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Relevant bibliographies by topics / Theater Berlin (Germany)

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Academic literature on the topic 'Theater Berlin (Germany)'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Theater Berlin (Germany)"

1

Earnest, Steve. "The East/West Dialectic in German Actor Training." New Theatre Quarterly 26, no. 1 (2010): 81–89. http://dx.doi.org/10.1017/s0266464x10000096.

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In this article Steve Earnest discusses contemporary approaches to performance training in Germany, comparing the content and methods of selected programmes from the former Federal Republic of Germany to those of the former German Democratic Republic. The Hochschule für Musik und Theater Rostock and the University of the Arts in Berlin are here utilized as primary sources, while reference is also made to the Bayerische Theater-akademie ‘August Everding’ Prinzregententheater in Munich, the Hochschule für Musik und Theater ‘Felix Mendelssohn Bartholdy’ in Leipzig, and Justus Leibig Universität i

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Popov, Maxim Evgenievich. "The Russian Theater in Berlin (1919-1923): the Experience of Cultural Exports." Samara Journal of Science 6, no. 4 (2017): 156–60. http://dx.doi.org/10.17816/snv201764208.

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The paper is devoted to the consideration of Russian theatrical activity in Berlin during 1919-1923, when Berlin was the focus of Russian theater life abroad, and active creative exchange between German and Russian cultures took place in this connection. The problem of exporting Russian art culture to Western countries is of interest for both domestic and foreign researchers. Among the topical problems on this issue, the Russian theater plays an important role. The study of this issue gives an idea of the potential of Russian culture in a different social and cultural environment. In the cente

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WAGNER, MEIKE. "De-monopolizing the Public Sphere: Politics and Theatre in Nineteenth-Century Germany." Theatre Research International 37, no. 2 (2012): 148–62. http://dx.doi.org/10.1017/s0307883312000053.

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This article focuses on an incident of censorship and police intervention at the Königstädtische Theater in Berlin in 1828, occasioned by a performance of Gotthilf August von Maltitz'sThe Old Student(Der alte Student). Identifying how the playwright and his actors sought to represent political topics onstage allows me to explore how theatre functioned as a potential player in an incipient public sphere. In turn this reveals how the desire to represent political topics onstage and to become a performative player in the public sphere was already under way in the 1820s, well before the revolution

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Irmer, Thomas. "Theatre as Intervention: Christoph Schlingensief's Hamlet in Zürich and Berlin, 2001." New Theatre Quarterly 28, no. 4 (2012): 343–51. http://dx.doi.org/10.1017/s0266464x12000644.

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Christoph Schlingensief (1960–2010) was a filmmaker, theatre director, and performance artist. In his Hamlet at the Schauspielhaus in Zürich in 2001 – his only staging of a classic – Schlingensief deployed the strategies of intervention typical of his whole work. In this article Thomas Irmer focuses on the actors' troupe in the play, performed by former neo-Nazis. Schlingensief was asking whether an audience would accept the reintegration of people who were determined to leave this extremist group with the support of the German government. At the same time, Schlingensief referred to a historic

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Zadek, Peter. "Hoping for the Unexpected: the Theatre of Peter Zadek." New Theatre Quarterly 1, no. 4 (1985): 323–37. http://dx.doi.org/10.1017/s0266464x00001743.

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Over the last three decades the work of Peter Zadek in Germany has consistently aroused strong reactions, whether of lavish enthusiasm or disdainful rejection (Peter Stein is supposed to have commented that Zadek's productions of Shakespeare were ‘Shakespeare with his trousers down’). Whatever the critical reception, Zadek's work demands close attention for its free-wheeling, unpredictable, and dangerous qualities, as well as for the remarkably sensitive interplay he achieves between his actors. If Stein's productions at the Schaubühne and elsewhere are masterpieces of formal perfection, Zadek

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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 nine

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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 (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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Salvatore, Gaston. "From ‘Büchner's Death’ —to Stalin's." New Theatre Quarterly 6, no. 24 (1990): 343–48. http://dx.doi.org/10.1017/s0266464x00004905.

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Gaston Salvatore was born in Valparaiso, Chile, in 1941, of an upper middle class Chilean mother and an Italian father. After completing a degree in law, he went to Berlin in 1965, where he studied sociology, and together with Rudi Dutschke became one of the leaders of the student protest movement. He was arrested and obliged to leave Germany in 1969, returning briefly to Chile. In the early ‘seventies he went to Rome, where he worked with Michelangelo Antonioni. One of the results of that collaboration was his novel. Der Kaiser von China, published in 1979. He began his work in German with a

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Kift, Roy. "Comedy in the Holocaust: the Theresienstadt Cabaret." New Theatre Quarterly 12, no. 48 (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 Perform

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Wilmer, S. E. "Cultural Encounters in Modern Productions of Greek Tragedy." Nordic Theatre Studies 28, no. 1 (2016): 15. http://dx.doi.org/10.7146/nts.v28i1.23969.

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The exiled character in need of asylum is a recurrent theme in ancient Greek tragedy. In many of these plays, we see uprooted and homeless persons seeking sanctuary, and for the ancient Greeks, hospitality was an important issue. Many of these plays have been updated to comment on the current social and political conditions of refugees and often reflect on the notion of hospitality, something which both Emmanuel Levinas and Jacques Derrida considered to be fundamental to ethics. Recently there has been a series of demonstrations and occupations of public spaces by asylum seekers that has

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Dissertations / Theses on the topic "Theater Berlin (Germany)"

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Bogusz, Tanja. "Institution und Utopie : Ost-West-Transformationen an der Berliner Volksbühne." Bielefeld Transcript-Verl, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2960432&prov=M&dokv̲ar=1&doke̲xt=htm.

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Schor, Ruth. "Eine alltägliche Tätigkeit : performing the everyday in the avant-garde theatre scene of late nineteenth-century Berlin." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:f182a548-e450-4efa-a3a0-478461d44ab6.

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This dissertation situates late nineteenth-century Berlin's reception of naturalist drama in contemporary discourse about European modernism, which to date has disregarded the significant impact of this cultural environment. Examining the Berlin avant-garde's demand for "truth" and "authenticity," this study highlights its legacy of promoting more honest and dynamic forms of human interaction. Sketching the historical background, Chapter 1 demonstrates how the reception of Henrik Ibsen in Berlin fuelled creative strategies for a more honest approach to theatre. From literary matinees to more e

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Catling, Elizabeth. "Narratives of change and continuity : theatre institutions in East Berlin and Brandenburg in the transition to the New Germany." Thesis, University of Exeter, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421582.

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Nitsche, Véra. "Der neue Geist des Kollektivs. Politische und ästhetische Implikationen kollektiver Produktionsverfahren im Theater in den 1960/70er-Jahren und zu Beginn des 21. Jahrhunderts (am Beispiel der Schaubühne am Halleschen Ufer sowie She She Pop und Gob Squad)." Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030002.

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Cette thèse a pour sujet les pratiques théâtrales collectives en Allemagne au tournant des années 1960/70 et au début du XXIe siècle. Ce qui nous intéresse particulièrement, c’est l’esprit du collectif, c’est-à-dire les idées politiques et concepts esthétiques qui incitent les artistes de théâtre à pratiquer la création collective et à s’organiser en collectifs. Nous partons du principe que l’esprit du collectif s’est développé parallèlement aux mutations du monde du travail depuis la fin des années 1960, telles qu’elles sont décrites par exemple dans la publication de Luc Boltanski et Eve Chi

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Vasudevan, Alexander Patrick. "Metropolitan theatrics : performing the modern in Weimar Berlin, 1919-1933." Thesis, 2005. http://hdl.handle.net/2429/16967.

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"Metropolitan Theatrics" charts the unsettling and reshaping of everyday life in Weimar Berlin between 1919 and 1933. It does so, by convening a conversation between the multidisciplinary insights of performance studies and recent geographical approaches to the study of the modern city. Berlin's restless relationship with the 'modern' offers, it is argued, an ideal historical milieu in which to test performance theory while at the same time question some of its presentist assumptions. Drawing on a variety of historical sources, the study focuses on the role of performance - not only thea

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Books on the topic "Theater Berlin (Germany)"

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Jelavich, Peter. Berlin cabaret. Harvard University Press, 1993.

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Kiehn, Ute. Theater im "Dritten Reich": Volksbühne Berlin. Wissenschaftlicher Verlag Berlin, 2001.

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Worbs, Dietrich. "Komödie" und "Theater am Kurfürstendamm": Das Erbe von Oskar Kaufmann und Max Reinhardt. Deutscher Kunstverlag, 2007.

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Germany), Deutsches Theater (Berlin, ed. Max Reinhardt und das Deutsche Theater: Texte und Bilder aus Anlass des 100-jährigen Jubiläums seiner Direktion. Deutsches Theater, 2005.

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Das junge Deutschland, 1917-1920: Expressionist theater in Berlin. P. Lang, 1988.

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Germany), Deutsches Theater (Berlin, ed. Das Deutsche Theater: Eine Geschichte in Bildern. Propyläen, 1999.

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Dreifuss, Alfred. Deutsches Theater Berlin Schumannstrasse 13a: Fünf Kapitel aus der Geschichte einer Schauspielbühne. 2nd ed. Henschelverlag, 1987.

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8

Baumgarten, Michael. Das Rose-Theater: Ein Volkstheater im Berliner Osten, 1906-1944. Edition Hentrich, 1991.

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Das Renaissance Theater: Von den Zwanzigerjahren bis heute : Biografie einer Berliner Bühne. Henschel, 2002.

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Kulturpolitisches Controlling: Ziele, Instrumente und Prozesse der Theaterförderung in Berlin. P. Lang, 1998.

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Book chapters on the topic "Theater Berlin (Germany)"

1

Winkelsesser, Karin. "Philharmonie Berlin, 1963 Berlin, Germany." In Modern Theatres 1950–2020. Routledge, 2021. http://dx.doi.org/10.4324/9781351052184-27.

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Winkelsesser, Karin. "Boulez Saal, 2017 Berlin, Germany." In Modern Theatres 1950–2020. Routledge, 2021. http://dx.doi.org/10.4324/9781351052184-71.

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Daberto, Reinhold. "Schaubühne am Lehniner Platz, 1981 Berlin, Germany." In Modern Theatres 1950–2020. Routledge, 2021. http://dx.doi.org/10.4324/9781351052184-35.

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Brenner, David A. "CHAPTER IV. Kafka’s Kitsch: Laughter, Tears, and Yiddish Theatre in Prewar Weimar Berlin." In German Jewry, edited by Nils Roemer. Academic Studies Press, 2019. http://dx.doi.org/10.1515/9781618110497-006.

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Sieg, Katrin. "Class of 1989: Who Made Good and Who Dropped Out of German History? Postmigrant Documentary Theater in Berlin." In The German Wall. Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230118577_9.

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Davis, Belinda. "CHAPTER 7 The City as Theater of Protest: West Berlin and West Germany, 1962-1983." In The Spaces of the Modern City. Princeton University Press, 2008. http://dx.doi.org/10.1515/9781400839308-011.

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Shaughnessy, Robert. "Between France and Germany." In As You Like It. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9780719086939.003.0005.

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This chapter examines the play’s fortunes beyond the English-speaking theatre, focusing on two landmark productions: Jacques Copeau’s for l’Atelier, Paris, in 1934, and Peter Stein’s for the Schaubühne Berlin, in 1977. In both cases the discussion focuses on the visionary direction of two of Europe’s leading twentieth-century theatre directors, the cultural and political contexts of their productions, and the ramifications of translating Shakespeare’s text into, respectively, French and German.

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"Late Expressionist performance in Berlin: the Emblematic mode." In German Expressionist Theatre. Cambridge University Press, 1997. http://dx.doi.org/10.1017/cbo9780511585647.006.

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Watanabe-O'Kelly, Helen. "Staging Empire as History and Allegory in Austria and Germany." In Projecting Imperial Power. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198802471.003.0011.

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Theatrical presentations of the foundational myths of the Austrian and German empires, either as costumed processions and pageants or as specially commissioned plays for the theatre, were staged on anniversaries and important jubilees. In Austria, the most important was Franz Joseph’s Diamond Jubilee in 1908, when a pageant of 12,000 lay participants took place in Vienna, while other elements of the national myth were presented on the stage. Wilhelm II played an active part in promoting the imperial theatre festival in Wiesbaden between 1896 and 1914, for which parts of the Hohenzollern myth were dramatized. In 1897, on Wilhelm I’s hundredth birthday, Ernst von Wildenbruch’s Willehalm was performed in Berlin, a verse drama presenting Wilhelm I in allegorical form as the hero who rescued Germany from the evil French.

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Copeland, Jack. "Tunny: Hitler’s biggest fish." In The Turing Guide. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198747826.003.0022.

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After 1942, the Tunny cipher machine took over increasingly from Enigma for encrypting Berlin’s highest-level army communications. Hitler used Tunny to communicate with his generals at the front lines. Turing tackled Tunny in the summer of 1942, and altered the course of the war by inventing the first systematic method for breaking into the torrent of priceless Tunny messages. The story of Enigma’s defeat by the Bletchley Park codebreakers astonished the world. Less well known is the story—even more astounding—of the codebreakers’ success against a later, stateof- the-art German cipher machine (Fig. 14.1). This new machine began its work encrypting German Army messages in 1941, nearly two years into the war. At Bletchley Park it was codenamed simply ‘Tunny’. Broken Tunny messages contained intelligence that changed the course of the war and saved an incalculable number of lives. How Bletchley Park broke Tunny remained a closely guarded secret for more than 50 years. In June 2000 the British government finally declassified the hitherto ultra-secret 500-page official history of the Tunny operation. Titled ‘General report on Tunny’, this history was written in 1945 at the end of the war by three of the Tunny codebreakers, Donald Michie, Jack Good, and Geoffrey Timms. Finally the secrecy ended: the ‘General report’ laid bare the whole incredible story of the assault on Tunny. Far more advanced than Enigma, Tunny marked a new era in crypto-technology. The Enigma machine dated from the early 1920s—its manufacturer first placed it on the market in 1923—and even though the German Army and Navy made extensive modifications, Enigma was certainly no longer state-of-the-art equipment by the time the war broke out in 1939. From 1942, Hitler and the German Army High Command in Berlin relied increasingly on the Tunny machine to protect their ultra-secret communications with the front-line generals who commanded the war in the eastern and western theatres. Germany’s compromised Tunny radio network carried the highest grade of intelligence, giving Bletchley Park the opportunity to eavesdrop on lengthy back-and-forth communications between the grand architects of Germany’s battle plans. Tunny leaked detailed information about German strategy, tactical planning, and military strengths and weaknesses.

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Conference papers on the topic "Theater Berlin (Germany)"

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Cailliez, Matthieu. "Europäische Rezeption der Berliner Hofoper und Hofkapelle von 1842 bis 1849." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.50.

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The subject of this contribution is the European reception of the Berlin Royal Opera House and Orchestra from 1842 to 1849 based on German, French, Italian, English, Spanish, Belgian and Dutch music journals. The institution of regular symphony concerts, a tradition continuing to the present, was initiated in 1842. Giacomo Meyerbeer and Felix Mendelssohn Bartholdy were hired as general music directors respectively conductors for the symphony concerts in the same year. The death of the conductor Otto Nicolai on 11th May 1849, two months after the premiere of his opera Die lustigen Weiber von Wi

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