Relevant bibliographies by topics / Leopold Jessner

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

Academic literature on the topic 'Leopold Jessner'

Author: Grafiati
Published: 9 March 2023
Last updated: 10 March 2023

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Journal articles on the topic "Leopold Jessner"

1

MARX, PETER W. "Challenging the Ghosts: Leopold Jessner's Hamlet." Theatre Research International 30, no. 1 (2005): 72–87. http://dx.doi.org/10.1017/s0307883304000884.

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When in 1926 Leopold Jessner (1878–1945) staged Hamlet at the Prussian State Theatre in Berlin, the production created a major scandal. This uproar was not only related to aesthetic matters but also to the discourse of national identity. With reference to Marvin Carlson's concept of the ‘haunted stage’ the article examines the traces of this scandal in the genealogy of Hamlet on the German stage and its intersection with the politics of national identity. These traces indicate that German productions of Hamlet have always been determined by an implicit politics of exclusion. Jessner's production, by contrast, offered a radical re-reading of Hamlet, aiming to adapt it for the, then newly democratized society. The rejection of this adaptation by major parts of the audience, thus revealed the still powerful and active anti-democratic forces in the Weimar Republic.
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Feinberg, A. "Leopold Jessner: German Theatre and Jewish Identity." Leo Baeck Institute Yearbook 48, no. 1 (2003): 111–33. http://dx.doi.org/10.1093/leobaeck/48.1.111.

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Kuhns, David F. "Expressionism, Monumentalism, Politics: Emblematic Acting in Jessner's ‘Wilhelm Tell’ and ‘Richard III’." New Theatre Quarterly 7, no. 25 (1991): 35–48. http://dx.doi.org/10.1017/s0266464x00005170.

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Leopold Jessner's productions of Schiller's Wilhelm Tell (1919) and Shakespeare's Richard III (1920) marked a culminating point in the short-lived, politically volatile era of German theatrical Expressionism. Jessner's distinctive work in this staging style did much to define the features of one mode of performance among several which billed themselves – or were branded as – ‘Expressionist’. In the following article, David Kuhns explores the particularly striking impact of Jessner's ‘emblematic’ approach to Schiller and Shakespeare upon the acting of those productions. By transforming his actors from mimetic agents into monumentalized emblems, Jessner analyzed political consciousness in what amounted to allegorical terms. The result was a politically provocative presentation of political behaviour – particularly the will to power – as an essentially spiritual matter. David Kuhns teaches theatre history, dramatic literature, and critical theory at Washington University in St. Louis.
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FISCHER-LICHTE, ERIKA. "Introduction: contemporary theatre and drama in Europe." European Review 9, no. 3 (2001): 275–76. http://dx.doi.org/10.1017/s1062798701000266.

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The 30 years between the 1960s and the 1980s of the 20th century are recalled today as a golden age of European theatre. They seem to have revived, continued and re-created the previous golden age brought about by the historical theatre avant-garde movements during the first decades of the 20th century (approximately 1900–1930). Then, Adolphe Appia, Jacques Copeau, Edward Gordon Craig, Leopold Jessner, Vsevolod Meyerhold, Max Reinhardt, Alexander Tairov, Evgeni Vakhtangov and others had striven for what they called a retheatricalization of theatre.
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5

Giles, Steve, and Matthias Heilmann. "Leopold Jessner: Intendant der Republik: Der Weg eines deutsch-jüdischen Regisseurs aus Ostpreußen." Modern Language Review 103, no. 2 (2008): 595. http://dx.doi.org/10.2307/20467878.

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6

Kouts, Gideon. "The Merchant of Venice in the Hebrew Press." European Judaism 51, no. 2 (2018): 106–15. http://dx.doi.org/10.3167/ej.2018.510216.

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Abstract This article will discuss two points, half a century apart: the first Hebrew press review of The Merchant of Venice, and the press coverage of the first production of the play on the Hebrew stage and the public debate that accompanied it. The first review was published in the first Hebrew daily HaYom in St Petersburg on 23 August 1887 and addressed the showing of Merchant by Russian actors. The reviewer was the writer and critic David Frischmann. Merchant was first presented in Hebrew in May 1936 by Habima Theatre in Tel Aviv, directed by Leopold Jessner, who had escaped from Germany. The Hebrew press of the time provided extensive coverage around the production of the play in the context of the violent riots in Palestine and the rise of Nazism in Europe. Among the participants in the public debate were major representatives of the intellectual elite of the time.
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Kouts, Gideon. "The Merchant of Venice in the Hebrew Press." European Judaism 51, no. 2 (2018): 106–15. http://dx.doi.org/10.3167/ej.2017.510216.

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This article will discuss two points, half a century apart: the first Hebrew press review of The Merchant of Venice, and the press coverage of the first production of the play on the Hebrew stage and the public debate that accompanied it. The first review was published in the first Hebrew daily HaYom in St Petersburg on 23 August 1887 and addressed the showing of Merchant by Russian actors. The reviewer was the writer and critic David Frischmann. Merchant was first presented in Hebrew in May 1936 by Habima Theatre in Tel Aviv, directed by Leopold Jessner, who had escaped from Germany. The Hebrew press of the time provided extensive coverage around the production of the play in the context of the violent riots in Palestine and the rise of Nazism in Europe. Among the participants in the public debate were major representatives of the intellectual elite of the time.
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8

Giles, Steve. "Leopold Jessner: Intendant der Republik: Der Weg eines deutsch-jüdischen Regisseurs aus Ostpreußen by Matthias Heilmann." Modern Language Review 103, no. 2 (2008): 595–96. http://dx.doi.org/10.1353/mlr.2008.0159.

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9

Abend-David, Dror. "“Shylock's Return”." International Journal of Translation, Interpretation, and Applied Linguistics 2, no. 1 (2020): 46–56. http://dx.doi.org/10.4018/ijtial.2020010104.

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This article addresses monetary, cultural, political and religious transactions, exchanges, conversions and translations between Jews and non-Jews in the play, “The Merchant of Venice,” in relation with Hebrew performances of the play and their social and political contexts. The article examines Leopold Jessner's production from 1936, Tyrone Guthrie production from 1959, Yossi Izae'li's production from 1972, and Hanan Snir's production from 1995 (both in Israel and in Germany). The discussion will address various facets of the complicated intercultural relations that the Merchant of Venice has come to symbolize to Hebrew speaking audiences.
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Bayerdörfer, Hans-Peter. "Von Niederschönenfeld nach Berlin." Aschkenas 24, no. 2 (2014). http://dx.doi.org/10.1515/asch-2014-0023.

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AbstractUntil 1933, highly renowned theatre critics of Jewish descent were dominant in the feuilletons of Berlin’s leading regional papers. In 1919, Ernst Toller, also of Jewish descent and, a year earlier, a member of the short-lived revolutionary regime in Munich, established his fame as a playwright. While serving a five year prison sentence, and until 1927, he contributed five plays to the German expressionist and post-expressionist drama, with four out of five first-night performances at the prominent Berlin stages of Max Reinhardt and Leopold Jessner. The article addresses reviews of these performances by critics such as Emil Faktor, Siegfried Jacobsohn and Alfred Kerr, asking among other questions, whether and how these critics present a viewpoint that can be seen as »Jewish« in terms of how intellectuals belonging to the Jewish minority were viewed in the Weimar Republic.
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Dissertations / Theses on the topic "Leopold Jessner"

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Heilmann, Matthias. "Leopold Jessner : Intendant der Republik : der Weg eines deutsch-jüdischen Regisseurs aus Ostpreussen /." Tübingen : M. Niemeyer, 2005. http://catalogue.bnf.fr/ark:/12148/cb40021942j.

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2

D'ORAZIO, SILVIA VINCENZA. "«ICH BIN EIN REGISSEUR DES WORTS UND NICHT DER DEKORATION»:L¿ESTETICA TEATRALE DI LEOPOLD JESSNER: QUASI UN ÓRGANON." Doctoral thesis, Università degli Studi di Milano, 2021. http://hdl.handle.net/2434/828515.

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This dissertation aims at reconstruing Leopold Jessner’s theatre aesthetics through the analysis of his theatrical essays. Jessner was one of the most influential German theatre directors during the Weimar Republic. His figure came along in the cultural landscape in the same years the director’s theatre emerged in both Europe and Germany. Through the analysis, this dissertation also aims at rethinking Jessner’s theatre aesthetics in the artistic and cultural landscape of the Weimar Republic. The second chapter of the dissertation presents Jessner as a theatre director and focusses on the obstacles and labels that prevented a scientific evaluation of his work. The third chapter proposes an analysis of the author’s corpus. In order to shed light on the key aspects of Jessner’s aesthetics, the investigation is organised in four macro-sections: Der Theaterleiter, Zeittheater und Theaterpolitik, Regie und Schauspielkunst and Betrachtungen und Bekenntnisse. The fourth chapter summarises the results of the analysis and presents Jessner’s Stil des Wesentlichen, focussing on its key elements: the dramaturgical method, the role of scenic design, and of the actor and the relationship with the audience. The last section of the chapter investigates the correlation between Jessners’ Stil des Wesentlichen, Expressionism and New Objectivity.
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Books on the topic "Leopold Jessner"

1

Manzo, Monia. Shakespeare nel teatro berlinese di Leopold Jessner. UniversItalia, 2016.

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2

Heilmann, Matthias. Leopold Jessner, Intendant der Republik: Der Weg eines deutsch-jüdischen Regisseurs aus Ostpreussen. M. Niemeyer, 2005.

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3

Regietheater: Eine deutsch-österreichische Geschichte : Otto Brahm, Max Reinhardt, Leopold Jessner, Fritz Kortner, Gustaf Gründgens, Peter Zadek, Peter Stein, Claus Peymann. Henschel, in der E.A. Seemann Henschel GmbH & Co. KG, 2020.

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4

addressee, Villari Pasquale 1827-1917, Franchetti Leopoldo 1847-1917, Sonnino Sidney 1847-1922, and Mario Jessie White 1832-1906, eds. Dalla questione meridionale alla questione nazionale: Leopoldo Franchetti, Sidney Sonnino e Jessie White Mario nei carteggi di Pasquale Villari (1875-1917) : (con documenti editi ed inediti). Edizioni Polistampa, 2014.

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5

Heilmann, Matthias. Leopold Jessner - Intendant der Republik: Der Weg Eines Deutsch-Jüdischen Regisseurs Aus Ostpreußen. de Gruyter GmbH, Walter, 2011.

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6

Fischer-Lichte, Erika. A Culture in Crisis. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199651634.003.0006.

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Chapter 4 investigates the role of the new image of Greece in the first decades of the twentieth century. ‘A Culture in Crisis: Max Reinhardt’s Productions of Greek Tragedies (1903–1919)’ addresses two problems: first, the new body ideal and its liberation from the restraints imposed on it until then, and, second, the division within society of those who made a cult of their individuality and the rapidly growing masses of the proletariat. While in Reinhardt’s Electra (1903) Gertrud Eysoldt displayed her body as that of a maenad or a hysteric, a number of new devices were developed in Oedipus the King (1910) and the Oresteia (1911), both performed in a circus, which temporarily transformed the masses of actors and spectators into a—theatrical—community. The chapter also discusses Leopold Jessner’s production of Oedipus (1929) as a quest for a ‘philosophical theatre’ (Brecht).
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Book chapters on the topic "Leopold Jessner"

1

Doerre, Jason. "The Unnatural in the Natural: Leopold Jessner and Paul Leni’s Early Weimar Film Backstairs." In ReFocus: The Films of Paul Leni. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474454513.003.0003.

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This chapter explores the influence of literary naturalism on German Expressionist cinema as reflected in Leni’s 1921 film Backstairs, co-directed with Leopold Jessner. As this chapter suggests, Backstairs is a continuation of the styles of literary naturalism, a tendency frequently taken up in German cinema of the 1920s. Although specific visual elements of the film demonstrate an expressionistic impulse, other aspects including milieu and story are clearly leftovers of the literary naturalism of the pre-war period. Using Backstairs as a case in point, this contribution counters the overemphasised focus on expressionism in Weimar-era films by highlighting the multivalent styles present throughout this period. Taking into consideration the film’s set, story, acting, and direction, this chapter provides a close examination of a film often overlooked among the classics of Weimar cinema.
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2

Bahr, Ehrhard. "Exiltheater in Los Angeles. Max Reinhardt, Leopold Jessner, Bertolt Brecht und Walter Wicclair." In Film und Fotografie. De Gruyter, 2003. http://dx.doi.org/10.1515/9783112422908-008.

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Doerre, Jason. "3 The Unnatural in the Natural: Leopold Jessner and Paul Leni’s Early Weimar Film Backstairs." In ReFocus. Edinburgh University Press, 2021. http://dx.doi.org/10.1515/9781474454537-006.

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