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

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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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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10

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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Kohtes, Martin Maria. "Invisible Theatre: Reflections on an Overlooked Form." New Theatre Quarterly 9, no. 33 (1993): 85–89. http://dx.doi.org/10.1017/s0266464x00007491.

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The paratheatrical form here described as ‘Invisible Theatre’ has been little investigated by the English-speaking academic world, beyond a nod in the direction of the work of Augusto Boal. In the following article, Martin Maria Kohtes suggests that the silent interlacing of art and life in ‘Invisible Theatre’ has historical and theoretical implications which extend beyond the specifics of ‘theatre for the oppressed’ or ‘guerrilla theatre’, to call into question our understanding of what constitutes the act of theatre itself. In tracing the history of the concept back to the Weimar Republic, K

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Cousin, Geraldine. "From Travelling with Footsbarn to ‘Wandertheater’ with Ton und Kirschen." New Theatre Quarterly 14, no. 56 (1998): 299–310. http://dx.doi.org/10.1017/s0266464x00012380.

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The first issue of NTQ in February 1985 included a feature on the Footsbarn Travelling Theatre Company which traced the development of the group from its formation in Cornwall in 1971, through its development of a distinctive narrative-based performance style – strong in physicality, visual imagery, and knockabout humour – to its status as an internationally acclaimed company, based now in France but touring extensively in Europe. Geraldine Cousin, the compiler of that feature, provided an update in NTQ33 (February 1993), which focused on Footsbarn's work since 1985, culminating in the ‘Mir Ca

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Czekay, Angelika. "Moving Beyond Imaginary Walls: FIT's Handbook Women in European Theatre Today." Theatre Research International 24, no. 3 (1999): 259–63. http://dx.doi.org/10.1017/s0307883300019118.

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As a materialist feminist from the former West Berlin I have always been in support of the German Democratic Republic as a system that granted womenextensive social benefits through the law. Before German reunification, rights to apprenticeship, employment, day care, and abortion were secured for East German women. Thus, in my imagination, the German Democratic Republic (GDR) occupied a space where gender and class equality were guaranteed—at least on paper.

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Darby, Rachel. "Edda Holl (2011): SPRACH-FLUSS — Theaterübungen für Sprachunterricht und interkulturelles Lernen. Ismaning: Hueber Verlag. ISBN 978-3-19-141751-2." Scenario: A Journal of Performative Teaching, Learning, Research V, no. 2 (2011): 109–12. http://dx.doi.org/10.33178/scenario.5.2.11.

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The word „SPRACH-FLUSS“ (flow of language), depicts images of flowing rivers and streams; babbling, gurgling, murmuring along to their destination. They encounter obstacles, turn corners and meander but undeniably reach their goal. SPRACH-FLUSS was a project held in the Sub-Saharan region of Africa in the years 2008 and 2009. 120 pupils and their teachers from 16 countries in Africa took part in these work-shops organised by the Goethe Institute in Johannesburg in conjunction with the Institute for Theatre and Media at the University of Hildesheim in Germany. Of these 120, 20 were invited to p

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Moos, Merilyn. "Truth and the Novel." European Journal of Life Writing 1 (December 5, 2012): C8—C11. http://dx.doi.org/10.5463/ejlw.1.38.

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It was not till late middle age that I finally found out about my family’s past. My parents had hidden it with reason. I had been aware that ours was a particularly small family, but my father had told me - and it was a legend I embraced eagerly - that he had fled Nazi Germany because of his radical theatre activities, walking his way from Berlin to France. From Paris, my parents had come to London. It was when my mother, already in her 90s, went into hospital, that I got hold of their old letters and documents. The first letters I found lying on the table in the downstairs room, as if she had

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Hambridge, Katherine. "Staging Singing in the Theater of War (Berlin, 1805)." Journal of the American Musicological Society 68, no. 1 (2015): 39–98. http://dx.doi.org/10.1525/jams.2015.68.1.39.

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Almost fifty years after the original event, Willibald Alexis’s historical novel Ruhe ist die erste Bürgerpflicht (1852) commemorated a musical performance that had taken place on October 16, 1805, at Berlin’s Nationaltheater. According to both Alexis’s reimagining and contemporary reports, after the closing “Reiterlied” of Schiller’s Wallensteins Lager a new war song was sung by audience and actors. The sensation this caused—in a city awaiting its troops’ departure for war against Napoleon—established Schiller’s play as a privileged site for political singing in Berlin and across German lands

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Earnest, Steve. "Justus Leibig Universität Giessen: a New Direction in German Theatre Training." New Theatre Quarterly 19, no. 3 (2003): 278–85. http://dx.doi.org/10.1017/s0266464x03000174.

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Since the post-war reorganization of education that began in 1949, the purpose and nature of German theatre training has perpetuated a division between performance and technical training, provided by vocational schools (or Hochschulen), while university programmes offer degrees in Theatre Science (Theaterwissenschaft), theory, or other academic areas. The course of studies at Justus Leibig Universität Giessen is one of the first to break away from this established model, offering a hybrid programme combining the study of theory and practice. Having featured a number of international guest arti

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Fischer-Lichte, Erika. "The Aesthetics of Disruption: German Theatre in the Age of the Media." Theatre Survey 34, no. 2 (1993): 7–27. http://dx.doi.org/10.1017/s0040557400009935.

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In the early 1960s, certain new developments in Western theatre occurred which in some ways seemed to complete the process of the re-definition of theatre that was initiated by the historical avant-garde movement at the beginning of this century. In a decisive move against the long established bourgeois, educational and commercial theatre, now theatre was explicitly being defined as the “detailed investigations of the actor-audience relationship”. As before, this new definition led to the search for new theatre spaces and genres and a new manner of using signs where the focus shifted from the

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Shafer, Yvonne. "Nazi Berlin and the Grosses Schauspielhaus." Theatre Survey 34, no. 1 (1993): 71–90. http://dx.doi.org/10.1017/s0040557400009777.

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The Grosses Schauspielhaus in Berlin was a theatrical showplace in several incarnations. The building itself was initially a great market situated near the Spree River in the center of Berlin. In the latter part of the nineteenth century it was converted to an enormous circus which drew crowds to see outstanding exhibitions of horsemanship and other circus acts. It also served as a great meeting hall for such events as Robert Koch's international congress dealing with tuberculosis in 1890. The large amphitheatre in the huge building was a symbol of the growing population of Berlin and its incr

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KORSBERG, HANNA. "History without a Past: On the Significance of a Non-event and the Researcher's Position in History Writing." Theatre Research International 32, no. 1 (2007): 32–48. http://dx.doi.org/10.1017/s0307883306002495.

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The article discusses a non-event as evidence for history writing, as well as the role of historians as constructors of histories, especially those historians who have taken part in the events they are writing about. These historiographical questions are intertwined in a case study of the Finnish National Theatre's intended visit to Berlin in May 1943. Although the visit was carefully planned, it never happened, due to a change in the political situation between Finland and Germany during the Second World War. This journey, which never took place, and its absence in the history of the Finnish

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Brandt, George W. "An Eighteenth-Century Performance Analysis: Böttiger on Iffland." New Theatre Quarterly 20, no. 1 (2004): 28–35. http://dx.doi.org/10.1017/s0266464x03000307.

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Trained under Ekhof at Gotha, the German actor August Wilhelm Iffland began his professional career in 1779 at the Mannheim Court Theatre. He moved to Berlin to become director of the National Theatre in 1796, remaining there till his death in 1814. In between, he paid a guest visit to the Weimar Court Theatre, at the invitation of its presiding genius, Goethe. A local schoolmaster, Karl August Böttiger, published an account of several of his roles. This was, for its times, an evocative and unusually detailed record of performance style, and here George Brandt complements his analysis with ext

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Kube, Lutz. "We Acted as Though We Were in a Movie: Memories of an East German Subculture." German Politics and Society 26, no. 2 (2008): 45–55. http://dx.doi.org/10.3167/gps.2008.260203.

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Leander Haußmann (Sonnenallee), a theater and film director with East German roots, contributed the documentary Die Durchmacher to the television series Denk ich an Deutschland. In his documentary, Haußmann interviews some of his old friends who in the late 1970s formed a group in East Berlin and presents their stories about the time. This paper explores the image of the German Democratic Republic that is created by the memories of the participants and their presentation through Haußmann. An important element of the memories is the perspective from which they come: out of a subculture that tri

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SCHRAMM, HELMAR, and BARBARA SUŠEC MICHIELI. "Pathos and Melancholy: Rethinking ‘Theatre’ in Times of Doubt." Theatre Research International 34, no. 3 (2009): 278–93. http://dx.doi.org/10.1017/s0307883309990071.

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In times of crises and existential disorientation, the arts often lean on gestures of radical doubt, the articulation of which demands the art of masquerade, deception, diversion and dissimulation, and simultaneously includes characteristic constellations of pathos and melancholy. The authors of this article analyse different artistic projects in Slovenia, Germany, Russia and elsewhere, which were created in the breakthrough period after the fall of the Berlin Wall and connect these projects to the wider social events of the previous two decades. In their treatment of the contemporary ‘art of

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Rovit, Rebecca. "An Artistic Mission in Nazi Berlin: The Jewish Kulturbund Theatre as Sanctuary." Theatre Survey 35, no. 2 (1994): 5–17. http://dx.doi.org/10.1017/s0040557400002751.

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These remarks made by the actor, Fritz Kortner, stem from a 1932 book in which the leading stage performers of the Weimar Republic portray themselves in photographs and through their own words. In response to the editor's questions, Kortner—among other artists—analyzes his role as an actor within Germany's greater cultural and historical context, linking the crisis in theatre to existent economic and intellectual crises. Given the unstable socio-economic situation at the end of the Weimar Republic, the cultural years ahead looked particularly grim. The actor's commentary reveals the vulnerable

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Mehring, Franz. "On Hauptmann's ‘The Weavers’ (1893)." New Theatre Quarterly 11, no. 42 (1995): 184–89. http://dx.doi.org/10.1017/s0266464x00001202.

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Born in 1846, Franz Mehring as a young man was a follower of Ferdinand Lassalle, who in 1863 had organized Germany's first socialist party. As well as establishing a reputation as a journalist with his contributions to many liberal and democratic newspapers, Mehring was awarded his doctorate at Leipzig University in 1881 for his dissertation on the history and teachings of German social democracy. In his mid-forties he embraced Marxism and in 1891 joined the German Social Democratic Party, soon emerging as the intellectual leader of its left wing. He became editor of the Leipziger Volkszeitung

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Vasudevan, Alexander. "Symptomatic Acts, Experimental Embodiments: Theatres of Scientific Protest in Interwar Germany." Environment and Planning A: Economy and Space 39, no. 8 (2007): 1812–37. http://dx.doi.org/10.1068/a38295.

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The author builds on recent geographical approaches to the investigation of scientific experimentation. While a number of studies have explored the various sites of scientific practice and the role of space in the constitution of experimental matters of fact, far less attention has been directed toward the cultural geographies of experimental science and the extrascientific zones in which modes of experimental practice were themselves developed and contested. Drawing on the reception of professional psychiatry in interwar Berlin (1919–1933), the author traces an alternative set of ‘experimenta

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Cascetta, Annamaria. "Bodies on stage between presence and absence." Acta Universitatis Lodziensis. Folia Litteraria Polonica 55, no. 4 (2019): 483–90. http://dx.doi.org/10.18778/1505-9057.55.23.

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European theatre engages with the problems of our time with ever greater commitment and responsibility, crucial both on the existential and the social level. At the same time it is researching and experimenting with a language suited for the communicative and aesthetic horizon of our age. This essay, intended to inaugurate in this journal a series of critical studies of the theatre, analyses two works, highly successful internationally, emblematic both by their theme (the body, death, memory) on which they invite the spectators to reflect and the experimental technique through which they invol

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Blackadder, Neil. "Dr. Kastan, the Freie Bühne, and Audience Resistance to Naturalism." New Theatre Quarterly 14, no. 56 (1998): 357–65. http://dx.doi.org/10.1017/s0266464x00012434.

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An acknowledged feature of the late nineteenth-century reinvigoration of theatre is the frequency with which new styles of writing – and, more often, innovative themes – affronted the public, both in print and performance. Yet the turbulent initial audience reactions to taboo- and ground-breaking plays have often been represented as self-evident confrontations between progressive creative artists and philistine theatregoers. By closely examining one apparently typical case of resistance to the new drama – the uproar at the 1889 premiere in Berlin of Gerhart Hauptmann's Before Sunrise – Neil Bl

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Roth-Lange, Friedhelm. "International Youth Theatre Festival at Volksbühne, Rosa-Luxemburg-Platz, Berlin." Scenario: A Journal of Performative Teaching, Learning, Research VIII, no. 1 (2014): 73–76. http://dx.doi.org/10.33178/scenario.8.1.7.

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A dense wall of black bodies is moving across the dimly lit stage. Three faces appear and disappear between the heads and feet of the human chain. They belong to a pregnant woman, her husband and their daughter. They try to find a loophole in this chain to make the breakthrough, sometimes by strategic moves, sometimes by force. Although the intruders eventually succeed and find a provisional place to live, the battle is still on. While looking for an apartment and a job, they are confronted with ever-changing forms of discrimination and xenophobia. Impressive and space-filling images by Dolný

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Hortmann, Wilhelm. "Berlin—Zürich—Düsseldorf: Aspects of German Theatre During the Nazi Period and After." Studies in Theatre Production 16, no. 1 (1997): 5–25. http://dx.doi.org/10.1080/13575341.1997.10806958.

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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 producti

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Risi, Clemens. "Performing Wagner for the Twenty-First Century." New Theatre Quarterly 29, no. 4 (2013): 349–59. http://dx.doi.org/10.1017/s0266464x13000675.

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Richard Wagner's works have repeatedly been the focus of questions concerning the possibilities, limits, and nature of the director's role in opera productions, especially in Germany, and prominently at the Bayreuther Festspiele. In this article Clemens Risi discusses some recent developments in staging Wagner's operas at the Festspiele, including Katharina Wagner's production of Die Meistersinger von Nürnberg (2007), Hans Neuenfels's production of Lohengrin (2010), and Sebastian Baumgarten's production of Tannhäuser (2011). While all these productions could be categorized as ‘director's theat

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Johnston, Caleb, and Geraldine Pratt. "Travelling intimacies, translation and betrayal in a creative geography." cultural geographies 28, no. 2 (2021): 417–28. http://dx.doi.org/10.1177/1474474021993416.

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In 2019, we collaborated with German theatre artists to co-create Between Worlds: Outsourcing Dementia Care, an immersive, multi-media piece performed in Newcastle and Berlin. This performance work animated and staged our interviews conducted with the owners of and caregivers working in private care facilities recently built in northern Thailand to provide dementia care for overseas guests from across the Global North. This creation process also drew from interviews we conducted with the family members who had chosen this option for their loved ones with dementia. Incorporating elements of doc

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Hyldig, Keld. "The Pagan-Christian Admixture in Romeo Castellucci's Oedipus the Tyrant." New Theatre Quarterly 33, no. 2 (2017): 99–112. http://dx.doi.org/10.1017/s0266464x17000021.

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In 2015, the Italian director Romeo Castellucci presented Oedipus the Tyrant at the Schaubühne in Berlin. His staging was based on the German poet-philosopher Friedrich Hölderlin's translation of 1804, which is known for its peculiar linguistic, philosophical, and theatrical approaches to Greek tragedy. In this article Keld Hyldig examines how Castellucci, in a response to Hölderlin's translation and commentaries on the tragedy, staged Oedipus as a theatrical and philosophical confrontation between religious and rational approaches to knowledge. The staging was seemingly simple, showing a grou

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Yushkova, Elena V. "From Gordon Craig to Mark Morris and Sasha Waltz: Stage design of opera / ballet “Dido and Aeneas”." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 5, no. 1 (2020): 100–117. http://dx.doi.org/10.18522/2415-8852-2020-1-100-117.

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The article deals with the impact of the English theatre director Edward Gordon Craig’s innovations in the dance theatre of the end of the 20th to the beginning of the 21st century. We consider one of Craig’s earliest performances in the opera “Dido and Aeneas” by the well-known English composer of the 17th century Henry Purcell., This was first staged in 1900 in London, and we focus on the selected methods and techniques associated with the reforming of theatre language, which were used by choreographers, such as the American Mark Morris and the German Sasha Waltz several decades later. Dance

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Whybrow, Nicolas. "Street Scene: Berlin's Strasse des 17 Juni and the Performance of (Dis)unity." New Theatre Quarterly 19, no. 4 (2003): 299–317. http://dx.doi.org/10.1017/s0266464x03000204.

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One of Berlin's most prominent streets, named after the East German workers' uprising of 1953 (in which Brecht was controversially implicated), serves as the performative location for Nicolas Whybrow's topographical interrogation of the politics of German nationhood. Particular attention is given to the new parliament building, the Reichstag, which has been out of action for the majority of its troubled history. The article considers attempts to perform democracy and unity since the fall of the Wall through various mediations, including Norman Foster's refunctioning of the Reichstag, Christo's

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FISCHER-LICHTE, ERIKA, and CHRISTEL WEILER. "Introduction: Poetics and Politics of the Future: Reverberations and Continuations of Cultural Practices from Jewish/Israeli and German Perspectives." Theatre Research International 34, no. 2 (2009): 103–8. http://dx.doi.org/10.1017/s0307883309004428.

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This introduction outlines the ongoing research project (see title) jointly pursued by the theatre departments of Tel Aviv University and Freie Universität Berlin funded by the German-Israeli Foundation for Scientific Research and Development (GIF). The project pivots around two critical questions. First, how can we investigate and conceptualize the future as a theoretical category and temporal dimension with regard to performances? Second, what themes and tools can articulate the various directions for developing and negotiating political and poetic questions of identity, artistic creation, c

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Atkey, Mel. "A Million Miles from Broadway." Brock Review 12, no. 2 (2011): 1–11. http://dx.doi.org/10.26522/br.v12i2.358.

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Musical theatre can take root anywhere. The future of the musical may very well lie beyond Broadway and the West End. In recent years, successful musicals have been developed in Canada, Australia and the German speaking countries. Some, like Elisabeth, have travelled internationally without ever playing in English. Companies in Korea, Japan and China are investing in new works, both domestically and internationally. These different countries can learn from each other. In South Africa, people do literally burst into song on the streets. During the apartheid era, some of the freedom fighters wer

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Jones, Peter Blundell. "The lure of the Orient: Scharoun and Häring's East-West connections." Architectural Research Quarterly 12, no. 1 (2008): 29–42. http://dx.doi.org/10.1017/s1359135508000912.

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Among Hugo Häring's papers in the Häring archive of the Akademie der Künste in Berlin are the minutes of six meetings entitled Discussions about Chinese Architecture held on Fridays and once on a Saturday dating from November 1941 to May 1942. The persons involved are Hugo Häring, Hans Scharoun, Chen Kuan Lee and John Scott. Of Scott, a Germanised American, we know little: it seems his wife Gerda worked at Häring's art school. But Chen Kuan Lee is a key figure in this story. Born in Shanghai in 1919, he had arrived in Berlin in 1935 to study architecture under Hans Poelzig, completing the cour

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Jolles, André, and Peter J. Schwartz. "Legend: From Einfache Formen (“Simple Forms”)." PMLA/Publications of the Modern Language Association of America 128, no. 3 (2013): 728–43. http://dx.doi.org/10.1632/pmla.2013.128.3.728.

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Who was andré Jolles? born in den helder in 1874; raised in amsterdam; in his youth a significant player in the literary Movement of the Nineties (Beweging van Negentig), whose organ was the Dutch cultural weekly De Kroniek; a close friend of Aby M. Warburg's and Johan Huizinga's—Jolles studied art history at Freiburg beginning in 1902 and then taught art history in Berlin, archaeology and cultural history in occupied Ghent during World War I, and Netherlandic and comparative literature at Leipzig from 1919 until shortly before his death, in 1946. A man of extraordinary intellectual range—his

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Bassey, Alessandra. "Brown, Never Black: Othello on the Nazi Stage." Multicultural Shakespeare: Translation, Appropriation and Performance 22, no. 37 (2020): 51–65. http://dx.doi.org/10.18778/2083-8530.22.04.

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This paper examines the ways in which Othello was represented on the Nazi stage. Included in the theatre analyses are Othello productions in Frankfurt in 1935, in Berlin in 1939 and 1944, and in pre-occupation Vienna in 1935. New archival material has been sourced from archives in the aforementioned locations, in order to give detailed insights into the representation of Othello on stage, with a special focus on the makeup that was used on the actors who were playing the titular role. The aim of these analyses is not only to establish what Othello looked like on the Nazi and pre-Nazi stage, bu

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Vasconcelos, Silvia de Lima, Marcel Sattler, Birgit Müller, Wolfgang Plehn, and Wolfgang Horn. "The Influence of textile floor coverings on the indoor air quality." E3S Web of Conferences 111 (2019): 02051. http://dx.doi.org/10.1051/e3sconf/201911102051.

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Textile floor coverings are often used in offices and residential buildings. Large areas like meeting rooms, cinemas, theaters and hotels are often equipped with such coverings. They contribute to the comfort of the users as they provide high pedaling comfort and sound absorption. The weakness of these building materials is due to the odor emission that is released from the floor covering, which affects the comfort of the users. A bad air quality and the resulting dissatisfaction can lead to lower employee productivity [1] [2]. The research project of the Hochschule für Technik und Wirtschaft

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Walton, Chris. "STORKS AND OSTRICHES: AN EARLY PARODY OF STRAUSS'S ‘ARIADNE AUF NAXOS’." Tempo 59, no. 232 (2005): 40–47. http://dx.doi.org/10.1017/s0040298205000148.

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The name of the conductor Max Conrad is hardly one to conjure with. He admitted as much himself in the first paragraph of his memoirs, published in 1956: To be sure, I was born in Berlin, as was [Bruno Walter]; he attended the Askanische High School in Berlin – as did I; he left it without finishing his school leaving certificate – as did I; he studied music with teachers from the Stern Conservatory – as did I; and he soon became famous – and I … oh dear, now it becomes irregular, like a Greek verb …For more than 30 years, Conrad (1872–1963) played a major role in the operatic life of Zurich.

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Döhring, Sieghart. "Zwischen kosmopolitischer Ästhetik und nationaler Verpflichtung: Giacomo Meyerbeer und seine Preußenoper Ein Feldlager in Schlesien." Studia Musicologica 52, no. 1-4 (2011): 341–50. http://dx.doi.org/10.1556/smus.52.2011.1-4.24.

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The chief representative of cosmopolitan grand opéra as the composer of an opera for Prussia — this uncomfortable phenomenon owes its origin to an unusual historical situation. Giacomo Meyerbeer was invited to succeed Gaspare Spontini as the chief director of music in Berlin, the city of his birth, and he could not evade the honour of being commissioned to compose a festive opera for the re-opening of the Berlin Opera after its destruction in a fire, even though he considered Paris, now as before, to be his artistic home and the future headquarters of his work as a composer for the theatre. To

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Gillen, Eckhart J. "The Walls of Utopia and the Fall of the Wall in Berlin : The German Art Dispute and its Implications for the Cultural Reunification of Korea in Berlin as the Theatre of the Cold War." Journal of Aesthetics & Science of Art 47 (June 30, 2016): 141–212. http://dx.doi.org/10.17527/jasa.47.0.05.

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Feinberg, Anat. "Theater als (Ersatz-) Heimat: Die Remigration des Schauspielers Herbert Grünbaum (1903–1981)." Aschkenas 24, no. 2 (2014). http://dx.doi.org/10.1515/asch-2014-0027.

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AbstractAfter a promising start on the German stage, Jewish actor Herbert Grünbaum left Germany overnight in 1939 and settled in Palestine. The article takes his emigration as the starting point for the examination of his role as director and actor in the nascent Cameri Theatre. Grünbaum’s experiences in Palestine eventually resulted in his surprising departure in 1953. Although not a communist, Grünbaum chose to join the Volksbühne in East Berlin, one of the leading theatres of the GDR. In the late 1950s, in the wake of growing tension between the powers controlling the divided city, Grünbaum

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Malkin, Jeanette R. "Der Theatermann Otto Brahm ein widerwilliger Jude." Aschkenas 24, no. 2 (2014). http://dx.doi.org/10.1515/asch-2014-0020.

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AbstractIn the history of modern theatre, Otto Brahm is canonized mainly as the founder of the Freie Bühne (1889), the first Naturalist stage in Germany, which – as a private society – produced censored plays by Ibsen and Hauptmann and opened the way for the general acceptance of socially-oriented contemporary plays on the German stage. Brahm began as an influential theatre critic who, throughout the 1880s, fought against the popular theatre which was dominated by the star-system and by French-influenced light comedies. Instead, he advocated those new plays – especially by Ibsen – that present

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Lisenko, Anzhela Rafizovna, Ilmira Mukharyamovna Rakhimbirdieva, and Rezida Iskandarovna Mukhametzyanova. "Fall of the Berlin Wall: Reflection of the Historical Event in the Newest German Drama." Propósitos y Representaciones 9, SPE2 (2021). http://dx.doi.org/10.20511/pyr2021.v9nspe2.1017.

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In this article, the authors refer to the play “Kein Schiff wird kommen” (“No ship will come”), 2010, by a young German playwright Nisa-Momme Stockmann, in which “historical events are refracted in the context of personal events of the characters”. In the center of the play is a young man, a writer, who was commissioned by the theater to write about the fall of the Berlin Wall. The protagonist of the play is a representative of an indifferent generation, far from politics and history. In 1989, he himself was a child, and the reunification of Germany, at first glance, had no effect on him. Howe

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Gangarova, T., and A. Bakambamba. "Your Health, Your Faith: HIV prevention with African faith-based communities in Germany." European Journal of Public Health 29, Supplement_4 (2019). http://dx.doi.org/10.1093/eurpub/ckz187.018.

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Abstract Migrants are disproportionally affected by HIV/AIDS in Germany, with about every third new HIV diagnosis given to a person who has migrated to Germany. More than half of HIV new diagnoses among migrants are people from sub-Saharan African countries. Because infections are not just brought from the countries of origin but also occur in Germany, HIV prevention services must be better tailored to the needs of migrants. Your Health, Your Faith (2016-2018) is a community-based participatory health project that aims to improve the involvement of African faith-based communities in HIV preven

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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 the

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