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Journal articles on the topic 'German Dramatists'
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1
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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Vogel, Juliane. "Sonnenpartituren." Poetica 51, no. 1-2 (September 22, 2020): 148–69. http://dx.doi.org/10.30965/25890530-05101004.
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Abstract The article describes forms of solar orientation in dramas of German Naturalism. Starting from Ibsen’s Gengangere and Hauptmann’s Vor Sonnenaufgang, it claims that the crisis of drama is reflected in the ways in which the sun is related to the dramatic process and involved in dramatic finalization. By staging and addressing the sun, Naturalist dramatists discuss problems of temporal organization and energetical maintenance of a form in dissolution. In an array of dramas and in a densely woven network of intertextual references, they experiment with evocations of negative solarity. The modern sun is no longer a resource of meaning and source of life, it has turned into an indifferent, disenchanted and even hostile star that no longer addresses the human world.
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Freeman, Sandra, Michael Jamieson, Christopher Murray, Ulf Danatus, Göran Kjellmer, Anne Moskow, Ronald Paul, et al. "Reviews and notices." Moderna Språk 88, no. 1 (June 1, 1994): 96–120. http://dx.doi.org/10.58221/mosp.v88i1.10120.
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Includes the following reviews:pp. 96-97. Sandra Freeman. Griffiths, T.R. & Llewellyn, M. (eds.), British and Irish Women Dramatists Since 1958.
pp. 97-98. Michael Jamieson. Esslin, M., Pinter the Playwright.
pp. 98-100. Christopher Murray. Hodgson, T., Modern Drama: From Ibsen to Fugard. + Innes, C., Modern British Drama 1890-1990.
pp. 100-103. Ulf Danatus. Russell, J.R., The Penguin Dictionary of the Theatre. + Wandor, M., Drama Today; A Critical Guide to British Drama. + Acheson, J. (ed.), British and Irish Drama since 1960. + Hilton, J. (ed.), New Directions in Theatre.
pp. 103-105. Göran Kjellmer. Cowie, A.P. & Mackin, R. (eds.), Oxford Dictionary of Phrasal Verbs.
p. 105. Anne Moskow. Virago Press - Feminist Publisher.
pp. 105-106. Ronald Paul. Burgess, A., A Mouthful of Air.
pp. 106-109. Frank-Michael Kirsch. Byram, M. (ed.), Germany. Its Representation in Text, Books for Teaching German in Great Britain.
pp. 110-111. Bo Andersson. Günter, S. & Kotthoff, H. (Hrsg.), Die Geschlechter im Gespräch. Kommunikation in Institutionen.
pp. 112-113. Gustav Korlén. Leiser, E., Gott hat kein Kleingeld.
pp. 114-117. Elisabeth Tegelberg. L'année scandinave 1989-1991, Nouvelles du Nord 1992.
pp. 117-118. Börje Schylter. Hedberg, J., Nostalgia.
pp. 118-119. Lars-Göran Sundell. Boysen, G., Fransk grammatik.
p. 120. Redaktionsmeddelande/A Message from the Editors
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Saeed, Zanyar F. "Elements of The Epic Theatre in Edward Albee's The Sandbox." Humanities Journal of University of Zakho 1, no. 1 (June 30, 2013): 1–6. http://dx.doi.org/10.26436/hjuoz.2013.1.1.86.
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The theory of the epic theatre was promoted in the first half of the twentieth century by the German playwright Bertolt Brecht. He believed that the new events of the twentieth century dictate the necessity for new modes of presentation. Being primarily politically and socially concerned, he wanted to make his audience think about the socio-political problems shown on stage, rather than feeling it; thus, he called for the notion of estrangement/alienation or what is often termed the A-effect. The present paper is an attempt to show how Edward Albee employs some of the techniques of the epic theatre in his play The Sandbox. The paper is more technically, than thematically, oriented. In many places in this short play, Albee makes the audience feel that they are watching a play=game, not a slice of life as it is claimed by the realist dramatists.
Some of the elements of the epic theatre which are employed in this play are: the actors do not identify with the characters that they play; the author deals with some serious situations in a cartoon-like way; some characters play the role of the author and/or the director; the characters address the audience directly; and mixing tragic and comic events at the same moment.
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DeMeritt, Linda C., and Denis Calandra. "New German Dramatists: A Study of Peter Handke, Franz Xaver Kroetz, Rainer Werner fassbinder, Heiner Muller, Thomas Brasch, Thomas Bernhard and Botho Strauss." German Quarterly 59, no. 2 (1986): 335. http://dx.doi.org/10.2307/407453.
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Fogg, Derek. "German Expressionist Drama: Ernst Toller and Georg Kaiser. By Renate Benson. London: Macmillan Press, 1984. (Macmillan Modern Dramatists). Pp. xii + 179 + illus. £13; £4.95s." Theatre Research International 10, no. 1 (1985): 82–83. http://dx.doi.org/10.1017/s0307883300010567.
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Manolescu, Dan. "The Quest for Knowledge." Journal of Practical Studies in Education 3, no. 2 (February 12, 2022): 12–15. http://dx.doi.org/10.46809/jpse.v3i2.44.
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This article is a quick inquiry into the quest for knowledge. Preliminary steps include the idea of light as it was promulgated during the period of Enlightenment, followed by the relevant role played by education, and then focusing on the passion for knowledge, as it is found in major literary and philosophical works. Curiosity and inquisitiveness are also mentioned because of their intrinsic value with references to classical as well as contemporary approaches. Throughout history, knowledge has been treated not only as quintessential in its multiple uses, but also prevalent because it deepened and broadened our core connection with the outside world. Famous dramatists are part of our discussion, starting with Christopher Marlowe, who condemns his Faustus and continuing with Goethe, the German poet who argues that Faustus should be forgiven because he was in the pursuit of knowledge. Along the same lines, a new approach to learning in our quest for knowledge was introduced by Peter Senge. What we do when we really learn something new is, according to Senge, what makes us human. In conclusion, we might say that the quest for knowledge brings us joy and that the passion for knowledge is an inborn trait that makes us who we are. We learn something every day and we are never satisfied because we always want to know more.
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Lowe, J. C. B. "Aspects of Plautus' Originality in the Asinaria." Classical Quarterly 42, no. 1 (May 1992): 152–75. http://dx.doi.org/10.1017/s000983880004266x.
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That the palliatae of Plautus and Terence, besides purporting to depict Greek life, were in general adaptations of Greek plays has always been known. Statements in the prologues of the Latin plays and by other ancient authors left no room for doubt about this, while allowing the possibility of some exceptions. The question of the relationship of the Latin plays to their Greek models was first seriously addressed in the nineteenth century, mainly by German scholars, under the stimulus of Romantic criticism which attached paramount importance to originality in art. Since then the question has been constantly debated, often with acrimony, and to this day very different answers to it continue to be given. Yet the question is obviously important, both for those who would measure the artistic achievement of the Latin dramatists and for those who would use the plays to document aspects of Greek or Roman life. It is not disputed that Plautus' plays contain many Roman allusions and Latin puns which cannot have been derived from any Greek model and must be attributed to the Roman adapter. What is disputed is whether this overt Romanization is merely a superficial veneer overlaid on fundamentally Greek structures or whether Plautus made more radical changes to the structure as well as the spirit of his models.
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Berlova, Maria. "The Transnationalism of Swedish and Russian National Theatres in the Second Half of the Eighteenth Century: How Foreign Performative Art Sharpened the Aesthetics of National Identity." Nordic Theatre Studies 27, no. 1 (May 12, 2015): 104. http://dx.doi.org/10.7146/nts.v27i1.24243.
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In this article, I consider the formation of national theatres in Sweden and Russia under the guidance of King Gustav III and Empress Catherine II. Both Swedish and Russian theatres in the second half of the eighteenth century consolidated their nationalism by appealing to various national cultures and absorbing them. One of the achievements of the Enlightenment was the rise in popularity of theatre and its transnationalism. Several European countries, like Russia, Sweden, Po- land, Hungary and others, decided to follow France and Italy’s example with their older traditions, and participate in the revival of the theatrical arts, while aiming at the same time to preserve their national identities. The general tendency in all European countries of “second theatre culture” was toward transnationalism, i.e. the acceptance of the inter-penetration between the various European cultures with the unavoidable impact of French and Italian theatres. The historical plays of the two royal dramatists – Gustav III and Catherine II – were based on nation- al history and formulated following models of mainly French and English drama. The monarchs resorted to the help of French, Italian and German composers, stage designers, architects, choreographers and actors to produce their plays. However, such cooperation only emphasized Swedish as well as Russian national- ism. Despite many similarities, Gustav III and Catherine II differed somewhat in how each positioned their own brand of nationalism. By delving deeper into the details of the formation of the national theatres by these monarchs, I will explore similarities and differences between their two theatres.
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Zabotin, Daniil V. "In Search of Lost Realities: Alan Bennett’s “The Uncommon Reader’’ through Russian Reader’s Eyes." Literary Fact, no. 4 (30) (2023): 279–302. http://dx.doi.org/10.22455/2541-8297-2023-30-279-302.
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The article is dedicated to the critical reflection of the original and translated version of Alan Bennett’s “The Uncommon Reader,” whose main character is unnamed, but easily recognizable Queen Elizabeth II. Consequently, the entire different cultural context of this pseudo-biographical narrative creates certain difficulties for the translator, because she has to understand and reproduce with maximum accuracy what English speakers read without any hindrance. So, the main approach of the translation of “The Uncommon Reader” into Russian is considered to be a domesticating strategy, which means the need to adapt the story by simplifying or replacing (renaming) historical and everyday realities, when they are transplanted from one worldview to another: for example, “Alsatian — German Shepherd” or “Dame Commander — Court Lady.” It should be emphasized that the nomination problem plays an important role in Bennett’s work: while his characters dive into the depths of fiction, they seem to start to get know to themselves anew with the help of found “second names” that are foreign words of Greek (“opsimath”) and Latin (“amanuensis”) origin. The study of the author’s reading philosophy leads us to the conclusion about the uniqueness of the original title of the story, reflecting the idea of the ambivalent nature of the image of Her Royal Majesty. After a long journey from a novice reader to a writing reader, she still decided to enter the circle of the independent Republic of Letters, which blossoms with tens of names of novelists, poets, and dramatists of the present and the past on the pages of “The Uncommon Reader.” Such a literary union demanded from the translator to create a separate and well-thought commentary, which can be interpreted as a secondary attempt at “reverse translation” (A.V. Mikhailov).
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Colvin, Sarah. "Reviews : Thalia's Daughters: German Women Dramatists from the Eighteenth Century to the Present. Ed. by Susan L. Cocalis and Ferrel Rose. Tubingen and Basel: Francke, 1996. Pp.329. DM 136." Journal of European Studies 27, no. 1 (March 1997): 118–19. http://dx.doi.org/10.1177/004724419702700113.
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Carlson, Marvin. "Contemporary Censorship Debates in Germany." New Theatre Quarterly 40, no. 2 (April 29, 2024): 160–66. http://dx.doi.org/10.1017/s0266464x24000058.
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During the past five years the cultural world in Germany has been shaken and divided by a series of controversies involving contemporary works of art charged with being anti-Semitic. Obviously, with the Holocaust continuing to occupy a major position in modern German consciousness and history, sensitivity to anti-Semitic expressions is particularly keen here. This sensitivity has been increased by a number of recent developments, including the growing visibility of far-right political groups, the rise of the Boycott, Divestment, and Sanctions movement (BDS) protesting Israeli treatment of the Palestinians, and the official politicization of these tensions by a parliamentary ruling in 2015 restricting the activities of the BDS. The conflict between legitimate criticism of policies of the Israeli state and legitimate censorship of ethnically offensive material has recently become increasingly bitter in Germany. This article discusses the dynamics of three of the most significant recent examples: the conflict involving Germany’s most prestigious arts festival, the Kassell documenta in 2020; the withdrawal in 2022 of the European Drama Award, the continent’s largest award, from British dramatist Caryl Churchill; and the withdrawal from the Munich stage of the most recent play by Wajdi Mouawad, who has been widely heralded in Germany as the most significant contemporary dramatist.
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Hantke, Steffen. "From stressed utopias to pervasive anxiety." Science Fiction Film & Television 13, no. 3 (October 1, 2020): 323–39. http://dx.doi.org/10.3828/sfftv.2020.19.
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Three films imagining post-apocalyptic dystopias - Smog (Petersen Germany 1973), Operation Ganymed (Erler Germany 1977) and Die Hamburger Krankheit (Fleischmann Germany 1979) - concretise and dramatise environmental, political and social stresses on the West German national imaginary during the 1970s. Articulating cultural motifs hitherto associated with national success within the conventions of the disaster film, the films would exacerbate cultural stress throughout the decade by gradually uncoupling it from its historically specific sources and rendering it as a diffuse yet inescapable national mood. Taken together and read in sequence, the three films show how dystopian thinking takes hold while its specific causes grow less clear and obvious, expressing fundamental doubts about ‘post-war’ utopian aspirations.
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Lazirko, Nataliia. "GEORGE KAISER’S WRITING IN THE RECEPTION OF YURI KLEN." Polish Studies of Kyiv, no. 35 (2019): 201–6. http://dx.doi.org/10.17721/psk.2019.35.201-206.
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The given article deals with Klen’s research of the German dramatist George Kaiser. The main parameters of artistic universe of this author are presented in the article. There are also outlined the methodological strategies of research the German dramatist’s creativity by Yuri Klen – a well-known Ukrainian literary critic. Georg Kaiser is one of the brightest representatives of theatrical and literary expressionism. His plays are the unique phenomenon in the 20th century drama. His expressionism appeared to be the special one and the global and scope of plots allowed scientists to call G. Kaiser a «new myth creator». Among world scientists, who comprehended the features of author manner of this sign artist for history of world drama, a main place belongs to the Ukrainian literary critic – Yuri Klen. In his scientific work there is the article «George Kaiser», which an author compositionally divides into seven parts. Its pre-condition is an original metaphorical lineation (vivid registration of which is adopted from astronomy), structural-semiotics assertion that every writer creation has a basic idea or favourite main image, that can be found in many writings of the author. However, in the Ukrainian literary critic’s opinion, it is not impossible to say it on the first sight about George of Kaiser because every work of this author has a new incarnate idea, new and unexpected development of a plot, new and original interpretation of that problem which has been solved in his previous works. In the article “George Kaiser” by Yuri Klen the biographic approach can be highlighted while analyzing creative works of the German dramatist. The Ukrainian literary critic also outlines the secrets of psychology of the German artist creation in expressionism manner. Expressionism drama is always drama of ideas; therefore acting persons of this drama are not individuals, but types which helps writer to lead the general action of the characters. Yuri Klen asserts transformation of images in dramas by George of Kaiser, their original reduction up to separate characters and allegories: his characters lost the outlines of people and become symbols of idea, super individual creatures, typical samples, and logic of acting can be sacrificed for the sake of the higher logic – logic of composition and dramatic construction. Few times a researcher accents on closeness an artistic world view of the German dramatist to cubism: characters mainly don’t have the names, but appear on the stage under the names: a «father», «multimillionaire», «black», «yellow» – they are structural formulas. Summarizing these the structural-semiotics searches, Yuri Klen marks once again that in George Kayiser’s works can be found: 1) central idea of man renewing which is peculiar for all his creative work; 2) leading motive of escape-chasing and 3) element of contingency which manages events, that is a case-shove which suddenly gives dynamic of action and sets fire before a man as a distant lighthouse – dream about renewal. It is also possible to assert that researches of expressionism by some authors whose creation correlates with expressionism views demonstrates complete maturity of Yuri Klen to be a serious literary critic armed by the newest methodological approaches to study literature as theoretician and practician of literature studies.
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Zappen, James P. "Kenneth Burke’s Counter-Spectacle and the Problem of Unity in Political Culture." Literature of the Americas, no. 9 (2020): 151–73. http://dx.doi.org/10.22455/2541-7894-2020-9-151-173.
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The spectacle was prominent in public displays and mass meetings in midtwentieth-century Russia and Germany as a quest for unity in political culture. In Russia, it was countered by Mikhail M. Bakhtin’s novelistic dialogue, polyphony, heteroglossia, and carnival. In Germany, it appeared in its most grotesque form in Adolf Hitler’s Mein Kampf, which proclaims Hitler’s quest for German national unity and celebrates his National Socialist mass meetings, which created the appearance of a false unity imposed by force of arms. In the United States, Hitler’s spectacle was critiqued in Kenneth Burke’s review of Mein Kampf and continually challenged throughout his life’s work. Burke’s review critiques Hitler’s strategy of attempting to unite Germany by dividing it from those who opposed him, in particular non-German ethnic groups. Burke was engaged in sociopolitical issues throughout his lifetime, and his work offers theories and principles aimed at diversity in unity in political culture and offered as a counterforce to Hitler’s spectacle of a false unity—a counter-spectacle in the form of identification, dramatism, dialectical and aesthetic transcendence, and a satiric mock portrait of a false unity.
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Van Handle, Donna C. "EUGENE O'NEILL: THE GERMAN RECEPTION OF AMERICA'S FIRST DRAMATIST." Resources for American Literary Study 17, no. 1 (1990): 131–33. http://dx.doi.org/10.2307/26366705.
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Van Handle, Donna C. "EUGENE O'NEILL: THE GERMAN RECEPTION OF AMERICA'S FIRST DRAMATIST." Resources for American Literary Study 17, no. 1 (1990): 131–33. http://dx.doi.org/10.2307/resoamerlitestud.17.1.0131.
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Frendo, Mario. "The dithyrambic dramatist: A Nietzschean musical-performative conception." Studies in Musical Theatre 14, no. 2 (July 1, 2020): 193–206. http://dx.doi.org/10.1386/smt_00032_1.
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The concept of the dithyrambic dramatist ‐ introduced by German philosopher Friedrich Nietzsche in the fourth essay of his Untimely Meditations of 1873‐76 ‐ is one of the most performance-oriented concepts to emerge out of the nineteenth century in which theatre was often associated with dramatic literature. This article investigates the nature of the dithyrambic dramatist by tracing, in the first instance, the underlying musical perspectives ‐ already evident in The Birth of Tragedy of 1872 ‐ which led Nietzsche to develop the concept. In the second instance, the author articulates what may be considered as its key conditions, namely the visible‐audible and individual‐collective relationalities. In view of the arguments brought forward, the concept of the dithyrambic dramatist is located as an interdisciplinary element that emerged out of an art form ‐ music ‐ to which Nietzsche was intimately associated in his youth as a composer. The author further proposes that, rather than a metaphor to philological tropes, the dithyrambic dramatist is a concrete manifestation of interdisciplinary and performative foundations that inform Nietzsche’s analytic perspectives.
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Tröhler, Ulrich. "Theory and clinical use of probabilities in Germany after Gavarret. Part 1: introducing German dramatis personae." Journal of the Royal Society of Medicine 113, no. 12 (December 2020): 497–503. http://dx.doi.org/10.1177/0141076820968486.
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Osten, Philipp. "Emotion, Medizin und Volksbelehrung: die Entstehung des «deutschen Kulturfilms»." Gesnerus 66, no. 1 (November 11, 2009): 67–102. http://dx.doi.org/10.1163/22977953-06601005.
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This article describes the process of professionalisation of medical films in Germany between 1910 and 1920. At the beginning of this decade, government institutions showed a growing interest in hygiene campaigns and started to cooperate with medical experts as well as with professional advertisers. When the German film industry was nationalised at the end of World War I, these informal structures were strengthened. New theories described the film as a most powerful tool for propaganda purposes. This profoundly changed the expectations towards medical films. Now their content had to be bedded into the dramatised form of a photoplay. After 1918, in anticipation of the reprivatisation of the German film industry, government officials of the Weimar Republic developed complex measures to obtain and keep control over a new genre of documentary film which was now called “Deutscher Kulturfilm”. Some of the political expectations linked to the Kulturfilm can be exemplified in the first documentary of feature length released by the Berlinbased Universal Film Corporation in 1920. It contained elements of medical films that had been shot during the last decade of the German Empire, and it was newly composed in 1919 to meet the presumable needs of a broader public in an uncertain democratic future.
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Osten, Philipp. "Emotion, Medizin und Volksbelehrung: die Entstehung des «deutschen Kulturfilms»." Gesnerus 66, no. 2 (November 11, 2009): 67–102. http://dx.doi.org/10.1163/22977953-06602005.
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This article describes the process of professionalisation of medical films in Germany between 1910 and 1920. At the beginning of this decade, government institutions showed a growing interest in hygiene campaigns and started to cooperate with medical experts as well as with professional advertisers. When the German film industry was nationalised at the end of World War I, these informal structures were strengthened. New theories described the film as a most powerful tool for propaganda purposes. This profoundly changed the expectations towards medical films. Now their content had to be bedded into the dramatised form of a photoplay. After 1918, in anticipation of the reprivatisation of the German film industry, government officials of the Weimar Republic developed complex measures to obtain and keep control over a new genre of documentary film which was now called “Deutscher Kulturfilm”. Some of the political expectations linked to the Kulturfilm can be exemplified in the first documentary of feature length released by the Berlinbased Universal Film Corporation in 1920. It contained elements of medical films that had been shot during the last decade of the German Empire, and it was newly composed in 1919 to meet the presumable needs of a broader public in an uncertain democratic future.
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Rudnytzky, L. І. "THE DISINHERITED DRAMATIST ON THE RECEPTION OF VYNNYČENKO’S PLAYS IN GERMANY." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 2(54) (January 22, 2019): 175–87. http://dx.doi.org/10.31471/2304-7402-2019-2(54)-175-187.
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The article researches into the connection of Volodymyr Vynnyčenko’s dramaturgic creative work and the German-speaking cultural space on the rich archival material. It proves that the plays by the Ukrainian author organically fitted in German expressionists’ literary-artistic searches, were often performed on the stages of Berlin, Munich, Nuremberg, as well as of Vienna and Salzburg, their reception by Western European critics and viewers is analysed. Simultaneously, it points out that such reception of the Ukrainian author’s creative work also depended on Volodymyr Vynnyčenko’s very personality, who was first and foremost known in the West as a politician and social activist of Ukraine.
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Gamer, Michael. "National Supernaturalism: Joanna Baillie, Germany, and the Gothic Drama." Theatre Survey 38, no. 2 (November 1997): 49–88. http://dx.doi.org/10.1017/s0040557400002076.
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As the most critically lauded dramatist of her time, Joanna Baillie recently has received considerable attention from critics interested in arguing that our neglect of Romantic drama has arisen from “conventional and mistaken assumptions about its strategies and principles.” In a recent issue of Wordsworth Circle devoted exclusively to Romantic drama, Baillie figures in three of its seven articles as a central dramatist of the period, while Jeffrey Cox devotes an entire section of his introduction in Seven Gothic Dramas 1789—1825 (1992) to her work. Even more recently, she has been the subject of special sessions of recent Modern Language Association meetings, and an edition of her Selected Works is scheduled to be published by Pickering and Chatto Press in 1998.
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Barnett, David. "Joseph Goebbels: Expressionist Dramatist as Nazi Minister of Culture." New Theatre Quarterly 17, no. 2 (May 2001): 161–69. http://dx.doi.org/10.1017/s0266464x00014561.
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The young Joseph Goebbels, caught up in the heady mix of ideas and ideals permeating German artistic circles during and after the First World War, expressed both his convictions and his confusions through writing plays. None of these deserve much attention as serious drama: but all shed light on the ideological development of the future Nazi Minister of Culture. While also developing an argument on the wider relationship between Expressionism and modernism, David Barnett here traces that relationship in Goebbels' plays, as also the evolution of an ideology that remained equivocal in its aesthetics – the necessary condemnation of ‘degenerate’ art tinged with a lingering admiration, epitomized in the infamous exhibition of 1937. David Barnett has been Lecturer in Theatre Studies at the University of Huddersfield since 1998, and was previously Lecturer in German Language and Literature at Keble College, Oxford. His Literature versus Theatre: Textual Problems and Theatrical Realization in the Later Plays of Heiner Müller was published by Peter Lang in 1998, and other publications include articles on Heiner Müller, Franz Xaver Kroetz, Rolf Hochhuth, Heinar Kipphardt, Werner Schwab, Rainer Werner Fassbinder, and Peter Handke.
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Bronzini, Benedetta. "Death as Performance in the Conversations between Heiner Müller and Alexander Kluge." Literatur für Leser 45, no. 3 (January 1, 2022): 183–93. http://dx.doi.org/10.3726/lfl.2022.03.04.
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Abstract The subject of this essay is the East German dramatist Heiner Müller (1929–1995) focusing on his role of interviewee and analysing his 24 conversations for the West German television with the director and producer Alexander Kluge (1932–). The conversations took place between 1988 and 1995 and are presented, in a shortened and modified version, in the two volumes edited by Kluge, Ich schulde der Welt einen Toten (1995) and Ich bin ein Landvermesser (1996). Indeed, Kluge is the first and only interviewer who turns Müller the individual into both a subject and an object, not only of recent historical events, but also of art itself. In this peculiar context, Mein Rendezvous mit dem Tod (1995), one of the last conversations between the two German artists, represent a unique case, in which Müller performs his illness and his own death in front of the cameras, thus becoming the protagonist of his last drama.
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Martin, John. "DRAMATIZED DISPUTATIONS: LATE MEDIEVAL GERMAN DRAMATIZATIONS OF JEWISH-CHRISTIAN RELIGIOUS DISPUTATIONS, CHURCH POLICY, AND LOCAL SOCIAL CLIMATES." Medieval Encounters 8, no. 2-3 (2002): 209–27. http://dx.doi.org/10.1163/15700670260497051.
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AbstractA comparison of the two Frankfurt Passion play manuscripts with two major dramatic works of Nuremberg dramatist Hans Folz reveals the impact of local social conditions on attitudes toward Christian-Jewish religious disputation between lay people. Though such debate was officially condemned by the Church from the thirteenth century onward, local attitudes determined whether the official condemnation would be respected or ignored. Further, dramatic engagement with theological issues produced, in Folz's work, toward a more benign depiction of Jews than commonly seen in late medieval German literature.
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WURST, KARIN A. "Women Dramatists in Late Eighteenth-Century Germany: The Hazards of Marriage as Love Match." Seminar: A Journal of Germanic Studies 38, no. 4 (November 2002): 313–31. http://dx.doi.org/10.3138/sem.v38.4.313.
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Kift, Roy. "Comedy in the Holocaust: the Theresienstadt Cabaret." New Theatre Quarterly 12, no. 48 (November 1996): 299–308. http://dx.doi.org/10.1017/s0266464x00010496.
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The concentration camp in Theresienstadt in the Czech Republic was unique, in that it was used by the Nazis as a ‘flagship’ ghetto to deceive the world about the real fate of the Jews. It contained an extraordinarily high proportion of VIPs – so-called Prominenten, well-known international personalities from the worlds of academia, medicine, politics, and the military, as well as leading composers, musicians, opera singers, actors, and cabarettists, most of whom were eventually murdered in Auschwitz. The author, Roy Kift, who first presented this paper at a conference on ‘The Shoah and Performance’ at the University of Glasgow in September 1995, is a free-lance dramatist who has been living in Germany since 1981, where he has written award-winning plays for stage and radio, and a prizewinning opera libretto, as well as directing for stage, television, and radio. His new stage play, Camp Comedy, set in Theresienstadt, was inspired by this paper, and includes original cabaret material: it centres on the nightmare dilemma encountered by Kurt Gerron in making the Nazi propaganda film, The Fuhrer Gives the Jews a Town. Roy Kift has contributed regular reports on contemporary German theatre to a number of magazines, including NTQ. His article on the GRIPS Theater in Berlin appeared in TQ39 (1981) and an article on Peter Zadek in NTQ4 (1985).
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Prykowska-Michalak, Karolina. "Teatr niemiecki i teatr polski w początkowym okresie transformacji ustrojowej." Miscellanea Posttotalitariana Wratislaviensia 4 (April 26, 2016): 25–35. http://dx.doi.org/10.19195/2353-8546.4.3.
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German and Polish theatre in the initial period of the political transformation.During the first theatre seasons of the nineties, German drama focused on the analysis of the social traumas following the fall of the Berlin Wall, German reunification and perestroika. However, it soon became apparent that the theatre was not able to keep pace with the political changes of the times, and it failed to do justice to their internal complications and discrepancies.The fascination with the new dramatic scenic forms originating in Germany, which could be observed in Poland in the second half of the nineties, had nothing to do with the so-called reunification drama. It more likely resulted from its fiasco and the adoption of new aesthetics and communication methods. The strengthening relation of the German and Polish theatre, i.e. joint festivals, inspired those Polish artists who sought for a new scenic language and transposed the German theatre experience into their own plays in a creative way. The scale of this movement was so extensive that it could be described as a kind of phenomenon in modern art and in relations between Poland and Germany.Das deutsche und das polnische Theater in der Anfangszeit der Systemtransformation.Die politischen Transformationen `89 hatten großen Einfluss auf die Veränderungen in Kunst und Kultur, und zwar nicht nur mit Bezug auf Deutschland und Polen, sondern vielmehr in weiten Teilen Ost- und Mittel-Osteuropas. Die deutsche Dramaturgie konzentrierte sich in den ersten Theatersaisons der 90er Jahre vorwiegend auf die Verarbeitung der aus dem Mauerfall, der Wiedervereinigung Deutschlands sowie der Perestroika resultierenden gesellschaftlichen Veränderungen in Kultur- und Künstlerkreisen wird auch ein traumatischer Zustand betont. Es zeigte sich jedoch schnell, dass das Theater weder mit dem Tempo der politischen Ereignisse mithalten noch ihren inneren Verwicklungen und Widersprüchen gerecht werden konnte. Die in Polen seit Ende der 90er Jahre beobachtete Faszination von neuen dramatisch-schauspielerischen Formen aus Deutschland hatte nichts mit der sogenannten Dramaturgie der Wiedervereinigung zu tun. Sie entstand vielmehr aus deren Misslingen und der Aufnahme einer neuen Ästhetik bzw. neuen Kommunikationsmethoden. Die immer enger werdenden Kontakte zwischen dem deutschen und dem polnischen Theater z. B. über gemeinsame Festivals wurden zur Inspiration für polnische Kunstschaffende, die eine neue szenische Sprache suchten und ihre Erfahrungen mit dem deutschen Theater kreativ in eigene Inszenierungen transponierten. Die Verbreitung dieser Erscheinung war so weitreichend, dass von einem Phänomen in der zeitgenössischen Kunst sowie den künstlerischen Beziehungen zwischen Polen und Deutschland gesprochen werden kann.
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Holzberg, Niklas. "Äsopische geschichten in Meisterlied, Spruchgedicht und comedi." Beiträge zur Geschichte der deutschen Sprache und Literatur 140, no. 4 (December 19, 2018): 489–504. http://dx.doi.org/10.1515/bgsl-2018-0038.
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Abstract Hans Sachs, who, in upwards of 6000 poetic works, brought literature to the German-speaking urban middle and lower classes, adapted for his largely illiterate audience lengthy portions of Steinhöwel’s ›Esopus‹, including the ›Life of Aesop‹, turning them into Meisterlieder, Spruchgedichte, and a comedi. The ›Life‹ was the source, for one, of selected episodes which he could each rework adeptly for easy listening as individual shorter texts. In the work he wrote for the stage, ›Esopus der fabeldichter‹, moreover, he used his skill as dramatist to link a few episodes from the ›Life‹ and make of them a coherent plot with scenes not just strung loosely together, but united by an overarching theme.
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Książek, Paulina. "W okowach mitów – "Medeamaterial" Heinera Müllera, Pascala Dusapina i Sashy Waltz." Res Facta Nova. Teksty o muzyce współczesnej, no. 21 (30) (December 15, 2020): 78–90. http://dx.doi.org/10.14746/rfn.2020.21.6.
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Pascal Dusapin is regarded as one of the outstanding contemporary French composers. The opera genre seems to have a special place among his creative achievements. Medeamaterial is the composer’s second work for the stage, and one of many where myth becomes the subject. As the text of the libretto, he chose a text by a German dramatist, Heiner Müller. Both authors decide to reinterpret an antique history and deconstruct it using the means available to them. As does Sasha Waltz, who in 2007 staged Dusapin’s work. All three, while initiating a dialogue with the past, set the work firmly in the present. In this article the author attempts to answer the question how the devices used by these creative artists shape the psychological portrait of the drama’s heroine.
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Krajník, Filip. "„Nejstarší nejvíc nes’”: stáří Shakespearova krále Leara v českých obrozeneckých překladech." Slavica Wratislaviensia 163 (March 17, 2017): 449–62. http://dx.doi.org/10.19195/0137-1150.163.38.
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“The oldest hath borne most”: The old age of Shakespeare’s King Lear in Czech translationsfrom the 18th and 19th centuriesA number of critics have noted the importance of the motif of old age in Shakespeare’s King Lear, chiefly the old age of the play’s eponymous character. Indeed, the King’s age serves in the play as a powerful dramaturgical device, a kind of prism through which the audience sees not just Lear’s character, but also other characters’ deeds and most of the play’s action. When watching the play, the audience is constantly reminded of Lear’s age, both directly, through Lear’s or other characters’ speeches, and indirectly, through a number of physical details. It could be said that the King’s age is employed at all possible levels of the drama, becoming the main impulse for the development of the plot.King Lear is one of the first plays by Shakespeare to be translated into Czech, and various dramatists attempted to localise it for Czech audiences. The present paper examines three early translations of King Lear into Czech: by Prokop Šedivý 1792, Josef Kajetán Tyl 1835, and Ladislav Čelakovský 1856. While the last mentioned version is the first “true” translation of the play into Czech, using Shakespeare’s unabridged English original as the source text, the two earlier translations are rather loose adaptations, almost certainly based on various German stage versions, altering significant portions of the story and cutting entire scenes and speeches or even characters.Surprisingly, even the earliest Czech translators seem to have been aware of the dramaturgical importance of the dominant motif in the original play and, in spite of the sometimes drastic alterations, tried to preserve it in their versions as much as possible. Nevertheless, in various passages from the Czech versions, we may observe that even with this knowledge, the translators at times struggled with a number of nuances in the original, not always being able to preserve the complexity of a character or dramatic situation. This was only achieved by Ladislav Čelakovský, whose mid-19th century text was the first to represent Shakespeare’s King Lear, both in terms of form and, of course, in terms of the motifs of the original.„Najstarszy wycierpiał najwięcej”: starość króla Leara Szekspira w czeskich przekładach okresu odrodzenia narodowegoWielu badaczy zwróciło uwagę na znaczenie motywu starości w Królu Learze Szekspira, zwłaszcza na starość tytułowego protagonisty dramatu. Królewska starość służy w istocie jako mocny środek dramaturgiczny owego utworu, w pewnym sensie jest to pryzmat, przez który widzowie spoglądają nie tylko na samego Leara, ale także na czyny pozostałych postaci i akcję sztuki w ogóle. Podczas przedstawienia uwagę widzów nieustannie przyciąga wiek Leara, bądź bezpośrednio, a więc w samych wypowiedziach Leara lub innych postaci, bądź za pomocą szeregu detali fizycznych. Można stwierdzić, że wiek króla pojawia się we wszystkich warstwach dramatu i staje się głównym impulsem rozwoju akcji.Król Lear jest jednym z pierwszych dramatów Szekspira, które zostały przełożone na język czeski, a w sumie istnieje około piętnastu czeskich przekładów tego tekstu. Niniejszy esej bada trzy wczesne przekłady wersję Prokopa Šedivego 1792, Josefa Kajetána Tyla 1835 i Ladislava Čelakovskiego 1856. Podczas gdy ostatni wymieniony tekst jest pierwszym „prawdziwym” przekładem Króla Leara na czeski, wychodzącym z nieskróconego angielskiego oryginału jako wzorca, pozostałe dwa przekłady są raczej wolniejszymi adaptacjami, prawie na pewno opartymi na różnych niemieckich adaptacjach pierwotnej sztuki, w których zmienione są znaczące elementy historii, a czasem całe dialogi i sceny a nawet postaci.Jednak nawet pierwsi czescy tłumacze mimo wszystko świadomi byli dramaturgicznego znaczenia dominującego motywu starości w pierwotnym tekście i nawet w pewnych drastycznych skrótach tekstu starali się go w jak największym stopniu zachować. Z konfrontacji różnych fragmentów badanych wersji czeskich wypływa, że i w tym wypadku tłumacze często walczyli z różnymi niuansami oryginału i nie zawsze potrafili zachować daną postać czy sytuację w całej jej rozpiętości. Osiągnął to dopiero Ladislav Čelakovski. Jego przekład zpołowy XIX wieku był pierwszym, w którym udało się w pełni wyrazić tekst Szekspirowskiego Króla Leara od strony formalnej, oraz zachować sens poszczególnych motywów oryginału.
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Senelick, Laurence. "Wedekind at the Music Hall." New Theatre Quarterly 4, no. 16 (November 1988): 326–28. http://dx.doi.org/10.1017/s0266464x00002906.
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In the valedictory issue of the first Theatre Quarterly, TQ40 (1981). we included a fascinating glimpse of a highly unlikely convergence – between Lenin and the London Hippodrome, where the Russian revolutionary leader found music hall an intriguing phenomenon, exemplifying ‘the anarchy of production under capitalism’. The author of that article, Laurence Senelick, now introduces the experiences of a contemporary of Lenin's who, though a dramatist himself, at first appears almost as unlikely a visitor to the ‘Old Mo’, the Middlesex Music Hall in late-Victorian London – the German playwright Frank Wedekind, author of Spring Awakening and the Lulu trilogy. Long before those plays brought him notoriety, Wedekind visited London, and recorded his views of music hall in his journal. Laurence Senelick, an Advisory Editor of NTQ, teaches in the Drama Department at Tufts University, and has published widely, mainly in the fields of Russian theatre and popular entertainment.
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Raven, Uwe, and Adrienne Huismann. "Situation of migrants with dementia and their family carers in Germany." Pflege 13, no. 3 (June 1, 2000): 187–96. http://dx.doi.org/10.1024/1012-5302.13.3.187.
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Die pflegerische Versorgung Demenzkranker durch Familienangehörige und professionelle Dienste wird angesichts der in absehbarer Zukunft dramatisch anwachsenden Zahl alter Menschen zu einem zentralen sozialpolitischen Problemfeld. Dies gilt im Besonde-ren auch für die Versorgung ausländischer Demenzkranker. Im Mittelpunkt dieses Artikels steht deshalb, neben der Präsentation von Daten und Fakten zu älteren Migranten und zu Versorgungsstrukturen für Demenzkranke in Deutschland, eine Befragung pflegender Angehöriger sowie ausgewählter Experten zur aktuellen Betreuungssituation demenzkranker Migranten. Die Befragung zeigt u.a., dass niedriges Bildungsniveau, mangelhafte Sprachkenntnisse sowie eine starke Verwurzelung in traditionellen und religiös bestimmten Vorstellungen auf Seiten der Migranten und deren Betreuungspersonen eine bessere Betreuung ebenso behindern wie eine noch ungenügende Anpassung der für die Versorgung zuständigen Beratungs- und Versorgungseinrichtungen an die Bedürfnisse und Defizite dieser spezifischen Bevölkerungsgruppe der älteren Migranten.
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Golianek, Ryszard Daniel. "Polenblut. Images of Poland and the Poles in German operetta." Studia Musicologica 57, no. 3-4 (September 2016): 427–39. http://dx.doi.org/10.1556/6.2016.57.3-4.10.
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Among the wealth of German operettas, an important place is occupied by works referring to Polish subjects in their plots, or featuring Polish characters. The moral judgments passed on the persons of the drama frequently reveal generalisations concerning large communities or even entire nations. At the present stage of research, I can confirm the existence of about a dozen German operettas containing Polish motives. For my analysis, I have selected three operettas: Polnische Wirtschaft, Polenblut and Die blaue Mazur, composed in more or less the same period – the 1910s. An analysis of characters and topics recurring in these operettas proves that certain prejudices and stereotypes play a major role in the construction of events and the characterisation of dramatis personae. An important role in the creation of national stereotypes is also played by musical categories associated with Polish culture, mainly national dances – the krakowiak and the mazur. The three stage works discussed in this paper, created in a period of historical transformation associated with Poland’s rebirth as an independent country, appear to offer excellent arguments in the ongoing debate on the role of national stereotypes in communication between neighbouring nations.
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Saleh, Sabrine. "Mothers and Sons: Representing Motherhood in Blood Wedding and Mother Courage and Her Children." International Journal of English Language Studies 4, no. 7 (July 30, 2021): 01–04. http://dx.doi.org/10.32996/ijels.2021.3.7.1.
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This paper examines the representation of the mother figure in two modern tragedies, namely Blood Wedding (1932) by the Spanish dramatist Federico García Lorca and Mother Courage and Her Children (1939) by the German playwright Bertolt Brecht. The paper sheds light on the binary representation of maternity in both plays. Hence, it highlights how the mother figures are depicted as traditional, “natural” mothers who are caring and overprotective but simultaneously contradict the traditional mother archetype, rendering themselves “bad mothers.” It shows that the mothers sacrifice their motherhood or maternal love for the sake of the other side of the binary which is traditions, honor, and revenge in the case of the Mother in Blood Wedding whereas business and capital in the case of Anna Fierling in Mother Courage and her Children. Eventually, the other side of the binary, which is not motherhood, wins. To achieve its purpose, the paper examines the mother-son relationship in Blood Wedding as well as the mother-son and the mother-daughter relationship in Mother Courage and Her Children.
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Rosenberg, James L. "Situation Hopeless, Not Terminal: the Playwright in the Twenty-First Century." New Theatre Quarterly 4, no. 15 (August 1988): 226–31. http://dx.doi.org/10.1017/s0266464x00002773.
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Playwrights in the West remain under threat not only from the ever-increasing dominance of the director and the loss of autonomy carried over from film and television, but from sheer economic deprivation – which makes playwriting impossible as a full-time profession for most of its members. Is the best way to remedy this the assertion of collective responsibility and power advocated in this country by the Theatre Writers Union, or by a frank acceptance that artistic strength is seldom likely to be matched by economic or ‘political’ power – as James L. Rosenberg now argues? NTQ does not necessarily endorse the viewpoint here expressed, but feels that it is a forceful statement of a ‘new realism’ about the role of the playwright in the likely western future – in this respect also making an illuminating contrast to the foregoing article by Zygmunt Hübner. The author, James L. Rosenberg, is a widely-performed American dramatist, who has also translated numerous plays from the German, and is presently Visiting Professor of Theatre at Williams College. Williamstown, Massachusetts.
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Ondřej, Ditrych, Vladimír Handl, Nik Hynek, and Střítecký. "Understanding Havel?" Communist and Post-Communist Studies 46, no. 3 (July 17, 2013): 407–17. http://dx.doi.org/10.1016/j.postcomstud.2013.06.008.
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The presented article tries to make sense of Václav Havel, a man of many qualities and professions yet not a professional in the conventional sense of the word. The aim is to offer deeper insight into diverse cognitive elements which formed Havel’s political reasoning and attitudes. The idea is to provide an alternative interpretation and get beyond the customary explanations expressed through traditional IR language seeing Havel as a dissident idealist who was pushed by some realist impulses to clearly define real political and later also geopolitical stands. In doing so, the article is divided into three parts. The first part discusses conceptual frameworks (rather than a single framework) within which Have saw and understood the political world. The middle part examines Havel’s political agenda, namely the issues of the return to Europe, the German question, and relationships with Russia, the United States and toward multilateral institutions. The final part that utilizes primary data obtained through personal interviews with many Havel’s close collaborators presents two faces of Václav Havel: the dramatist and the ideologue.
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Stefanowska, Lidia. "„Stracone pokolenie” i kryzys tożsamości ukraińskich dipisów w powieści Enej ta žyttia inšyh Jurija Kosača." Studia Ucrainica Varsoviensia, no. 9 (December 17, 2021): 163–75. http://dx.doi.org/10.31338/2299-7237suv.9.12.
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Yurii Kosach Poet, writer, and dramatist; nephew of Lesia Ukrainka; grandson of Olena Pchilka. After graduating from the Academic Gymnasium of Lviv, Kosach studied law at Warsaw University. He began publishing short stories in student newspapers in 1927. Between 1928 and 1929 he published most of his works in the nationalist journal Literaturno-naukovyi vistnyk edited by Dmytro Dontsov after he had broken off his relations with Dontsov in 1929. After the war he lived in displaced persons camps in Germany and was an active member of the writers’ organization MUR. In 1949 he immigrated to the United States. By far the largest and most interesting body of work is Kosach’s prose, written prior to his emigration to the United States and then in the last decade of his life, first of all Enei ta zhyttia inshykh (Aeneas and the Lives of Others, 1947) where he argued the issues of new Ukrainian culture with so called “lost generation”.
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Ragozin, German. "“The Middle Ages on Imperial service”: Czech, Hungarian and Polish historical images in works by Franz Grillparzer, 1825–1830." Slavic Almanac 2022, no. 3-4 (2022): 335–55. http://dx.doi.org/10.31168/2073-5731.2022.3-4.4.01.
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The paper deals with historical images of non-Germanic peoples living in the Austrian empire and presented in romanticist fiction. The author analyzed several narratives from the heritage of Franz Grillparzer, the Austrian writer and dramatist. He referred to images of Czech, Hungarian and Polish medieval and early modern history. The chosen dramas are “Fortune and Fall of the king Ottokar” and “A Faithful servant to his Lord”, and the novella “A monastery in Sandomir”. They had a significant role in forming the image of non-Germanic Habsburg realms medieval history for subjects of the Empire. Romanticism and medievalism dominating in the European and Austrian public opinion and politics have put an impact on perception of Czechs, Hungarians and Poles by the German community of Austria. Despite the fact, that medieval narratives got the attention from national movements, Grillparzer referred to them basing on the Austrian conservatism. In this way his works enforced the Habsburg myth and “organic constitution” for the state. The author came to a conclusion that images of Czech, Hungarian and Polish medieval and early modern history presented in works by Grillparzer have filled the gap in official historical memory. It became possible due to overweighting Austro-German and Habsburg emphasis in official discourse, what gave a certain ground for national movements and became a disadvantage for official historiography. Appeal to dynastic patriotism and legitimism has got a certain enforcement with reflections on disunity of Hungarian, Czech and Polish elites. According to the author, the mobilization of the elites was to illustrate the thesis and to promote the official version of the Habsburg empire history.
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Brandt, George W. "Banditry Unleash'd; or, How The Robbers Reached the Stage." New Theatre Quarterly 22, no. 1 (February 2006): 19–29. http://dx.doi.org/10.1017/s0266464x06000273.
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Friedrich Schiller – poet, historian, and philosopher as well as dramatist – is acknowledged to be a towering figure in German-language theatre, yet has had only a fitful impact on the stages of the English-speaking world, where such of his works as Don Carlos, Intrigue and Love (Luisa Miller in the operatic version) and William Tell are better known through the filters of Verdi and Rossini than in their original form. But there were signs in 2005 – the bicentenary of Schiller's death at the tragically early age of forty-five – that the English theatre was taking more notice of this major playwright, with Phyllida Lloyd's production of Mary Stuart and Michael Grandage's of Don Carlos both well received. In the article which follows, George W. Brandt traces Schiller's troubled breakthrough into professional theatre as a young man with his first play, The Robbers – which, while significantly different from his later work, does anticipate his lifelong preoccupation with the theme of freedom. George W. Brandt, Senior Research Fellow and Professor Emeritus in the Drama Department of the University of Bristol, has previously contributed to NTQ with articles on Bristol's Shakespeare at the Tobacco Factory Company (NTQ 72), and Iffland's 1796 guest performance in the Weimar of Goethe and Schiller (NTQ 77).