Relevant bibliographies by topics / German Dramatists

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'German Dramatists'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "German Dramatists"

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Maftuna, Karshiboeva. "LITERATURE OF REUNIFIED GERMANY." International Journal Of Literature And Languages 03, no. 03 (March 1, 2023): 14–16. http://dx.doi.org/10.37547/ijll/volume03issue03-04.

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Germany is home to many famous composers, writers, poets, dramatists, philosophers and artists. German (Germanic) culture has been known since the 5th century. BC NS. German culture also includes the culture of Austria and Switzerland, which are politically independent from Germany but inhabited by Germans and belong to this culture.
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Skrziepietz, Andreas. "Medical student Bertolt Brecht (1898–1956)." Journal of Medical Biography 17, no. 3 (August 2009): 179–84. http://dx.doi.org/10.1258/jmb.2009.009020.

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Summary Bertolt Brecht was one of the most important dramatists of the 20th century. At the start of his career he studied literature but switched from the humanities to medicine. This paper discusses reasons for this switch, the influence of his medical experiences on his poetic work and why he eventually abandoned his medical career. His political development towards Marxism is described and a short sketch of his theory of theatre is given. He is considered the most important German-speaking dramatist of the 20th century.
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Margalit, Gilad. "On Ethnic Essence and the Notion of German Victimization: Martin Walser and Asta Scheib’s Armer Nanosh and the Jew within the Gypsy." German Politics and Society 20, no. 3 (September 1, 2002): 15–40. http://dx.doi.org/10.3167/104503002782486208.

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This article discusses a screenplay of the television thriller ArmerNanosh (Poor Nanosh), written in 19891 by the famous Germanauthor Martin Walser and Asta Scheib.2 The screenplay deals withthe relations between Germans and Germany’s Sinti, or Gypsy, populationin the shadow of Auschwitz,3 a subject that has hardly beentouched upon by postwar German authors and dramatists.
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Schlueter, June. "New German Dramatists by Denis Calandra (review)." Modern Drama 28, no. 1 (1985): 184–85. http://dx.doi.org/10.1353/mdr.1985.0010.

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VON MERING, SABINE. "Marriage – A Tragedy: German Women Dramatists and the Politics of Genre." Seminar: A Journal of Germanic Studies 38, no. 4 (November 2002): 332–43. http://dx.doi.org/10.3138/sem.v38.4.332.

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Sharpe, Lesley, Susan Cocalis, Ferrel Rose, and Karin Obermeier. "Thalia's Daughters: German Women Dramatists from the Eighteenth Century to the Present." Modern Language Review 95, no. 2 (April 2000): 581. http://dx.doi.org/10.2307/3736243.

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Cowen, Roy C., Susan L. Cocalis, and Ferrel Rose. "Thalia's Daughters: German Women Dramatists from the Eighteenth Century to the Present." German Quarterly 71, no. 1 (1998): 89. http://dx.doi.org/10.2307/407531.

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Jurak, Mirko. "William Shakespeare and Slovene dramatists (I): A. T. Linhart's Miss Jenny Love." Acta Neophilologica 42, no. 1-2 (December 30, 2009): 3–34. http://dx.doi.org/10.4312/an.42.1-2.3-34.

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One of the signs of the universality of William Shakespeare's plays is undoubtedly their influence on plays written by other playwrights throughout the world. This is also true of Slovene playwrights who have been attracted by Shakespeare's plays right from the beginning of their creativity in the second half of the eighteenth century, when Anton Tomaž Linhart (1756-1795) wrote his tragedy Miss Jenny Love.-However,-Slovene knowledge about-Shakespeare and his plays reaches back-into the seventeenth century, to the year 1698, when a group of Jesuit students in Ljubljana performed a version of the story of ''King Lear in Slovene. The Jesuits used Slovene in theatrical performances, which were intended for.the broadest circles of the population. The first complete religious play, written in Slovene, is Škofjeloški pasjon (The Passion Play from Škofja Loka), which was prepared by the Cistercian monk Father Romuald. Since 1721 this play was regularly performed at Škofja Loka for several decades, and at the end of the twentieth century its productions were revived again.In December 2009 two hundred and twenty years will have passed since the first production of Anton Tomaž Linhart's comedy Županova Micka (Molly, the Mayor's Daughter). It was first performed in Ljubljana by the Association of Friends of the Theatre on 28 December 1789, and it was printed in 1790 together with Linhart's second comedy, Ta veseli dan ali Matiček se ženi (This Happy Day, or Matiček Gets Married; which was also published in 1790, but not performed until 1848). These comedies represent the climax of Linhart's dramatic endeavours. Linhart's first published play was Miss Jenny Love (1780), which he wrote in German. In the first chapter of my study 1shall discuss the adaptation of Shakespeare's texts for the theatre, which was not practiced only in Austria and Germany, but since the 1660s also in England. Further on I discuss also Linhart's use of language as the "means of communication". In a brief presentation of Linhart's life and his literary creativity I shall suggest some reasons for his views on life, religion and philosophy. They can be seen in his translation of Alexander Pope's "Essay on Man" as well as his appreciation of Scottish poetry. The influence of German playwrights belonging to the Sturm and Drang movement (e.g. G. T. Lessing, J. F. Schiller, F. M. Klinger) has been frequently discussed by Slovene literary historians, and therefore it is mentioned here only in passing. Slovene critics have often ascribed a very important influence of English playwright George Lillo on Linhart' s tragedy Miss Jenny Love, but its echoes are much less visible than the impact of Shakespeare's great tragedies, particularly in the structure, character presentations and the figurative use of language in Linhart's tragedy. 1shall try to prove this influence in the final part of my study.Because my study is oriented towards British and Slovene readers, 1had to include some facts which may be well-known to one group or to another group of readers. Nevertheless I hope that they will all find in it enough evidence to agree with me that Shakespeare's influence on Linhart's play Miss Jenny Love was rather important.
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Wiggins, Ellwood. "Cold War Compassion: The Politics of Pity in Tom Stoppard’s Neutral Ground and Heiner Müller’s Philoktet." Literatur für Leser 38, no. 4 (January 1, 2015): 255–70. http://dx.doi.org/10.3726/lfl2015-4_255.

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At the same time on opposite sides of the Iron Curtain, two avant-garde playwrights decided to remake a 2400-year-old tragedy. Heiner Müller (1929-1996) and Tom Stoppard (1937-) are widely regarded as two of the most innovative dramatists of East Germany and Great Britain and respectively. In 1965, Stoppard submitted a script for a spy thriller to Granada TV and Müller published his first play since being banned from the East German Writers’ Association in 1961. Though unbeknownst to each other and writing for drastically different purposes, media, and audiences, they both lit upon Sophocles’ Philoctetes as the appropriate vehicle for their work. Sympathy has been recognized as central to tragedy since Aristotle’s Poetics, and Philoctetes is the ultimate drama of compassion. The story of the wounded Philoctetes is an Ur-scene for pity in the same way that Ajax’s slaughter of the sheep in his madness is a primal scene for indignation, or Orpheus’ descent to the underworld, for grief. In finding their way to Philoctetes, Stoppard and Müller grapple with a fundamental problem of theatrical art.
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Seidensticker, Bernd. "Ancient Drama and Reception of Antiquity in the Theatre and Drama of the German Democratic Republic (GDR)." Keria: Studia Latina et Graeca 20, no. 3 (November 22, 2018): 75–94. http://dx.doi.org/10.4312/keria.20.3.75-94.

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Theatre in the German Democratic Republic was an essential part of the state propaganda machine and was strictly controlled by the cultural bureaucracy and by the party. Until the early sixties, ancient plays were rarely staged. In the sixties, classical Greek drama became officially recognised as part of cultural heritage. Directors free to stage the great classical playwrights selected ancient plays, on one hand, to escape the grim socialist reality, on the other to criticise it using various forms of Aesopian language. Two important dramatists and three examples of plays are presented and discussed: an adaptation of an Aristophanic comedy (Peter Hack’s adaptation of Aristophanes’ Peace at the Deutsche Theater in Berlin in 1962), a play based on a Sophoclean tragedy (Heiner Müller’s Philoktet, published in 1965, staged only in 1977), and a short didactic play (Lehrstück) based on Roman history (Heiner Müller’s Der Horatier, written in 1968, staged in 1973 in Hamburg in West Germany, and in the GDR only in 1988). At the end there is a brief look at a production of Aeschylus Seven against Thebes at the BE in 1969.
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Dissertations / Theses on the topic "German Dramatists"

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Clark, G. A. "Max Reinhardt : A study of his work with contemporary German dramatists, with particular reference to his role in the genesis of Hugo von Hofmannsthal's 'Der Turm'." Thesis, University of Oxford, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.371621.

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Putalivo, Patrizia. "Metastasio as dramatist : the example of Demetrius." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59383.

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The thesis examines the reception and importance of Pietro Metastasio's dramatic work in Vienna and other major German centres and concentrates on the German dramatic versions of Demetrius. The first chapter discusses the eighteenth-century reception of Metastasio's Demetrius as opera and as drama in Vienna and across Germany, considers the Viennese dramatic performances of other well-known metastasian dramas and argues that Metastasio's works had their own independent literary validity before serving the music. The second chapter, which examines the publication history of both Metastasio's individual and collected works until 1800, maintains that German translations of Metastasio's texts were indeed required by Germans and Austrians during the eighteenth century. The last chapter, an intensive study of Demetrius, draws a precise comparison of a Viennese dramatic version of this work with the original Demetrio libretto, and comments on other German dramatic versions of the play. It is contended that Metastasio's texts could easily be adapted to become dramatic works. It is further argued that Metastasio was not only successful as librettist but also as dramatist in eighteenth-century German-speaking territory.
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Books on the topic "German Dramatists"

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Wolfgang, Elfe, and Hardin James N, eds. Twentieth-century German dramatists, 1919-1992. Detroit, USA: Gale Research, 1992.

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Wolfgang, Elfe, and Hardin James N, eds. Twentieth-century German dramatists, 1889-1918. Detroit, USA: Gale Research, 1992.

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Bosch, Manfred. Vom Bürgerschreck zum Theatervisionär: Moritz Lederer, europäischer Grenzgänger aus Mannheim : eine biographische Skizze. Mannheim: v. Brandt, 1999.

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Müry, Andres. Minetti isst Eisbein: Lob der Hinterbühne. Frankfurt am Main: Fischer Taschenbuch Verlag, 1992.

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Unt, Mati. Brecht ilmub öösel =: Brecht bricht ein in der Nacht. [Tallinn]: Kupar, 1997.

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Bürger-Koftis, Michaela. Das Drama als Zitierimperium: Zur Dramaturgie der Sprache bei Harald Mueller. St. Ingbert: Röhrig, 2005.

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Kotzebue, August von, 1761-1819, author and Košenina Alexander editor, eds. Briefwechsel. Hannover: Wehrhahn Verlag, 2020.

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Ziegler, Karl. Grabbe's Leben und Charakter: Faksimiledruch der Erstausgabe von 1855. Bielefeld: Aisthesis Verlag, 2009.

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Siebert, Stefan. Adolf Wilbrandt: Ein literarisches Leben zwischen Rostock und Wien. Edited by Universitätsbibliothek Rostock. Rostock: Universitätsbibliothek Rostock, 2013.

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Toller, Ernst. Briefe, 1915-1939. Göttingen: Wallstein Verlag, 2018.

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Book chapters on the topic "German Dramatists"

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Bithell, Jethro. "The Dramatists of Naturalism." In Modern German Literature 1880–1950, 24–53. Routledge, 2020. http://dx.doi.org/10.4324/9781003010494-2.

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"SHAKESPEARE AND THE GERMAN CLASSIC DRAMATISTS." In The Reception of English Literature in Germany, 304–19. University of California Press, 2023. http://dx.doi.org/10.2307/jj.8500927.22.

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Bithell, Jethro. "The Neo-Romantic and Austrian Dramatists." In Modern German Literature 1880–1950, 228–41. Routledge, 2020. http://dx.doi.org/10.4324/9781003010494-9.

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Kelz, Robert. "Hyphenated Hitlerism." In Competing Germanies, 171–225. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501739859.003.0005.

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This chapter shows how reviews in local media emphasized Nazi tropes, such as anti-urbanism, the leader cult, mania for Aryans and Teutons, the glorification of war, and racial anti-Semitism. Though they were Nazi loyalists who enthusiastically supported Ney's ensemble, local dramatists and theatergoers also emphasized their cultural hybridity and affinity for Argentina. This estranged them from the fatherland and undercut Nazi officials' efforts to construct a transatlantic National Socialist community. Later, when the war and the Argentine regime turned against Germany, comedies formed a larger proportion of the ensemble's repertoire. Spectators at both the Free German Stage and the German Theater embraced the comedic genre to cope with the overlapping psychological and emotional duress that they incurred as emigrant populations whose nations of origin were at war.
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Kelz, Robert. "Enduring Competition." In Competing Germanies, 226–88. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501739859.003.0006.

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This chapter tracks the trajectory of Argentina's German theaters against a changing political landscape and new waves of European emigration. In the postwar period, director Paul Walter Jacob endeavored to attract all German speakers to the Free German Stage; however, his failed efforts at reconciliation underscored the polarized environment in the Argentine capital. Without ever renouncing fascism, Ludwig Ney adopted a strategy of interculturalism to succeed professionally in Peronist Argentina. German-speaking artists from across the political spectrum embarked on cross-cultural projects, and their transformative impact on theater in Argentina is still evident today. Meanwhile, in its crusade against communism, the West German embassy intervened at both stages. Carefully staged depictions of German heritage and reconciliation reflected a specious contrivance, contingent on edited memories of the recent past. The intractable animosity ultimately led to a move away from German dramatists in favor of canonical European playwrights, such as William Shakespeare.
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Bradley, Laura. "Die Mutter and German Reunification, 1988– 2003." In Brecht and Political Theatre: The Mother on Stage, 176–215. Oxford University PressOxford, 2006. http://dx.doi.org/10.1093/oso/9780199286584.003.0006.

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Abstract In Chapter 3, we saw how political theatre was being redefined in the early 1970s in both East and West Germany. During the next two decades, the movement away from agitation accelerated as even politically committed dramatists challenged the notion that theatre could communicate a clear message, a challenge that was spearheaded by Heiner Müller. After 1989 this literary and theatrical trend became even stronger, as conservative commentators like Ulrich Greiner and Frank Schirrmacher advocated an end to the politicized aesthetics of the Cold War. Even in the former GDR, socially committed theatres increasingly conveyed their concerns— as distinct from a coherent message— through the fragmented postmodern aesthetic that had become so fashionable in the West. At the Volksbühne in 1997, for instance, Frank Castor interrupted Hauptmann’s De Waber(The Weavers) with quotations from film, advertising, and such diverse artists as Brecht, Busch, Bob Marley, and Quentin Tarantino in order to invoke the themes of Western cultural imperialism, materialism, and the end of the Socialist Utopia.
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Garloff, Katja. "Toward the Present and the Future." In Mixed Feelings. Cornell University Press, 2016. http://dx.doi.org/10.7591/cornell/9781501704963.003.0008.

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This chapter shows that even Scholem's “Jews and Germans,” despite its explicit rejection of the past Jewish love for things German, relies on tropes of love to conjure the possibility of a future German-Jewish dialogue. Another famous German Jewish thinker, Hannah Arendt, is more outspoken in her valorization of love as a mode of sociopolitical intervention. In her biography of a Jewish salonnière of the Romantic era, Rahel Levin Varnhagen, Arendt affirms the love of the pariah as a form of solidarity that is rooted in shared experiences of marginalization. Finally, the chapter turns to the decade after the 1990 unification of Germany, when the theme of interreligious or intercultural love enjoyed much popularity both in mainstream feature films and in contemporary German Jewish writers. Barbara Honigmann, for instance, dramatizes failing Jewish-Gentile love affairs to show how memories of the Third Reich continue to disrupt German-Jewish relations in the present. But this is not a negation of love as a trope of interreligious or intercultural mediation. Love remains an important trope in Honigmann, one that allows her to imagine a new kind of German Jewish diaspora.
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"Dramatis Personae." In Ultranationalism in German-Japanese Relations, 1930-1945, 403–29. Global Oriental, 2011. http://dx.doi.org/10.1163/9789004212787_012.

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Toller, Ernst. "On the German Situation." In Oxford Readers Nazism, 56–58. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780192892812.003.0014.

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Abstract The German-Jewish dramatist and essayist Ernst Toller was a perceptive critic of fascism from the perspective of the Left. As with many Jewish intellectuals on the Left, his socialist convictions led him to understate the anti-Semitic nature of National Socialism; unlike many, he recognized, however, its violent and destructive potential. Tragically, it took the victory of National Socialism for the ‘popular front’ which he proposed to come into existence.
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Cahn, Geoffrey S. "Weill, Kurt (1900–1950)." In Routledge Encyclopedia of Modernism. London: Routledge, 2021. http://dx.doi.org/10.4324/9780415249126-rem2133-1.

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Kurt Weill was one of the most inventive and prominent composers for musical theatre during the first half of the twentieth century. He wrote for the German stage during the turbulent years of the Weimar Republic (1919–1933) and for Broadway, after he emigrated to the United States (1935–1950). His stage works written on both sides of the Atlantic display remarkably versatile styles, including classicism and jazz. Best known for his collaborative efforts with dramatist-poet Bertolt Brecht for Die Dreigroschenoper (The Threepenny Opera, 1928) and Aufstieg und Fall der Stadt Mahagonny (Rise and Fall of the City of Mahagonny, 1930), Weill enjoyed additional success with other playwrights and librettists who also conveyed the despair of Germany during the 1920s and early 1930s. A number of successful and innovative Broadway shows added to his reputation as the paramount composer active in modern theatre during the 1940s.
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Conference papers on the topic "German Dramatists"

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Aust, Matthias, Matthias de Clerk, Roland Blach, and Manfred Dangelmaier. "Towards a Holistic Workflow Pattern for Using VR for Design Decisions: Learning From Other Disciplines." In ASME 2011 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2011. http://dx.doi.org/10.1115/detc2011-47460.

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In their respective design processes automobile manufacturers use more and more virtual prototyping. Today, even some design decisions are made, based on purely digital vehicle models. This is a report of a recent study, which was done with a German car manufacturer, that has looked into different academic disciplines besides computer science, to find new ways to vitalize and stage digital vehicle models. Usability engineering, psychology, dramatics, and theater teaching were consulted. As a result a novel workflow pattern is proposed, exemplarily conceptualized for Design Reviews of automobiles. It embeds the use of Virtual Reality (VR) or Mixed Reality (MR) between Briefing and Debriefing phases, to give the users a chance for preparing and postprocessing the digital experience. This workflow pattern and its pragmatic conception are introduced in this paper.
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