luck in love , in: Frankfurter Allgemeine Zeitung, August 17, 2002, No. 190, p. 39
  72. ↑ Wiener Festwochen (Ed.): Unrest of the form. Drafts of the political subject. Volume XIX, Issue 2 [accompanying reader for the exhibition course of the same name]. Wiener Festwochen, Vienna 2013, p. 13
  73. ↑ Tobias Hering: Audience is coming, people are missing , in: Friday, February 22nd, 2012
This version was added to the list of articles worth reading on May 20, 2013 .