Abstract

In this essay I analyze citational practices around Heinrich von Kleist in Italian postmodern theater and Italian feminist biopolitics. In this realm, the reference to Kleist performs a gesture of interruption of traditional eroticism (Catholic, modern, based on women’s sexual slavery), in particular, by using and rewriting Kleist’s narrative of the Amazons, the legendary tribe of women who would cut their breast to embrace the art of war. Postmodern citations of Kleist introduce a new language around sexuality instead of reenacting the ferocious narrative embedded in the ancient icon. The essay conducts a contrastive reading of two postmodern versions of the Kleistian Amazon in Italy: the first version is Lina Mangiacapre’s and Angela Putino’s philosophical conversation in “Androgina/Amazzone” as well as in Mangiacapre’s stage plays; the second version is Carmelo Bene’s cycle of performances on Achilles’s “necrophilia.” While intellectuals like Laura Mulvey in the UK and Gilles Deleuze in France tend to condemn Kleist for his necrophiliac account of romantic love, in Italy Kleist’s pessimistic image of romantic relationships offers a queer standpoint to develop a sustained critique of violent forms of desire.