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Jennifer Shryane provides a much-needed analysis of Einstürzende Neubauten's important place in popular/experimental music history. She illustrates their innovations with found- and self-constructed instrumentation, their Artaudian performance strategies and textual concerns, as well as their methods of independence. The group have also made a consistent and unique contribution to the development of the independent German Language Contemporary Music scene, which although often acknowledged as influential, is still rarely examined.
Jennifer Shryane completed her first degree in English and History at the University of Cardiff in 1968. She went on to gain the Post-graduate teaching qualification at Kings, University of London, focussing on Drama and Theatre and taught until 2005. She gained her MA in Performing Arts at Liverpool University and completed her PhD in 2009.
Part I Context for Destruction; prologue1 Prologue: Being There/Not Being There; Chapter 1 Architecture, Angels and Utopia; Chapter 2 Kattrin's Drum: Germany & Music - Identity, Politics & Memory; Chapter 3 Free to Make Noise; Chapter 4 Demonic Berlin; Part II Performing Destruction; prologue2 Prologue: 'They were always quoting Artaud'; Chapter 5 Strategies against the Body; Chapter 6 Strategies against the Corner; Chapter 7 Strategies against the Voice; Chapter 8 Strategies against the Scream; Chapter 9 Strategies against the Text; Part III Performing Reconstruction; prologue3 Prologue: 'We know we have witnesses'; Chapter 10 'A Small Utopia'; conclusion Conclusion 'To infect others' Einstürzende Neubauten Warten auf die Barbaren Jo Mitchell's Reconstruction of Concerto for Voice and Machinery 'She is Happy like Roadworks';
