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Journal articles on the topic 'Germany Drama'

Author: Grafiati

Published: 25 July 2024

Last updated: 31 July 2025

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1

Sharp, Jonathan. "Drama in SPRACHPRAXIS at a German University English Department: Practical Solutions to Pedagogical Challenges." Scenario: A Journal of Performative Teaching, Learning, Research VIII, no. 1 (2014): 19–35. http://dx.doi.org/10.33178/scenario.8.1.3.

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This article describes the initial phase of incorporating drama-in-education classes into the practical language curriculum of a German university English department. It offers a brief overview of drama in (higher) education, before focusing on some recent developments in Germany and the UK: specifically the current increase of interest in Theaterpädagogik in Germany, and the incorporation of performative pedagogy in UK higher education, with the example of an initiative at the University of Warwick. The practical language curriculum of the University of Tübingen English Department, within whi

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2

Gamer, Michael. "National Supernaturalism: Joanna Baillie, Germany, and the Gothic Drama." Theatre Survey 38, no. 2 (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

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Duffy, Susan, and Bruce Zortman. "Hitler's Theatre: Ideological Drama in Nazi Germany." Theatre Journal 37, no. 2 (1985): 241. http://dx.doi.org/10.2307/3207084.

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4

Haynes, Michael. "Todesspieland the terrorist docu‐drama in Germany." German Politics 8, no. 3 (1999): 125–40. http://dx.doi.org/10.1080/09644009908404571.

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5

Glajar, Valentina. "“What Is Your Price?”." Southeastern Europe 48, no. 1 (2024): 84–108. http://dx.doi.org/10.30965/18763332-48010005.

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Abstract This article focuses on the Cold War operation “Retrieval,” a ransoming agreement between West Germany and communist Romania. It engages with the German and Romanian perspectives, as articulated in a volume of documents published by the National Council for the Study of the Securitate Archives (cnsas; 2011) and in one by Heinz Günther Hüsch (2016), the main West German intermediary. It elucidates how cultural representations of the ethnic German exodus from Romania contribute to the understanding of the diverging perspectives of the German and Romanian parties involved in the operatio

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Göksel, Eva, and Stefanie Giebert. "Notes on the third Drama in Education Days 2017." Scenario: A Journal of Performative Teaching, Learning, Research XI, no. 1 (2017): 117–20. http://dx.doi.org/10.33178/scenario.11.1.10.

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After two successful conferences (2015 & 2016) at Reutlingen University, the third Drama in Education Days was held at Konstanz University of Applied Sciences, June 30th and July 1st, 2017. The bilingual (English/German) conference focuses on best practice and research in the field of drama and theatre in education in second and foreign language teaching, and is organised by Dr. Stefanie Giebert (Konstanz University of Applied Sciences, Germany) und MA Eva Göksel (Centre for Oral Communication, University of Teacher Education Zug, Switzerland). The two-day event caters to teachers, scholar

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7

Thomson, Aidan J. "‘Proficiscere, anima Christiana’: Gerontius and German Mysticism." Journal of the Royal Musical Association 138, no. 2 (2013): 275–312. http://dx.doi.org/10.1080/02690403.2013.830475.

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ABSTRACTThe popularity in Britain of Elgar's The Dream of Gerontius was triggered by the successful reception of the work in Germany in December 1901 and May 1902. By examining some of the writings on Elgar by German critics in this period, I explain that what may particularly have appealed to German audiences was the composer's engagement with mysticism, something that as well as being a distinct strand of German theology since medieval times had acquired a new popularity among German artists in a number of fields, as part of a reaction to the materialism of Wilhelmine Germany. Through a read

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Heinrich, Anselm. "‘It is Germany where he Truly Lives’: Nazi Claims on Shakespearean Drama." New Theatre Quarterly 28, no. 3 (2012): 230–42. http://dx.doi.org/10.1017/s0266464x12000425.

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That the Nazis tried to claim Shakespeare as a Germanic playwright has been well documented, but recently theatre historians have claimed that their ‘success’ was rather limited. Instead, commentators have asserted that plays such as Othello, Antony and Cleopatra, and The Merchant of Venice offended National Socialist precepts and were sidelined. This article attempts a re-evaluation and shows that the effect of the Nazi claims on Shakespeare was substantial, and the official efforts that went into realizing these in productions were considerable. It is also argued that the Nazis established a

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9

Freeman, Sandra, Michael Jamieson, Christopher Murray, et al. "Reviews and notices." Moderna Språk 88, no. 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 Theatr

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10

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 (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 d

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11

Mascha, Katrin B. "Historical “Truth,” Constructed Memory: Restaging Germany’s Reunification in Thomas Berger’s Television Melodrama Wir sind das Volk. Liebe kennt keine Grenzen (We are the people. Love without limits) (2008)." CINEJ Cinema Journal 1, no. 2 (2012): 36–49. http://dx.doi.org/10.5195/cinej.2012.41.

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Film and television are popular media for the (re)presentation of history and the depiction of momentous past events. Germany’s reunification is no exception. After the fall of the Berlin Wall, Germany has witnessed a proliferation of media production that endeavors to historicize and aestheticize the past. This coincides with the need to forge a post-Wall identity of the new Germany. My discussion of Thomas Berger’s award winning television drama Wir sind das Volk. Liebe kennt keine Grenzen (2008) examines how reunification is presented in a mixture of fictitious elements and authentic histor

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12

Harris, James F. "Rethinking the Categories of the German Revolution of 1848: The Emergence of Popular Conservatism in Bavaria." Central European History 25, no. 2 (1992): 123–48. http://dx.doi.org/10.1017/s000893890002029x.

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The revolution that began in March 1848 continues to fascinate historains, becoming a two-way lens used to examine later as well as earlier German history. It has become central to the “emplotment” of the broader historical narrative of German history. Historians commonly describe the ultimate failure of the revolution as reflecting the unhealthy and anachronistic hold of premodern society over the state in nineteenth and twentieth-century Germany and, therefore, see it as a cornerstone of the Sonderweg thesis. Because the revolution is used to explain later acts in the German historical drama

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Linke, Hansjürgen. "A Survey of Medieval Drama and Theater in Germany." Comparative Drama 27, no. 1 (1993): 17–53. http://dx.doi.org/10.1353/cdr.1993.0008.

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14

Ross, Ronald J. "TheKulturkampfand the Limitations of Power in Bismarck's Germany." Journal of Ecclesiastical History 46, no. 4 (1995): 669–88. http://dx.doi.org/10.1017/s0022046900080489.

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Few conflicts in imperial Germany were more important than theKulturkampf, a major dispute between the Catholic Church and the Prussian State and a notorious example of the destructive character of Bismarckian politics. TheKulturkampfbegan in 1871, gathered in intensity and bitterness until 1878, and then continued with slowly diminishing severity down to 1887. Despite all its drama (the attempted assassination of governmental officials, the arrest and trial of prominent churchmen, even riots and mass demonstrations) and its undeniable political importance, theKulturkampfremains among the negl

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15

Witte, Wilfried. "Pandemie ohne Drama. Die Grippeschutzimpfung zur Zeit der Asiatischen Grippe in Deutschland." Medizinhistorisches Journal 48, no. 1 (2013): 34–66. http://dx.doi.org/10.25162/medhist-2013-0002.

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16

Carlson, Marvin. "Contemporary Censorship Debates in Germany." New Theatre Quarterly 40, no. 2 (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

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17

Fikus, Sebastian. "Zbrodniarz w gronostajach: Manfred Roeder." Studia Polityczne 46, no. 4 (2018): 95–114. https://doi.org/10.35757/stp.2018.46.4.05.

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The presence of Nazi elites in all areas of the Federal Republic of Germany’s life is obvious to most people. However, also in the Federal Republic of Germany, both in everyday discourse and scientific studies, hardly anyone asks about the socio-political consequences of this phenomenon. In general, this problem is downplayed. Manfred Roeder, a military judge with the rank of general, was one of the shameful activists of National Socialism. He was notorious for violent investigations against the anti-Hitler opposition. As a result of his efforts, dozens of German dissidents were tortured and m

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18

Theisen, Bianca. "The Drama in Rags: Shakespeare Reception in Eighteenth-Century Germany." MLN 121, no. 3 (2006): 505–13. http://dx.doi.org/10.1353/mln.2006.0077.

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19

Fiuk, Ewa. "Dyskursy postpamięci we współczesnym transnarodowym filmie niemieckim." Politeja 17, no. 2(65) (2020): 143–52. http://dx.doi.org/10.12797/politeja.17.2020.65.11.

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Discourses of Post-memory in Contemporary Transnational German Film The article is dedicated to the problem of trauma and death shown in contemporary transnational (made by directors living in Germany, but of non-German origin) German feature, documentary and experimental film. It raises the question of how the medium of film within its various narration and depiction modes (re)creates memory and post-memory, and at the same time it can be seen as a way to reclaim history in its personal or cultural dimension. The following films have been discussed: Totentraum (1995) and In fremder Erde

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20

Krauß, Florian. "When German Series Go Global." Canned TV Going Global 9, no. 17 (2020): 158. http://dx.doi.org/10.18146/view.212.

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The article takes a closer look at the current industry discourse on the transnational circulation of German series. At its centre is a case study of the 1980s period drama Deutschland (2015-2020), based on interviews with key executives and creatives. What is it that makes such ready-made TV fiction go transnational, according to the involved practitioners and in this specific case? Textual factors in particular are examined, such as the thematic and aesthetic extension of the historical-political ‘event’ miniseries through Deutschland. Furthermore, the article explores factors in respect to

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21

Barnett, David. "When is a Play not a Drama? Two Examples of Postdramatic Theatre Texts." New Theatre Quarterly 24, no. 1 (2008): 14–23. http://dx.doi.org/10.1017/s0266464x0800002x.

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In this article David Barnett investigates the ways in which plays can be considered ‘postdramatic’. Opening with an exploration of this new paradigm, he then seeks to examine two plays, Attempts on her Life by Martin Crimp and 4:48 Psychosis by Sarah Kane, in a bid to understand how their texts frustrate representation and the structuring of time, and concludes by considering how the restrictions imposed upon the postdramatic performance differ from the interpretive freedom of text in representational, dramatic theatre. David Barnett is senior lecturer and Head of Drama at the University of S

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22

Landry, Olivia. "From Elif to Esty? Unorthodox and Turkish German Cinema's Captivity Narrative." Camera Obscura: Feminism, Culture, and Media Studies 37, no. 2 (2022): 119–47. http://dx.doi.org/10.1215/02705346-9787042.

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Abstract The 2020 Netflix drama series Unorthodox draws on tropes from a vexed archive of transcultural cinema, in particular Turkish German cinema. Through the frame of the captivity narrative, this essay examines how the series about a young Hasidic Jewish woman who escapes her family and community in Williamsburg, New York, and flees to Berlin presents culturally determined themes of victimhood, oppression, and gendered subjugation. A comparison with Turkish German films, such as 40 Square Meters of Germany (40 Quadratmeter Deutschland, dir. Tevfik Başer, West Germany, 1986) and When We Lea

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23

Klein, Christian. "Das Schicksalsdrama des 19. Jahrhunderts als ›Zeitphänomen‹ zwischen literarischer Tradition und gesellschaftlicher Transformation." Internationales Archiv für Sozialgeschichte der deutschen Literatur 44, no. 1 (2019): 220–39. http://dx.doi.org/10.1515/iasl-2019-0011.

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Abstract This article focuses on the genre of the ‘drama of destiny’ (Schicksalsdrama), which was particularly popular in Germany between 1810 and 1825, and which – following the premiere of Friedrich Schiller’s Die Braut von Messina (The Bride of Messina, 1803) – reestablished an ancient concept of destiny as a category of understanding. Through an analysis of Zacharias Werner’s drama Der vierundzwanzigste Februar (The Twenty-fourth of February, 1809), this article shows how the reference to destiny offered a fitting model of meaning to nineteenth-century audiences facing a challenging time o

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24

Irmer, Thomas. "A Search for New Realities: Documentary Theatre in Germany." TDR/The Drama Review 50, no. 3 (2006): 16–28. http://dx.doi.org/10.1162/dram.2006.50.3.16.

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There are three major periods of German documentary theatre: the emerging genre in the 1920s with the theatre of Erwin Piscator; the documentary drama in the 1960s; and, beginning in the late 1990s, the new forms of alternative and independent theatre that are highly experiential and question the conception and performance of historical discourses. In the context of German postwar social history, documentary theatre has contributed to the repoliticization of a society that is still processing catastrophic historical events.

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25

Ade Mahendra, Rizky, I. Wayan Suwena, and I. Nyoman Suarsana. "Eksistensi Drama Tari Gambuh di Desa Adat Pedungan, Kelurahan Pedungan, Kecamatan Denpasar Selatan." Sunari Penjor : Journal of Anthropology 4, no. 2 (2021): 68. http://dx.doi.org/10.24843/sp.2020.v4.i02.p03.

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The dance drama gambuh is a performing art in the form of total theater. In addition to the dominant elements of dance, there are also elements of other arts such as percussion, literary arts, vocal / dialogue arts, fine arts, and make-up that are harmoniously integrated and beautiful. The dance drama gambuh has become a sacred dance in Pedungan Traditional Village, Pedungan Village. Currently the development of the dance drama gambuh is no longer a foreign art among teenagers, this is evidenced by the high interest of teenagers who want to dance this dance when it is performed at temples and

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Joubin, Rebecca, and Sophia Nissler. "Escape to Germany in Syrian Television Drama: From Cross-Cultural Gender Constructions to Transnational Tropes of Masculinity and Homeland." Middle East Journal 75, no. 3 (2021): 428–47. http://dx.doi.org/10.3751/75.3.14.

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Looking at programs from the 1960s onward, this article shows the persistence and evolution of the gender imbalance in Syrian television characters' relationships with Germany. Before the 2011 uprising, screenwriters linked women charac ters to Germany as a way to challenge patriarchal standards of sexuality and gendered conceptions of national belonging. As the war has ensued, this trope has vanished. Meanwhile, long-standing narratives about men emigrating to Germany continue to represent abandonment of the homeland and have become intensified through nationalist nostalgia.

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27

Mirecka, Agata. "Polski krytyk teatralny Andrzej Wirth – mistrz przemieszczania się i jego rola w kształtowaniu nowego oblicza teatru w Niemczech." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 22 (December 31, 2022): 173–84. http://dx.doi.org/10.24917/20811853.22.10.

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Andrzej Wirth, a 20th century Polish essayist, philosopher and theatre critic, is one of the often forgotten theatre and drama scholars in Poland, perhaps due to his long life in exile. A recognized expert in theatre studies and philosophy, he has lectured at many universities around the world, especially in the United States and Europe. He gained particular recognition as the founder and director of the Institute for Applied Theatre Studies at the University of Giessen in Germany. The aim of this article is to introduce Wirth’s personality, outline his life between cultures and highlight his

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28

Loewe, Andreas. "Proclaiming the Passion: Popular Drama and the Passion Tradition in Luther's Germany." Reformation & Renaissance Review 12, no. 2-3 (2010): 235–82. http://dx.doi.org/10.1558/rrr.v12i2-3.235.

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29

Schade, Richard E., and David Price. "The Political Dramaturgy of Nicodemus Frischlin. Essays on Humanist Drama in Germany." German Quarterly 64, no. 2 (1991): 239. http://dx.doi.org/10.2307/407088.

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Brown, Cheri, and David Price. "The Political Dramaturgy of Nicodemus Frischlin: Essays on Humanist Drama in Germany." German Studies Review 14, no. 2 (1991): 382. http://dx.doi.org/10.2307/1430580.

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31

Casey, Paul F., Nicodemus Frischlin, and David Price. "The Political Dramaturgy of Nicodemus Frischlin: Essays on Humanist Drama in Germany." Sixteenth Century Journal 22, no. 3 (1991): 569. http://dx.doi.org/10.2307/2541484.

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32

Schewe, Manfred, and Susanne Even. "What exactly is an apple pie? Performative arts and pedagogy: Towards the development of an international glossary." Scenario: A Journal of Performative Teaching, Learning, Research X, no. 2 (2016): 65–81. http://dx.doi.org/10.33178/scenario.10.2.6.

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Please note that this is a slightly edited version of the group discussion. Scenario wishes to acknowledge the vital contribution of Josephine Rutz by expressly thanking her for the transcription of the discussion. MS: Welcome everyone to this afternoon’s group discussion as part of the 4th SCENARIO FORUM Symposium. As you have read in the Symposium programme the German professional association Bundesarbeitsgemeinschaft (BAG) Spiel & Theater e.V. aims to develop an international glossary of key terms in the area of applied drama and theatre and has invited professionals from outside German

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33

Erne, Lukas. "Eighteenth-Century Swiss Peasant Meets Bard: Ulrich Bräker's A Few Words About William Shakespeare's Plays (1780)." Theatre Research International 25, no. 3 (2000): 255–65. http://dx.doi.org/10.1017/s0307883300019714.

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Britain began making Shakespeare her national poet early in the eighteenth century, and Germany followed suit a few decades later, progressively turning ‘unser Shakespeare’ into one of three national poets, with Goethe and Schiller. As early as 1773, Johann Gottfried Herder included his essay on ‘Shakespear’ in a collection entitled Von Deutscher Art und Kunst. The drama of the ‘Sturm und Drang’, which Herder's collection programmatically inaugurated, appropriated what Goethe (Götz von Berlichingen), Schiller (The Robbers) and their contemporaries (mis)understood to be Shakespeare's dramatic t

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Artemova, Ekaterina Z. "RECEPTION OF MAX DREYER’S DRAMA IN THE RUSSIAN CULTURE IN THE EARLY 20TH CENTURY (1900-1914)." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 7 (2022): 123–37. http://dx.doi.org/10.28995/2686-7249-2022-7-123-137.

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The article deals with the socio-cultural peculiarities of the perception of the German writer Max Dreyer in Russia in the beginning of the 20th century. The research focuses on the theatrical discourse in the magazines and newspapers of Moscow and St. Petersburg. The study showed that the author, little known today, enjoyed wide popularity in Russia at the beginning of the 20th century. His plays were performed in many theaters, both in the capital and in regions. A quick and lively response to foreign theatrical novelties and their transfer to the Russian stage was a general cultural trend o

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DREYER, MATTHIAS. "Prospective Genealogies: Einar Schleef's Choric Theatre." Theatre Research International 34, no. 2 (2009): 138–45. http://dx.doi.org/10.1017/s0307883309004477.

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Since the 1980s, a growing number of performances in Europe have created new forms of choric theatre in search of altered concepts of the political. In Germany, one of its pioneers was the GDR-born director Einar Schleef (1944–2001). The article explores his oeuvre, from his first choric production Mothers (1986), a classical drama project, to his last production, Betrayed People (2000), which focused on the problem of revolution in Germany. Schleef's genealogical project reintroduced the chorus as a repressed figure that develops a spectral potentiality. Through a detailed analysis of Schleef

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Mahoney, John L., and Jeffrey N. Cox. "In the Shadows of Romance: Romantic Tragic Drama in Germany, England, and France." South Central Review 5, no. 2 (1988): 115. http://dx.doi.org/10.2307/3189587.

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37

Nicholis, Roger A., and Jeffrey N. Cox. "In the Shadows of Romance: Romantic Tragic Drama in Germany, England and France." Comparative Literature 42, no. 4 (1990): 373. http://dx.doi.org/10.2307/1770715.

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38

Malura, Jan. "Central European Cultural Transfers in the Humanism and Baroque Periods: Three Examples from Literary History." Porównania 31, no. 1 (2022): 407–34. http://dx.doi.org/10.14746/por.2022.1.22.

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This study investigates cultural transfer in Central Europe in the sixteenth and seventeenth centuries. It focuses on three different fields ( parody Protestant religious song, Christmas drama ) and explores the directions and mechanisms of cultural exchange and the role of mediators in the dissemination of selected literary phenomena. The observation of cultural transfers confirms to some extent the traditional idea of the journey of cultural work from the West to the East. However, the individual transfers are significantly influenced by specific cultural contexts. The social, ethnic and rel

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Jordan, James. "Audience Disruption in the Theatre of the Weimar Republic." New Theatre Quarterly 1, no. 3 (1985): 283–91. http://dx.doi.org/10.1017/s0266464x00001664.

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Disruption of plays by their audiences has not been an uncommon occurrence in theatre history, but the received wisdom has it that rioting more or less went out of fashion once the house lights could be lowered for the performance. But the combination in the theatre of the Weimar Republic of the politically radical and artistically experimental drama of inter-war Germany with the high political tensions of the times proved an explosive one. The frequent audience disturbances of the period were, however, less the spontaneous expression of genuine indignation than a carefully planned and orchest

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Habel, Sabrina. "Selbst-Bildungen. The Tradition of Comedy and the Emancipation of German Jews in Carl Sternheim’s The Snob." Naharaim 15, no. 2 (2021): 179–200. http://dx.doi.org/10.1515/naha-2021-0016.

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Abstract The article explores the connection between enlightenment and comedy, as well as its importance for German Jewry. Following Hegel, whose thoughts on ancient drama as well as modern society have shaped the German discourse on comedy until today, this article demonstrates that questions of self-formation, emancipation, and historical self-location are central to comedy. In Carl Sternheim’s comedy The Snob, the idea of self-formation resonates with the historic concept of “civic improvement” through “Bildung”: Jewish emancipation in Germany stood at the end of an educational project that

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Sribnyak, Ihor, Milana Sribniak, and Viktor Schneider. "Ukrainian amateur theatre in Ukrainian POWs camp Wetzlar, Germany (Autumn 1915 – Winter 1917)." European Historical Studies, no. 17 (2020): 108–54. http://dx.doi.org/10.17721/2524-048x.2020.17.8.

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The article covers specifics of Ukrainian amateur theatre functioning in the camp Wetzlar (Germany) throughout autumn 1915 – winter 1917. Its activity became possible thanks to the creation of the Mykola Lysenko Music and Drama Society which maintained the technical side of theatre production, casted plays, appointed stage directors, and was responsible for stage property and necessary stage sets. Delegated council of the society ensured financial income of the camp theatre by accumulating earned money from each performance and allocating sums for assistance to actors and other society members

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Milne, Drew. "Cheerful History: the Political Theatre of John McGrath." New Theatre Quarterly 18, no. 4 (2002): 313–24. http://dx.doi.org/10.1017/s0266464x02000428.

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In this essay, Drew Milne suggests affinities between the dramatization of history in the work of John McGrath and Karl Marx. He shows how both Marx and McGrath refused to mourn the histories of Germany and Scotland as tragedies, but that differences emerge in the politics of McGrath's radical populism – differences apparent in McGrath's use of music, historical quotation, and direct address. McGrath's layered theatricality engages audience sympathies in ways that emphasize awkward parallels between modern and pre-modern Scotland, and this can lead to unreconciled tensions between nationalism

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43

Heinrich, Anselm. "Theatre in Britain during the Second World War." New Theatre Quarterly 26, no. 1 (2010): 61–70. http://dx.doi.org/10.1017/s0266464x10000060.

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In this article Anselm Heinrich argues for a renewed interest in and critical investigation of theatre in Britain during the Second World War, a period neglected by researchers despite the radical changes in the cultural landscape instigated during the war. Concentrating on CEMA (the Council for Encouragement of Music and the Arts) and the introduction of subsidies, the author discusses and evaluates the importance and effects of state intervention in the arts, with a particular focus on the demands put on theatre and its role in society in relation to propaganda, nation-building, and educatio

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Peskova, Anna Yu. "Modern Slovak drama about The Second World War." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 63 (2022): 268–77. http://dx.doi.org/10.37816/2073-9567-2022-63-268-277.

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The paper addresses the Slovak drama of the 21st century dedicated to the Second World War, the Holocaust, and the Slovak National Uprising. After the “velvet revolution” of 1989, interest in the military and insurgent theme in Slovak art as a whole declined sharply, but as early as in the 21st century playwrights and theaters of Slovakia are increasingly beginning to return to these topics. Many of these plays created in the last twenty years were written in order to actualize public discussions about the period of the Slovak Republic (1939–1945), around the mass deportation of Jews from its

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Burton, Alan, and Tom May. "‘Treading on sacred turf’: History, Femininity and the Secret War in the Plays for Today Licking Hitler, The Imitation Game and Rainy Day Women." Journal of British Cinema and Television 19, no. 3 (2022): 325–59. http://dx.doi.org/10.3366/jbctv.2022.0629.

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The article examines the three single television plays Licking Hitler, The Imitation Game and Rainy Day Women, which were broadcast in the celebrated BBC drama strand Play for Today between 1978 and 1984. Each play was set within the secret war: at a radio station broadcasting black propaganda to Germany, at Bletchley Park, and at the heart of a secret mission to investigate dark doings in remotest Fenland. Similarly, each play dealt substantially with female characters and their troubled experience of wartime Britain. The plays provided a revisionist treatment of the mythology of the Second W

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Nägele, Horst. "Warum wir uns mit N.F.S Grundtvigs idealismus-kritischen Abhandlungen beschäftigen." Grundtvig-Studier 46, no. 1 (1995): 205–16. http://dx.doi.org/10.7146/grs.v46i1.16189.

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Warum wir uns mit N.F.S. Grundtvigsidealismus-kritischen Abhandlungen beschäftigenBy Horst NägeleHorst Nägele begins his article with the statement that circumstantial evidence suggests that the democratic credibility of the Federal Republic of Germany may be questioned. Nägele argues for this view by comparing social conventions in Scandinavia and Germany.He adduces historical material to support his theory of a cultural difference on this point. The criticism levelled by the poet Jens Baggesen at the High German language for its remoteness from reality, is dealt with first. Then follows a di

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Mikos, Lothar. "Digital Media Platforms and the Use of TV Content: Binge Watching and Video-on-Demand in Germany." Media and Communication 4, no. 3 (2016): 154–61. http://dx.doi.org/10.17645/mac.v4i3.542.

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The advancing digitalization and media convergence demands TV broadcasting companies to adjust their content to various platforms and distribution channels. The internet, as convergent carrier medium, is increasingly taking on a central role for additional media. Classical linear TV is still important, but for some audiences it has been developing from a primary medium to a secondary medium. Owing to the growing melding of classical-linear TV contents with online offerings (e.g. video-on-demand platforms or Web–TV), a great dynamic can be seen which has triggered numerous discussions about the

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Grange, William. "Shakespeare in the Weimar Republic." Theatre Survey 28, no. 2 (1987): 89–100. http://dx.doi.org/10.1017/s004055740000051x.

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The Weimar Republic occupies a period in German history that has long fascinated students of theatre and drama. It was a period of profound change in German social, political, and cultural experience, and rarely has the confluence of those experiences figured so influentially upon the performance of William Shakespeare's plays. In decades previous to Weimar, German Shakespeare productions manifested the awed reverence in which the playwright was held, since most German actors, directors, and designers regarded Shakespeare in the same light as they did Goethe and Schiller. In 1864, for example,

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Earnest, Steve. "Heiner Muller: Contexts and History: A Collection of Essays from the Sydney German Studies Symposium 1994, and: Drama Contemporary : Germany (review)." Theatre Journal 50, no. 1 (1998): 132–34. http://dx.doi.org/10.1353/tj.1998.0008.

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Morton, Tom. "Contesting Coal, Contesting Climate: Materializing the Social Drama of Climate Change in Australia and Germany." Environmental Communication 15, no. 4 (2021): 465–81. http://dx.doi.org/10.1080/17524032.2020.1865428.

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