It is against this background of the theater's high prestige as a forum for ideas, as the summit of the literary arts, as the place where all the arts coalesce in a Wagnerian 'Gesamtkunstwerk' or dialectically oppose and ironize each other in Brechtian epic 'alienation, ' of the drama as a method of thought, of concrete philosophizing, that the astounding wealth of critical and theoretical writings about drama and theater that the German-speaking world has produced over the last two hundred and fifty years must be seen and appreciated.
This collection of articles by both German literature specialists and German theater experts grew out of the Comparative Drama Conference held annually between February and March from 1977 to 1999 in Gainesville, Florida. At the center of the contributors' work is the productive tension between the literary and the performance aspects of German drama and theater. At the same time, the reception is truly American, since the German playwrights, directors, theorists, and dramatists discussed have gone through creative filters in the researching, performing, and teaching of German drama and theater on various campuses across the United States during the last third of the twentieth century.
This volume considers prewar theatre in Hitler's Germany, a previously neglected subject in theatre history. An extended introduction sets the theatre scene of 1933 and charts major theatre regulations. The initial essay examines the "unified folk community" used to achieve power. Two chapters consider plays that achieved great success, and two cover specific theatres. The famous and privileged actor Werner Krauss is the subject of an essay on artistic responsibility, while a chapter on three famed directors shows how artists maneuvered for artistic freedom. The Propaganda Ministry's first national theatre festival in Dresden is covered. The two final chapters examine minority theatre--Jewish theatre in the anti-Semitic Third Reich and theatre in the concentration camps.
Historians of theatre face the same temptations and challenges as other historians: they negotiate assumptions (their own and those of others) about national identity and national character; they decide what events and actors to highlight--or omit--and what framework and perspective to use for telling the story. Personal biases, trends in scholarship, and sociopolitical contexts influence all histories; and theatre histories, too, are often revised to reflect changing times and interests. This significant collection examines the problems and challenges of formulating national theatre histories.The essayists included here--leading theatre scholars from all over the world, many of whom wrote essays specifically for this volume--provide an international context for national theatre histories as well as studies of individual nations. They cover a wide geographical area: Asia, the Middle East, Africa, Europe, and North America. The essays contrast large countries (India, Indonesia) with small (Ireland), newly independent (Slovenia) with established (U.S.A.), developed (Canada) with developing (Mexico, South Africa), capitalist (U.S.A.) with formerly communist (Russia), monolingual (Sweden) with multilingual (Belgium, Canada), and countries with stable historical boundaries (Sweden) with those whose borders have shifted (Germany).The essays also explore such sociopolitical issues as the polarization of language groups, the importance of religion, the invisibility of ethnic minorities, the redrawing of geographical borders, changes in ideology, and the dismantling of colonial legacies. Finally, they examine such common problems of history writing as types of evidence, periodization, canonization, styles of narrative, and definitions of key terms.Writing and Rewriting National Theatre Histories will be of special interest to students and scholars of theatre, cultural studies, and historiography.
This fascinating volume is for all serious students of European cinema as well as historians of Germany in the 20th century. "German Essays on Film" is divided into five parts: Late Wilhelmine Germany; Weimar Republic (1918-33); Inside the "Third Reich" (1933-45); Intellectuals in Exile; and Postwar Germany: since 1945. Among the writers, thinkers, filmmakers, and scholars anthologized are: Alfred D blin, Georg Luk cs, Claire Goll, Hugo von Hofmannsthal, Fritz Lang, F. W. Murnau, Joseph Goebbels, Leni Riefenstahl, Walter Benjamin, Max Horkheimer, Theodor W. Adorno, Siegfried Kracauer, R. W. Fassbinder, Wim Wenders, Gertrud Koch, and many others. The introduction by McCormick and Guenther-Pal along with generous headnotes help to put all these essays into historic perspective.
These are the essential writings on religion by German theologians, philosophers, and authors, from the Enlightenment to the present. The contributing authors include Immanuel Kant, Martin Buber, Karl Rahner, Rudolf Bultmann, Karl Barth, Ludwig Wittgenstein, Albert Schweitzer, Johann Goethe, Karl Mars, and many others.
Music, theatre and politics have maintained a long-standing relationship that continues to be strong. The contributions in this volume bridge the conventional chronological division between 'late Romantic' and 'modern' music to thematize a wide array of i
Combines, updates, and expands two earlier Salem Press reference sets: Critical survey of drama, Rev. ed., English language series, published in 1994, and Critical survey of drama, Foreign language series, published in 1986. This new 8 vol. set contains 6
This book is a lens through which the reader may view the German theatre in the middle of the twentieth century. It offers an inside look at the upheavals and personalities shaping the German theatre from 1925 to 1961, when playwright Carl Zuckmayer (1896-1977) and director Heinz Hilpert (1890-1967) together created their major works. Their partnership is the book's major focus, although Brecht, Reinhardt, Kortner, and other major German theatre artists are prominent. The lens sweeps across the Weimar Republic, the Third Reich, and finally the Cold War period to examine in detail many events, people, and places important in German theatre history which have, to date, remained unchronicled in English.
While it is common knowledge that Jews were prominent in literature, music, cinema, and science in pre-1933 Germany, the fascinating story of Jewish co-creation of modern German theatre is less often discussed. Yet for a brief time, during the Second Reich and the Weimar Republic, Jewish artists and intellectuals moved away from a segregated Jewish theatre to work within canonic German theatre and performance venues, claiming the right to be part of the very fabric of German culture. Their involvement, especially in the theatre capital of Berlin, was of a major magnitude both numerically and in terms of power and influence. The essays in this stimulating collection etch onto the conventional view of modern German theatre the history and conflicts of its Jewish participants in the last third of the nineteenth and first third of the twentieth centuries and illuminate the influence of Jewish ethnicity in the creation of the modernist German theatre. The nontraditional forms and themes known as modernism date roughly from German unification in 1871 to the end of the Weimar Republic in 1933. This is also the period when Jews acquired full legal and trade equality, which enabled their ownership and directorship of theatre and performance venues. The extraordinary artistic innovations that Germans and Jews co-created during the relatively short period of this era of creativity reached across the old assumptions, traditions, and prejudices that had separated people as the modern arts sought to reformulate human relations from the foundations to the pinnacles of society. The essayists, writing from a variety of perspectives, carve out historical overviews of the role of theatre in the constitution of Jewish identity in Germany, the position of Jewish theatre artists in the cultural vortex of imperial Berlin, the role played by theatre in German Jewish cultural education, and the impact of Yiddish theatre on German and Austrian Jews and on German theatre. They view German Jewish theatre activity through Jewish philosophical and critical perspectives and examine two important genres within which Jewish artists were particularly prominent: the Cabaret and Expressionist theatre. Finally, they provide close-ups of the Jewish artists Alexander Granach, Shimon Finkel, Max Reinhardt, and Leopold Jessner. By probing the interplay between “Jewish” and “German” cultural and cognitive identities based in the field of theatre and performance and querying the effect of theatre on Jewish self-understanding, they add to the richness of intercultural understanding as well as to the complex history of theatre and performance in Germany.
This work's focus is on theatre at the intersection of culture and politics during and after German reunification and the evolution of the Berlin Republic. It contains the proceedings of a symposium that took place in Melbourne in September 2006.
In this study of the prose fiction of Das Junge Deutschland, the internal stresses and paradoxes of specific texts are examined and special attention is devoted to the unfulfilled strivings toward realism. Following an introduction to the young German problem, with special reference to Wienbarg, there are essays on Gutzkow, Mundt, Kuhne, and, as a contrast, the major novels of Immermann. The essays attempt to enhance the understanding of the post-Romantic crisis in German literature.
A wide ranging bibliography on the region. Some 850 annotated entries explore subject matter categorized under 37 headings that include: industry, religion, mass media, the arts, sports and recreation, transport, domestic and external trade, languages and dialects, prehistory and archaeology, West Berlin and its special status. Annotation copyright.
Brecht on Theatre is a seminal work that has remained the classic text for readers and students wanting a rich appreciation of the development of Brecht's thinking on theatre and aesthetics. First published in 1964 and on reading lists ever since, it has now been wholly revised, re-edited and expanded with additional texts, illustrations and editorial material, and new translations. The resulting work is a far fuller and more accurate volume that will provide readers with a clearer and more rewarding understanding of Brecht's work and writings. This updated third edition features: * Clearer layout and organisation of the text to facilitate study * New translations of many of the Brechtian texts featured * Over 40 new, previously untranslated essays * Essay titles now correspond to the German originals * A revised selection of illustrations This selection of Bertolt Brecht's critical writing charts the development of his thinking on theatre and aesthetics over four decades. The volume demonstrates how the theories of Epic Theatre and Verfremdung evolved, and contains notes and essays on the staging of The Threepenny Opera, Mahagonny, Mother Courage, Puntila, Galileo and many others of his plays. Also included is 'Short Organon for the Theatre', Brecht's most complete statement of his revolutionary philosophy of the theatre.