Aswithalldivas,Montezuma’sstorybeginswiththemomentof‘discovery’.MostofwhatweknowofheroffscreenworkandlifecomefromreminiscencesinSchroeter’smemoir,dictatedtoClaudiaLenssenshortlybeforehisdeathin2010.3Weseeherhere,aswedointhefilmsthemselves,throughSchroeter’sgaze.SchroetermetErikaKlugeinthebohemianmilieusurroundingHeidelbergUniversityinthe1960s.Hewasstruckbyherphilosophicalairand“amazingeyes”.Herchildhoodwasoneofsufferingandtriumphoveradversity.Duetotuberculosisinherspinalmarrow,shehadtowearalargecastand,confinedindoors,couldseetheoutsideworldonlybygazingatthestreetthroughamirror.Schroeterfoundadarkglamourinwhathetermedher“deepmelancholy”,perhapsaneffectofherstruggleswithdepression.5HerechristenedherMagdalenaMontezuma,afteracharacterinPatrickDennis’novelLittleMe,aparodyofdivamemoirsandcelebritycultureinwhichMontezumaistheheroine’sexoticnemesis.Thisalter-egoencapsulatedKluge’sgenuineallureandthecampsensibilitythatinfusedSchroeter’saesthetic,andwhichMontezuma’sperformancesdeliverwithgreatimpact.Montezuma’sglamouremanatesfromherface.Muchofherpowercomesfromhereyes:deepsetandamercurialblue-grey,nowintenseandpenetrating,nowdreamyorironicallydistant.Schroeterdelightedinstylingher,andinalltheirfilmshereyemakeupismarvellouslydone:cutcreaseswithdramaticwingedeyeliner,shadowreachingouttowardshertemplesinbrightblues,gothicblacksandgleaminggoldsthatintensifyherpiercinggaze.Hersculptural,angularlooksarereminiscentofGretaGarbo,withtouchesofdistinguishingasymmetry:hernoseandchinjutoutinslighthooks.Herhighcheekbonesaidherexpressionsofexotichauteur.SheusedwhatSchroetercalledher‘surreal’physiognomywithvirtuosity,formingexquisitegeometriesofpassion,ironyandlonging.ButitwasalsoMontezuma’sskillwithgesture–herplaywithimperialandswooningposes–thatembodiedthemanyfacesofthediva,fromregalpriestess,togoddess,tomelancholyhysteric.Shewasamasterofgracefulmovementsofinvocationandblessing,extendingherarmsandraisingthemheavenward.InWillowSprings(1973),MontezumaplaysthevampyleaderofatrioofwomenlivingaloneintheCaliforniadesert.(ThecharacterisalsocalledMagdalena,blurringthedistinctionbetweencharacterandperformer,artandlife.)Aftersheisrapedbyapassingmotorcyclist,Magdalenatransformstheircommuneintoadeath-dealingcultthatluresinamaletraveller,intendingtokillhim.Inthescenewheresheinitiatesherfollowersintotheirdivinecommunion,sheexecutesthegesturesofapriestesswithmesmerisingcontrolofrhythmandpacing,mountingslowlytoanincantatoryintensityasshetellsherdisciples,“IloveyoumorethanIlovemyself.”Yetdivasalsoturnvulnerabilityintostrength.Theycaptivateandelicitadorationwiththedespairingmonologue,thelamentingaria,andwithelegantgesturesofsupplication.Montezumahadaspecialflairforembodyingthediva’scontradictorypower-in-weakness.InEikaKatappa(1969),sheplaysamourner(perhaps,ashernamesuggests,akindofMagdalenefigure)inseveraltableaux,wailingatcrucifixionsandfuneralprocessions.Sheusesstockgesturesfromreligiouspaintingsand19thcenturymelodrama–handspressedtothechest,headthrustupwardingrief,armsoutstretchedinhelplesssupplication.Inquieterbeats,youseeasatisfiedsmileonherlips.Isthisamourner’sdivinejoy-in-suffering,oranactorrelishingherperformance?Montezumaattacksthesescenariosofmourningwithgreatenergy.Thereisasteelinessbehindthesufferingthatbothelevateshertodivastatus,butalsocraftsacertaindistancebetweenperformerandcharacter.Schroeter’sanalysiswasthatthisgritwasinnatetoher,callingher“adeeplydepressivewoman,butwithastrongtemperamentandastrongwilltosurvive.”Montezumaalsoechoedthediva’sloveofartificialityandtransformationinhervirtuosicplaywithandrogynouspersonae.InSchroeter’sSalome(1971),basedonOscarWilde’splay,sheplayedKingHerod.Withashavedheadanddarkeyemakeup,herfacialexpressionsturnakaleidoscopeoflasciviousgrotesqueriesassheperformsfluid,full-bodiedgesturesoflongingthatareoftenalmostasgracefulasSalome’sdance.InasequencefromEikaKatappa,sheplaysthetitularrolefromGiuseppeVerdi’soperaRigoletto.Playingtheembitteredhunchback,shewearsaprostheticandslouchesforwardinanexaggeratedstoop.AshymakeuptransformsMontezuma’sfaceintoadeathmask.Abaritonevoiceplaysfromtheoperaticrecording,andMontezuma,asRigoletto,looselymoveshermouthtomatchthesinging.Asshemovesfromcontortedgrimaceandmanicdancingtomomentsofmoonyintrospection,oneseeswhatSchroetercalledthe“terraceddynamics”ofMontezuma’sperformance,herexpressionsandgesturesmovinglikemusic,herexpressivitycarefullycalibrated.8Whenshe’snothavingfunwiththemocktragedy,shelooksserious,likeanoperasingertryingtopullamelodyoutofherownbody.Itisinthiskindofcontrolofherfaceandbody,especiallyduringtheextendedimprovisationsthatSchroeterfavoured,thatMontezumamostclearlyexercisesherpowerascreator.Intheselongtakesofdynamicandongoingperformance,shefullyembodiesthedivaastheauteuroftheself–theauthorofherownimage.SchroeterhimselfresistedaSvengalinarrativeintheirrelationship,insistingthatheinventednothingofherpersona.“Therewasnothingartificialaboutherappearance,”hewrote,“Itwastherealwoman.”ThroughMontezuma’sformidableartistry,weseethedivanotonlyasimage,butasanactofcreation.Shetakesthebuildingblocksoffemininerepresentation–anarchedeyebrowhere,aturnofthehandthere–andusesthemtocreateaniconiclook,oramomentofemotionalexpression.Take,forexample,afewshotsfromTheDeathofMariaMalibran(DerTodderMariaMalibran,1972).Montezumaappearsinalow-angleshotwithherheadturnedupward,hereyesgazingsomewhereintothedistance.Itisatypicalposeforamoviestaractingdreamilyenamoured,aninterpretationsuggestedbyTimiYuro’srecordingof‘TheLoveofaBoy’onthesoundtrack.Montezumamouthswordssilently–Schroeterwouldoftenhaveperformersusedialoguefromplays–whilemovingbetweenstationsonthecrossoffeminineloveandlonging:assurance,triumph,dreamyyearning,andanindependentself-satisfaction.Herperformanceshowsamasteryofthesignsoffemininity.Theshotlastsmorethantwominutes.Montezumaplaysthedivanotonlyasanexaltedsignofyearning,butalsoasanactofphysicalendurance.Sheseemstorevelinthelabourthatgoesintocraftingtheimage.Weseethedivaasanartistatplaywithherownconstructions.Wewatchheratwork.Inherironicplayjuxtaposedwithaestheticcommitment,intheheightenedgesturesunderpinnedwithcontrolandendurance,Schroeter’scampyrenderingofthedivabecomesacommentaryonthenatureofthedivaasartist.Divasareinterestingbecauseoftheirstatusasfemaleartistswithinpatriarchalsystems.Thediva’suniquetalents,andthepersonashemaintainedacrossherwork,grantheradegreeofartisticautonomythathistoricallygaveherleveragewiththemen(composers,writers,directors)sheworkedwith.(Schroeter’sbelovedCallas,forexample,frequentlydaredtoclashwithconductorsandmanagers.)Atthesametime,divasneverthelessmustbattlesexism(Callaswaslabelled“temperamental”anda“tigress”)andbeartheburdenoflivingasaniconwithinapatriarchalimaginary.Tobeadiva–toperformcontinuallyandconsistently,tomaintainanimage–isundeniablywork,aparticularlyfemininekindoflabour.UnderSchroeter’sdirection,Montezumaplaysagayman’simageofthedivaasartisticandsexualideal,anditcansometimesbehardtotellifhercampystanceisliberating,orifitsimplyreinforcesthediva’sconstraints.ButMontezumaalwaysplaysthedivawithawoman’sexperienceandknowledgeofthelabourinvolvedintherole.Throughhercommitmenttoshowingbothplayandwork,amultifacetedversionofthedivaemerges.ForSchroeter,Montezumawas“theleadinglady”.Theirrelationshipwasanartisticsymbiosis,theirwork“theexpressionofmysoulandhertalent,andherownsoulandherardour”.Offscreen,shewasbothmoreandless:producerandindispensablecollaborator,butalsosecretary,handmaidenandthirdwheeltoSchroeter’svariousloversduringtheyearssheandSchroeterlivedtogether.Shecollaboratedwithhimonsetandcostumedesignsforhistheatricalproductions,andheacknowledgedhowmuchhisworkbenefittedfromMontezuma’skeeneye.Sheherselfwasatalentedartistanddrewfrequently.Yetshewasalsoaruthlessperfectionistwhoendedupdestroyingmuchofherownwork.Schroetermountedanexhibitionofherdrawingsonlyafterherdeath.InSchroeter’smemoir,Montezumaemergesasbothquirkyundergroundpersonalityandpassionateworkmateandfriend.InhiswritingSchroetertakespainstoenumeratehercontributionstohisart.HeisawareMontezumaispredominantlyknownthroughherworkwithhim,andheseemseagertoestablishherasanartistandactorinherownright.Healso,perhaps,seekstoassuagesomeguiltforthewaysinwhichhetookherforgranted.Inhistelling,theirlifetogetherasfriendsandcollaboratorsseemsgenuinelymeaningfulandmutuallysustaining.Schroeter(whosaidhealwaysvaluedfriendshipoverromanticrelationships)sawMontezumaas“apartofmyheartandmywork”.Theysharedbohemianimpulsesandadesiretoturnlifeintoart.“Welonged,”hesaid,“forthestructuringofform.”Theylivedtogetherduringthebeginningoftheircollaboration,takinguppersandworkingthroughthenightontheirfilms.Duringtheday,shesupportedthembothbyworkingasaphoneoperatorforBMW.Inthisandotherways,MontezumawasSchroeter’sstructuringform.HerorganisationandlabourfacilitatedbothSchroeter’sartisticvisionandhisbohemianlifestyle.Shewas,itseems,anindispensableproducer,overseeingrelationships(whathecalled“correspondence”)withfilmfestivals,distributors,processinglabsandthegrant-givinginstitutionsthatSchroeterdependedontomakehisearlier,mostexperimentalfilms.“Somebodyhadtodoit,”hewrote.“Icouldn’t,andanywayIwastoolazy;Ipreferredfucking.”Sex,perhapsinevitably,becameanissueaswell:SchroeterbelievedthatMontezumawasatcertainpointsdeeplyinlovewithhim.HereportsthatshewasunhappywhenSchroeterendedupmarryinghischildhoodgirlfriend,whohadmoneytohelpthemfinishWillowSprings.AlthoughSchroeteridentifiedasgay,hehadoccasionalsexualrelationshipswithwomen,butneverwithMontezuma.Onewonderswhatshemighthavehopedfor,andwhatkindofcomplexfeelingsspurredheroutburstofjealousy.Forawhile,thetwoofthemlivedwithoneofSchroeter’slovers.Heremembered:“WhenIwassleepingwithhim,IrememberMagdalenacomingalongwithabucketandwashingoursocksbesidethebed.”Eventually,theymaintainedproximity,butwithalittledistance.AsSchroeter’scareergrewandexpandedintotheatre,Montezumaalsofoundotheropportunities.SheperformedinafewplaysdirectedbyacclaimedGermandirectorPeterZadek,anotedinterpreterofShakespeare,andshe–inherandrogynous,etherealseverity–playedtheroleoftheghostinHamlet.In1971,Schroeter’sclosefriendRainerWernerFassbindercastherinhissatireonfilmmaking,BewareofaHolyWhore.InwhatisperhapsafunhousemirrorversionofherrelationshipwithSchroeter,sheplaysthedirector’slabileex-girlfriend:heblithelyrejectsherandsmacksheracrosstheface,butkeepsthemoneysheinvestedinhisfilm.Schroeteralsohadasmallroleinthefilm,andatonepointheandMontezumakisspassionately.Afterwards,hetellshersheneedstobrushherteeth.Severalyearslater,shelandedtheroleofthetitlecharacterinUlrikeOttinger’sFreakOrlando(1981),aloose,whimsicalmash-upofVirginiaWoolf’sOrlando(1928)andTodBrowning’sFreaks(1932).Asthetitularcharacter,sheusesherimposingandrogynytocutastrikingfigureassheadventuresthroughspaceandtime,whilealsoexploringgentlerexpressionsofcuriosityandwonderinherperformance.ThediversificationofMontezuma’scareeraffirmedheridiosyncraticcharismaandestablishedherasa‘real’actresswitharangeoftalents.InhismemoirSchroetertakespainstolistMontezuma’sworkwiththeseotherdirectors:hewantshertoberememberedasaperformerinherownright.Hisrecollectionsasserthertalentandherautonomy,butalsoaffirmhisowngoodjudgmentinchoosingher.WhenwelookatSchroeterandMontezuma’sintenserelationship,weconfrontfraughtandknottyquestionsofgenderandartistry,labourandaffection.Thestylisticandemotionalbondsbetweenthetwoareundeniable,bothinSchroeter’saccountandinwhatweseeon-screen:hisatmosphereofperformanceandpassioncreatedastageforMontezuma’saestheticflair.Theyproduceddramaticexperimentationswiththesignsoffemininepower,pleasureandpain.Atthesametime,theirbohemianfreedomwasonlypossiblethroughMontezuma’ssupport–financially,bureaucraticallyanddomestically.Inthissense,herstoryseemstypicalofmanywomen’sexperiencesinundergroundartisticspacesofthetime.Thebohemian,do-it-yourselfpraxisofSchroeter’sfilmsmeantMontezumanevergotofficialcreditfortheworkshedidoffscreen.WhileSchroeter’smemoiroftenseekstoredresstheseoversights,attimesheseemstoviewherwithaWarholiancoldness.Henarratesthelowpointsinherlife(asuicideattempt,adisappointingloveaffair)aspicaresquevignettes.RegardingMontezuma’slifeasartseemslesslikethevenerationofthediva,andmorelikeasearchforfreshmaterial.InSchroeter’sfilms,Montezumadiesagainandagain.When,inEikaKatappa,sheactsoutscenesfromPuccini’sTosca,sherepeatsthetitularcharacter’sfatalleapthreetimes.InMariaMalibran,sheagainplaysthetitularcharacter,anoperasingerwho,inanapocryphaltale,diedmid-performance.Inpalemakeup,sheletsoutathroatycryandcollapsesatthebottomofthestairs.Then,playingMalibranagain,shesingsaduet,herlip-syncingexaggeratingheavingbreaths.Shecollapses,andalittleribbonofbloodspillsoutofthecornerofherlips.Deathisthematic,atmosphericandpurposeful–ithasstyle,andittelegraphsSchroeter’sfixationwiththedivaasaperformerwhosesuperhumansacrificecanonlyleadtothegrave.In1982,Montezuma,attheageof39,receivedadiagnosisofterminalcancer.Inresponse,SchroeternourishedMontezumatheperformerandcollaborator,butdidlessforErikaKlugeandherailingbody.Artistically,theycarriedon.“Wewouldworktogethercreatingsomethingforaslongaspossible,”hesaid.“Thatwasourdeclarationofloveforoneanother.”15Theykeptworkingontheatricalprojects;shemadethecostumesforhis1983productionofLuigiPirandello’sTonightWeImprovise.ThefinalfilmtheymadetogetherwasTheRoseKing(DerRosenkönig,1986).Sheremainedcommittedevenasherbodyfailedher.Inclipsfromthefilm,herfaceisshockinglygaunt,theglamorouscheekbonesjuttingsharplyabovesunkencheeks.Shereachesherarmsoutintheircustomarygestureofentreatyandemotion.Insteadofinnerstrengthanddeliberation,allweseeisskinandbones.Nonetheless,sheretainshercompellingpresence.Heremaciatedbeautyiseerilyincandescent–sheembodiesthediva’stranscendencethroughsufferinganddeath.Intheend,shewastheconsumptiveoperaticheroineofhisdreams.Still,herobviousdeteriorationtookatollonSchroeterpersonally.HewasexpectingtoburyherinPortugal,wheretheywereshooting.Buttheyfinishedfilming,andshereturnedtoBerlin,whereshelivedonlyafewmoreweeks.InSchroeter’sfilms,deathisasublimeaffair–aWagnerianliebestod.Thesoulmergeswiththeuniverseandachievesdivinetranscendence.Deathwasadominantmotifinhisfilms,deeplyentwinedwithloveandpassion.Butdeathasanactualhumanexperience,withallitsprolongedmessiness,itsterribledurationanditsupsanddowns,wasanothermatter.Schroeterwasprofoundlyaffectedbycaringforhisdyingmotherinthelate‘70s.Itwasnotwhathehadexpected:nosublimedissolution,justthebody’shorrible,stubbornpersistence,evenwhenallhopeislost.Hismemoirunderscoresthistraumaticordeal,andheadmitstosubsequentlydistancinghimselffromfriendswhoweredying.UpontheirreturntoBerlin,SchroeterellipticallysaysthatMontezumahad“girlfriends”whocaredforher.16Headds,vaguely,thathestoodbyheraswellashecould.ShediedonJuly15,1984.

性别: 女

生卒日期: 1943年 至 1984年07月15日

出生地: 德国,巴伐利亚,维尔茨堡

职业: 演员 / 编剧

更多外文名: Erika Kluge (本名)

imdb编号: nm0599700

玛格达琳娜·蒙特祖玛

玛格达琳娜·蒙特祖玛

玛格达琳娜·蒙特祖玛

玛格达琳娜·蒙特祖玛

玛格达琳娜·蒙特祖玛