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Journal articles on the topic 'Woyzeck'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 March 2023

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1

Rockett, Will. "Woyzeck: The 150th Anniversary." Theatre Research in Canada 10, no. 1 (January 1989): 94–101. http://dx.doi.org/10.3138/tric.10.1.94.

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This essay is a sequel to a recent discussion in these pages (vol 8, no 2, Fall 1987) of the great popularity of Büchner's Woyzeck in the Canadian theatre. The author discusses his own 1985 production of the play, using a new translation prepared for the production, which was aimed at realizing the play as epic theatre in the round, emphasizing the cyclical and mythic nature of Woyzeck's dilemma.

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2

Malka, Liora. "Woyzeck 91—A World Without Intimacy." Theatre Research International 25, no. 1 (2000): 29–39. http://dx.doi.org/10.1017/s0307883300013936.

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Woyzeck 91, was staged by the Itim Ensemble and the Cameri Theatre, Tel Aviv, in 1991. The production was adapted from Büchner's Woyzeck and directed by Rina Yerushalmi. The adaptation expands Büchner's play text mainly through the addition of scientific lectures, mostly about human physiology, which present the human being as a biological organism: heart, sex organs, reproducing cells, nervous system as the source of feelings. These additional scenes focus attention on Woyzeck's body as an experimental model, along with other performative devices (slides of body parts, and a skeleton). The juxtaposition of the human body (human subject) with its scientific and technological fragmentation reflects the performance's central theme: it objectifies the human subjects in our modern world of genetic experiments, technological innovations and socio-political reactions, which threaten the destruction of humanity.

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3

Horton, David, Georg Buchner, and John Guthrie. "Woyzeck." Modern Language Review 84, no. 3 (July 1989): 789. http://dx.doi.org/10.2307/3732513.

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4

McClure, Iain. "Woyzeck." BMJ 336, no. 7639 (February 7, 2008): 333.2–333. http://dx.doi.org/10.1136/bmj.39451.612975.59.

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5

Dotzler, Bernhard J. "Benns Woyzeck." Deutsche Vierteljahrsschrift für Literaturwissenschaft und Geistesgeschichte 78, no. 3 (September 2004): 482–98. http://dx.doi.org/10.1007/bf03375786.

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6

Hutvágner, Éva. "Woyzeck on the Highveld." Studia Mundi - Economica 2, no. 3 (2015): 88–96. http://dx.doi.org/10.18531/studia.mundi.2015.02.03.88-96.

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7

Muller, Heiner, and Carl Weber. "The Wounded Woyzeck." Performing Arts Journal 10, no. 3 (1987): 73. http://dx.doi.org/10.2307/3245453.

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8

Stiles, Victoria M. ""Woyzeck" im Unterricht." Die Unterrichtspraxis / Teaching German 26, no. 1 (1993): 62. http://dx.doi.org/10.2307/3531791.

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9

Gray, Richard, Georg Büchner, Henry J. Schmidt, and Georg Buchner. "Woyzeck and Other Writings." Die Unterrichtspraxis / Teaching German 21, no. 1 (1988): 147. http://dx.doi.org/10.2307/3530768.

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10

Rockett, Will. "Woyzeck: The 150th Anniversary." Theatre Research in Canada 10, no. 1 (January 1989): 94–101. http://dx.doi.org/10.3138/tric.10.1.94.

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11

Kriff, Jean. "De Woyzeck à Wozzeck." Humanisme N° 330, no. 1 (January 30, 2021): 102–7. http://dx.doi.org/10.3917/huma.330.0102.

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12

Remshardt, Ralf. "Woyzeck, and: POEtry (review)." Theatre Journal 54, no. 3 (2002): 471–75. http://dx.doi.org/10.1353/tj.2002.0096.

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13

Wasserman, Jerry. "Büchner in Canada: Woyzeck and the Development of English-Canadian Theatre." Theatre Research in Canada 8, no. 2 (September 1987): 181–92. http://dx.doi.org/10.3138/tric.8.2.181.

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The production history of Büchner's Woyzeck in Canada's English-language theatres corresponds closely with the development of an indigenous English Canadian drama during the period of 1960-80. Particular qualities of the style, structure, and political tone of Woyzeck made it an attractive vehicle for the 'alternate' theatre companies that blossomed during this era. Its most profound impact was felt via the productions of George Luscombe, John Herbert, Richard Rose and Gordon McCall, all of whom were subsequently to do important work which would be indebted to their experience with Büchner's play.

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14

Krueger, A. "Die moderne self as toneelpop in Woyzeck on the Highveld." Literator 32, no. 2 (June 22, 2011): 65–78. http://dx.doi.org/10.4102/lit.v32i2.12.

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The modern self as puppet in Woyzeck on the HighveldThis article undertakes a semiotic investigation of identifications of the self in terms of a specifically South African modernism, via an exploration of an adaptation of Georg Büchner’s “Woyzeck”. William Kentridge’s production of “Woyzeck on the Highveld”(1992; 2009) marks at least three intersections of modernist and modernising discourses. Firstly, it uses as its principal source Georg Büchner’s protomodernist text, with its description of an individual alienated from his social context. Secondly, in making use of the puppets of the Handspring Puppet Company for its central characters, the play employs a style commensurate with modernist aesthetics, in terms of the objectification of subjectivity and the mechanisation of the subject. Thirdly, by re-contextualising Büchner’s German soldier as an African mineworker, the production deals with aspects of modernisation by examining the clash, confusion and concomitant syncretism of rural and urban cultures. The article concludes by identifying the all too human desire to be more than a puppet, more than machine, and the potential consequences of the fragmented modernist self on conceptions of identity and freedom.

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15

Hamm, Élisabeth. "Le singe-soldat de Woyzeck." Recherches germaniques, no. 50 (December 12, 2020): 179–94. http://dx.doi.org/10.4000/rg.5316.

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16

PETERS, PAUL. "Wozzeck / Woyzeck: Büchner versus Berg." Seminar: A Journal of Germanic Studies 38, no. 3 (September 2002): 241–60. http://dx.doi.org/10.3138/sem.v38.3.241.

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17

Mason, Susan Vaneta. "Private Battle, and: Woyzeck (review)." Theatre Journal 50, no. 1 (1998): 100–101. http://dx.doi.org/10.1353/tj.1998.0025.

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18

Chambers, Claire Maria, and Dong Hwan Alex Chun. "Musical Woyzeck by Georg Büchner." Theatre Journal 67, no. 3 (2015): 541–43. http://dx.doi.org/10.1353/tj.2015.0098.

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19

Meyzaud, Maud. "(Hagen) Buden. Lichter. Volk. (Woyzeck)." Maske und Kothurn 60, no. 2 (June 1, 2014): 69–80. http://dx.doi.org/10.7767/muk-2014-0209.

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20

DUNNE, KERRY. "Woyzeck's Marie: "Ein schlecht Mensch"? The Construction of Female Sexuality in Büchner's Woyzeck." Seminar: A Journal of Germanic Studies 26, no. 4 (November 1990): 294–308. http://dx.doi.org/10.3138/sem.v26.4.294.

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21

Stiening, Gideon. "Anthropologie und Gesellschaft in Buchners Woyzeck." Journal of Korean Büchner Society 52 (May 30, 2019): 5–28. http://dx.doi.org/10.24829/jkbs.2019.52.01.

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22

곽인상. "Nonverbale Ausdrucksmittel in Georg Buechners 'Woyzeck'." Zeitschrift f？r Deutsche Sprache und Literatur ll, no. 45 (September 2009): 57–78. http://dx.doi.org/10.30947/zfdsl.2009..45.57.

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23

Johnson, Katie N. "Woyzeck in Winter by Conall Morrison." Theatre Journal 70, no. 2 (2018): 236–38. http://dx.doi.org/10.1353/tj.2018.0031.

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24

Perruchon, V�ronique. "Woyzeck, un personnage sous (haute) surveillance." �tudes th��trales N�36, no. 2 (2006): 117. http://dx.doi.org/10.3917/etth.036.0117.

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25

Silva, Igor De Almeida. "WOYZECK E O BRASIL: TRILHANDO SUA RECEPÇÃO." A Cor das Letras 8, no. 1 (March 4, 2017): 65. http://dx.doi.org/10.13102/cl.v8i1.1565.

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Este trabalho apresenta um estudo introdutório sobre a recepção brasileira à obra teatral inacabada Woyzeck do dramaturgo alemão Georg Bü-chner, almejando obter um painel histórico das diferentes leituras desta peça no Brasil, a partir de algumas de suas encenações e dos ensaios produzidos por críticos e germanistas.

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26

Reeve, William C. "Büchner's Woyzeck on the English-Canadian Stage." Theatre Research in Canada 8, no. 2 (September 1987): 169–81. http://dx.doi.org/10.3138/tric.8.2.169.

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This article examines the various English-Canadian productions and adaptations of Georg Büchner's incomplete drama Woyzeck , beginning with George Luscombe's North-American premiere in 1963 and ending with Will H. Rockett's recent version (April 1987). In addition an attempt is made to put these stagings into the broader context of the European theatre.

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27

Arevalo, Marc. "GEORG BÜCHNERS 'LEONCE UND LENA' UND 'WOYZECK': ZUR ROLLE DES GROTESKEN BEI DER SCHILDERUNG GESELLSCHAFTLICHER VERHÄLTNISSE." Anuari de Filologia. Literatures Contemporànies, no. 10 (January 3, 2021): 117–47. http://dx.doi.org/10.1344/aflc2020.10.7.

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Die Kritik an den bestehenden sozialen Verhältnissen im vorrevolutionären Deutschland zählt zu den zentralen Themen des prägnanten Werks Georg Büchners. In seinen Dramen denunziert er die Heuchelei und Frivolität der oberen Klassen sowie ihre Unterdrückung der ärmeren Schichten zur Befestigung der sozialen Hierarchien. In Anlehnung an die Arbeiten Martins (2015, 2017) zur entstehungsgeschichtlichen und konzeptionellen Parallelität von Georg Büchners letzten Dramen Leonce und Lena und Woyzeck wird im vorliegenden Beitrag versucht, die Rolle der Ästhetik des Grotesken bei der Darstellung sozialer Umstände in den erwähnten Stücken Büchners zu bestimmen. Der Fokus der Untersuchung liegt auf den grotesken Elementen und Motiven bei der Darstellung der unterschiedlichen gesellschaftlichen Sphären. Dazu zählen u.a. die Automaten, die Aufhebung der Grenzen zwischen Tieren und Menschen sowie der Wahnsinn des Titelhelden in Woyzeck. Dabei werden die Theorien Kaysers und Bachtins zum Grotesken herangezogen, die exemplarisch die Ambivalenz dieser ästhetischen Kategorie zeigen.

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28

Seca, Jorge. "La caricatura goyesca en el Woyzeck de Büchner." mAGAzin Revista intercultural e interdisciplinar, no. 21 (2013): 28–33. http://dx.doi.org/10.12795/magazin.2013.i21.04.

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29

Reeve, William C. "Büchner's Woyzeck on the English-Canadian Stage." Theatre Research in Canada 8, no. 2 (September 1987): 169–81. http://dx.doi.org/10.3138/tric.8.2.169.

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30

Kim, Maeng Ha. "Die theaterpädagogische Methodik anhand Georg Büchners »Woyzeck«." Journal of Korean Büchner Society 50 (May 30, 2018): 5–29. http://dx.doi.org/10.24829/jkbs.2018.50.01.

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31

Scholte, Tom. "Offences Must Come: MK-Woyzeck at UBC." Canadian Theatre Review 142 (April 2010): 14–17. http://dx.doi.org/10.3138/ctr.142.14.

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32

Gray, Richard T. "The Dialectic of Enlightenment in Buchner's Woyzeck." German Quarterly 61, no. 1 (1988): 78. http://dx.doi.org/10.2307/407117.

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33

McClure, Iain. "Woyzeck (1837) by Georg Buchner, 1813–37." British Journal of Psychiatry 201, no. 3 (September 2012): 198. http://dx.doi.org/10.1192/bjp.bp.111.100719.

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34

Bloed�, Myriam. "Josef Nadj, dans la langue de Woyzeck." �tudes th��trales N�47-48, no. 1 (2010): 177. http://dx.doi.org/10.3917/etth.047.0177.

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35

Eiselt, Marianne G. "Bühnentexte als Übersetzungsproblem." Babel. Revue internationale de la traduction / International Journal of Translation 41, no. 1 (January 1, 1995): 36–42. http://dx.doi.org/10.1075/babel.41.1.05eis.

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Translations for the stage are problematic, because they have to satisfy the demands of theatrical performability and speakability. Mary Snell Hornby's (1984) approach to understanding texts for the theater in a holistic and hermeneutic framework and the consideration of speech criteria have been adopted here. The identified criteria for stage texts are "spoken stage language", multiperspectivity (word play, irony, metapher), rhythm, speakability and audience perception. Applying these aspects, a meaningful translation critique seems possible, because the characteristic features of the play and its demands of performability are considered. This paper discusses multiperspectivity (word play), rhythm, and holistic features in short segments of Georg Büchner's play Woyzeck. These segments are compared with three English translations of Woyzeck in terms of these criteria. The translations chosen are the most recent ones: David G. Richards (1977), John Mackendrick (1979) and Michael Ewans (1989). Even this small selection of texts and stage criteria suggests that a critique of a stage translation should go beyond comparing dictionary equivalents. The criteria of stage language and the holistic focus seem to be a meaningful tool to determine whether the translator has meet the demands for stage effectiveness of the author's original play.

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36

Steinberg, H., and S. Schmideler. "Die Todesurteile des Leipziger Schöppenstuhls im Fall Woyzeck." Fortschritte der Neurologie · Psychiatrie 74, no. 10 (October 2006): 575–81. http://dx.doi.org/10.1055/s-2005-919142.

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37

Knapp, Gerhard H., and David Richards. "Georg Buchner's "Woyzeck": A History of Its Criticism." German Quarterly 75, no. 4 (2002): 445. http://dx.doi.org/10.2307/3252214.

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38

Redondo, Tercio. "Tempo e trabalho em Woyzeck, de Georg Büchner." Literatura e Sociedade, no. 15 (December 29, 2011): 56. http://dx.doi.org/10.11606/issn.2237-1184.v0i15p56-67.

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39

Lach, Roman. "Karl Emil Franzos als Herausgeber Büchners und des „Woyzeck“." Journal of Korean Büchner Society 55 (November 30, 2020): 23–41. http://dx.doi.org/10.24829/jkbs.2020.55.02.

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40

Rokem, Freddie. "Witnessing Woyzeck: Theatricality and the Empowerment of the Spectator." SubStance 31, no. 2/3 (2002): 167. http://dx.doi.org/10.2307/3685484.

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41

Ayten Akın, Banu. "İktidar Beden İlişkisi Bağlamında Woyzeck ve Çirkin'de Kimlik Sorunu." Socrates Journal of Interdisciplinary Social Researches 8, no. 14 (January 1, 2022): 47–57. http://dx.doi.org/10.51293/socrates.143.

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42

Lambrechts, Luc. "Georg Büchners Woyzeck en de enscenering door Daniel Benoin." Documenta 7, no. 1 (May 3, 2019): 5–24. http://dx.doi.org/10.21825/doc.v7i1.11022.

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43

Scholte, Tom. "Offences Must Come: MK-Woyzeck at UBC." Canadian Theatre Review 142, no. 1 (2010): 14–17. http://dx.doi.org/10.1353/ctr.0.0020.

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44

Rokem, Freddie. "Witnessing Woyzeck: Theatricality and the Empowerment of the Spectator." SubStance 31, no. 2 (2002): 167–83. http://dx.doi.org/10.1353/sub.2002.0038.

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45

Steinberg, Holger, Adrian Schmidt-Recla, and Sebastian Schmideler. "Forensic Psychiatry in Nineteenth-Century Saxony: The Case of Woyzeck." Harvard Review of Psychiatry 15, no. 4 (July 2007): 169–80. http://dx.doi.org/10.1080/10673220701532466.

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46

Besson, Jean-Louis. "La discontinuit� du discours dans Woyzeck de Georg B�chner." �tudes th��trales N�33, no. 1 (2005): 9. http://dx.doi.org/10.3917/etth.033.0009.

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47

Wasserman, Jerry. "Büchner in Canada: Woyzeck and the Development of English-Canadian Theatre." Theatre Research in Canada 8, no. 2 (September 1987): 181–92. http://dx.doi.org/10.3138/tric.8.2.181.

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48

Gojic, Jelena. "Woyzeck from the Point of View of Dramatic Situations and Geometry." Филолог – часопис за језик књижевност и културу 21, no. 21 (June 30, 2020): 357–75. http://dx.doi.org/10.21618/fil2021357g.

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49

Schmidt, Henry J. "Letter to the Editor: A New Source for Georg Buchner's Woyzeck?" German Quarterly 58, no. 3 (1985): 423. http://dx.doi.org/10.2307/406572.

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50

KHATTAB, Aleya. "SPRACHLICHE VARIATION IM DIENSTE SOZIALER CHARAKTERISIERUNG IN GEORG BÜCHNERS DRAMA "WOYZECK"." Kairoer Germanistische Studien 3, no. 1 (September 1, 1988): 23–61. http://dx.doi.org/10.21608/kgs.1988.184222.

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