Academic literature on the topic 'Theater – Production and direction – Germany'
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Journal articles on the topic "Theater – Production and direction – Germany"
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Zadek, Peter. "Hoping for the Unexpected: the Theatre of Peter Zadek." New Theatre Quarterly 1, no. 4 (November 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's work by contrast is characterized by a flamboyant, imaginative exploration of the text and a healthy suspicion of polished results. In the interview which follows, Roy Kift discussed with Peter Zadek not only his attitudes to the problems of acting, but also his opinions on German theatre and literature and the experiences which shaped his development as one of West Germany's leading directors. Roy Kift has been living in West Berlin since 1981, where he has written plays for stage and radio and a prizewinning opera libretto, as well as directing for theatre and television. His article on the GRIPS Theater in Berlin appeared in TQ 39 (1981).
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Mojžišová, Michaela. "Peter Konwitschny, Opera and Theatre Director Shaping the Profile of the Bratislava Opera of a New Millennium." Slovenske divadlo /The Slovak Theatre 65, no. 3 (September 1, 2017): 266–82. http://dx.doi.org/10.1515/sd-2017-0015.
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Abstract The paper examines the work of the acclaimed German opera and theatre director Peter Konwitschny at the Opera of the Slovak National Theatre. The authoress bases herself on an analysis of the productions of Eugen Onegin (2005) [Eugene Onegin], by Tchaikovsky, Puccini’s Madama Butterfly (2007) and Bohéma (2013) [La bohème], Janáček‘s Vec Makropulos (2015) [The Makropulos Affair], and Halévy‘s Židovka (2017) [La Juive], all of which, save for Janáček‘s opera, the Opera of the Slovak National Theatre has borrowed from foreign theatre scenes. The authoress makes a stocklist of the basic principles of Konwitschny’s direction signature and his contribution to theatre production, as well as to the artistic ensemble of the Bratislava Opera.
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Repin, Pavlo. "Richard Strauss's Opera "Salome" in Search of a New Directorial Reinterpretation." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(58) (March 28, 2023): 141–52. http://dx.doi.org/10.31318/2414-052x.1(58).2023.284763.
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The author considers the relevance of the appeal to the Salome image in the realities of the new wave of expressionism at the beginning of the 21st century. The research was carried out with a comprehensive analysis of the dramaturgical, musical, plastic and choreographic, scenography components of the stage incarnations of Jewish princess image in Richard Strauss's opera "Salome". The author determined the methodology of the key aspects of the study: the interpretation of the image of Salome by O. Wilde and Richard Strauss, that provides a basis for conducting a comparative and analytical examinations. The study of musical dramaturgy peculiarities in this opera leads to a genre-stylistic analysis. The most significant stage incarnations of the 21st century relate to interpretive investigation. Two concepts of the justification of the main conflict that led to the death of the Prophet are outlined. The first concept is political, since the Herodians' expectation of a Messiah from their dynasty was hindered by the prophecies of John the Baptist; the second concept is biblical, it is the rejection of Herodias's image of the Prophet for accusing her of incest and vices. The author proved the similarity of the text of Richard Strauss's opera libretto and O. Wilde's play on the theme of Salome, but he found stylistic differences between the two works: O. Wilde's is a drama of a symbolic direction, Richard Strauss's is an expressive and psychological musical poem. As a result of the analysis, the author proves that the dramaturgical structure of the opera is built on the Wagnerian principle of subordinating musical, poetic and scenic elements to the development of the storyline and reinterpreting leitmotif in terms of its individualization. Three versions of the opera performance "Salome" staged by Norwegian, German and Ukrainian directors are described, they are solved in the aesthetics of postmodernism with the extrapolation of the time and place of action to the present, an ironic attitude to the operatic images of the characters, and the synthesis of traditional and innovative means of expression. It was established that the Norwegian version is more characterized by the use of the latest art technologies in the formation of the artistic image of the performance; German production gravitates to the creation of a psychological drama with Freudian undertones; the Ukrainian performance based on Richard Strauss's opera "Salome" has a hi-tech solution. Prospects for further research in the aspect of integration of traditional theater and modern multimedia technologies are outlined.
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Chebotarev, Sergey A. "Art of theater direction in the 20th–21st centuries." Neophilology, no. 28 (2021): 718–25. http://dx.doi.org/10.20310/2587-6953-2021-7-28-718-725.
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We analyze the cultural and historical development of art of theater direction in the 20th–21st centuries. We consider the features of director’s theater on the example of Anatoly Vasiliev’s theater, Mark Zakharov’s theater, Zhenovach’s theater, Pyotr Fomenko’s theater, etc. We note that throughout the entire period there is a transformation of the role of the director in the theater. We note that throughout the entire period there is a transformation of director’s role in the theater. The significance of the theater director – artist grows into more complex forms of his existence: the playwright – the organizer of the performance – the teacher and educator of the theatrical collective. We conduct an analysis of directing schools allow us to draw the following conclusions. Firstly, the Russian theater at the turn of the 20th–21st centuries managed to preserve its traditions even in the conditions of the most powerful computer and television boom. Secondly, the theater continued to occupy one of the leading places in the spiritual, moral and aesthetic edu-cation of society. Thirdly, the direction of domestic theater adopted and multiplied the best tradi-tions of realistic art, coming from K. Stanislavsky, V. Nemirovich-Danchenko, E. Vakhtangov, M. Chekhov, taking into account modern trends and interests of the audience. Fourthly, there was an active search for new forms in directing and acting, experimental theaters and studios were formed. Fifthly, a huge place in directing was given to the production of classics. We note that the period under review provided an opportunity to fully reveal the originality in directing and acting.
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Passos, Mateus Yuri. "The world in a bottle and the archeology of staging: audiovisual recording as registers of opera productions." Comunicação e Sociedade 31 (June 29, 2017): 39–56. http://dx.doi.org/10.17231/comsoc.31(2017).2603.
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This work focuses on the use of the audiovisual opera recording as a document to analyze contemporary stagings labeled by the German critics as director’s theater [Regietheater]. In director’s theater, Wagner’s total artwork project [Gesamtkunstwerk] achieves a turn in meaning, for the three artistic dimensions of opera – word, music and staging – become different texts. In this paper, we discuss the limitations of audiovisual recording as a register of director’s theater opera stagings, as well as filmic resources that allow for a reconstruction of the audiovisual text of such productions with solutions that are often quite distinct from those adopted on the stage. We are interested above all in problematizing the equivalence that is sometimes established between a staging and its recording – especially in the contemporary context of productions that frequently suffer considerable changes and are characterized by the unique aspect of each performance, always full of singular events and relatively autonomous regarding the general plan of the director. Thus, we will discuss problems and solutions of video direction of audiovisual recordings of stagings of the operatic cycle Der Ring des Nibelungen [The Ring of Nibelungo], by Richard Wagner (1813-1883).
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Shevtsova, Maria. "Political Theatre in Europe: East to West, 2007–2014." New Theatre Quarterly 32, no. 2 (April 13, 2016): 142–56. http://dx.doi.org/10.1017/s0266464x1600004x.
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What political theatre may be in contemporary times and in what sense it is ‘political’ are the core issues of this article. Maria Shevtsova discusses examples from within a restricted period, 2007 to 2014, but from a wide area that begins in Eastern Europe – Russia, Romania, Hungary, Poland – and moves to Germany and France. Her examples are principally productions by established ensemble theatre companies and her analysis is framed by a brief discussion concerning independent theatres, ‘counter-cultural’ positions, and institutional and institutionalized theatres. This latter group is in focus to indicate how political theatre in the seven years specified has been far from alien to, or sidelined from, national theatres, state theatres, or other prestigious companies in receipt of state subsidy. Two main profiles of recent political theatre emerge from this research, one that acknowledges political history, while the other critiques neoliberal capitalism; there is some unpronounced overlap between the two. Productions of Shakespeare feature significantly in the delineated theatrescape. Maria Shevtsova is co-editor of New Theatre Quarterly and Professor of Drama and Theatre Arts at Goldsmiths, University of London. Her most recent book (co-authored) is The Cambridge Introduction to Theatre Directing (2013).
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Leben, Andrej. "Contemporary Slovenian Bilingual and Multilingual Theatre in the Context of Carinthia." Amfiteater 11, no. 2 (December 28, 2023): 36–56. http://dx.doi.org/10.51937/amfiteater-2023-2/36-56.
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For many years, bilingual and multilingual practices have been one of the distinctivefeatures of contemporary theatre work by the Slovenian minority in Carinthia. Morerecently, they can also be observed in the productions of other Carinthian theatres,both non-institutional and institutional, with which actors from minority backgroundsrepeatedly collaborate. Some have (co-)founded new bilingual and multilingual theatrestructures within or outside this environment. Others are working simultaneously to agreater or lesser extent in theatres in the wider German and Slovenian language area andelsewhere, including in the fields of directing, choreography, acting, set design and theatremusic, as well as in television and film productions. Given that these phenomena have notyet been systematically explored in detail, the article outlines the contemporary Slovenianbilingual and multilingual theatre scene in Carinthia, its structures, activities and stagingpractices. Based on the current range of the manifold activities, it also addresses thequestion of how to conceptually encompass these diverse practices.
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Batytska, Tetiana. "Aspects of Theatre Directing in the Maria Zankovetska National Academic Ukrainian Drama Theater during the 1990s–2010s." ARTISTIC CULTURE. TOPICAL ISSUES, no. 19(2) (November 29, 2023): 86–94. http://dx.doi.org/10.31500/1992-5514.19(2).2023.294632.
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The paper examines the key features of the creative work of three stage directors of the Maria Zankovetska Theater during the 1990s–2010s: Fedir Stryhun, Alla Babenko, and Vadym Sikorskyi. The analysis of their landmark productions enables distinguishing the method of working on the theatrical production by each of them and outlines the thematic and conceptual range of both the artists’ works and the theater as a whole. The variety of artistic methods of stage direction during the period was studied, including the elements of psychological, poetic, and conditional theater in the terms of aesthetics, as well as the political, philosophical, and intellectual theater in relation to the concept, and the nature of the conservative and experimental theater in respect to the novelty of the implementation of stage solutions. It was identified that the creative image of the theater had been established by F. Stryhun and his artistic guidelines were dominant during the period, with his creative work oriented towards the social and cultural educational demands of Ukraine. Modern stage design and directing, presented by his colleagues A. Babenko and V. Sikorskyi, were less significant in the overall course of the theatre.
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Shishkin, Andrei Gennadievich. "Repertory theater of production type – trends in the dialogue of cultures in modern music and theater culture (on the example of the Ural Opera Ballet Theater)." Культура и искусство, no. 5 (May 2021): 37–46. http://dx.doi.org/10.7256/2454-0625.2021.5.35614.
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This article reviews a new model of repertory opera theater of production type, which has emerged at the intersection of traditional repertoire and project, or production theaters: it represents a special channel of intercultural communication. Opera performance creates a space simultaneously in several dimensions – musical, verbal, and visual; it resembles a form of polylogue of the authors and stage directors of the performance, becomes a realization of the dialogue of cultures, and turns into a unique form of art involving the representatives of different cultural systems. This is proven by particular artistic experiences of the dialogue of cultures in modern opera on the example of Ural Opera Ballet Theater in Yekaterinburg and its projects “Satyagraha”, “The Passenger”, “The Greek Passion”, and “Three Sisters”. A number of important ideas of theoretical and historical culturology find practical substantiation: the paramount prerequisite for the effectiveness of any activity – the unity of theory and practice is realizes in the sphere of artistic culture. It is determined that within the framework of repertory theatre, production direction must take consider the time requirements that are solved in the field of the dialogue of cultures. The article demonstrates that the dialogue of cultures manifests as the dominant trend in the development of theatrical culture, allowing a more effective response of the creative process to the demands of time. It is proven that the work created in the process of the dialogue of cultures, which contains polyphony of voices, requires peculiar work with the audience, who is also engaged in dialogue with the performance.
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Shafer, Yvonne. "Nazi Berlin and the Grosses Schauspielhaus." Theatre Survey 34, no. 1 (May 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 increasing prosperity. The history of the various uses to which the theatre was put in the twentieth century is an important reflection of the changes in German society in this period. During the time of the Third Reich it was an important element in culture and propaganda under the direction of Dr. Joseph Goebbels. This paper will analyze the unusual architecture of the theatre and the productions of several plays which were important during the Third Reich.
Dissertations / Theses on the topic "Theater – Production and direction – Germany"
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Garde, Ulrike 1964. "The Australian reception of Austrian, German and Swiss drama : productions and reviews between 1945 and 1996." Monash University, German Studies, 2000. http://arrow.monash.edu.au/hdl/1959.1/8820.
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Farris, Jennifer. "The Technical Direction Provided for the 2008 Kent State University School of Theatre and Dance Production of Three Sisters." Kent State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=kent1236642190.
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Rawlings, Cara E. "The Civil War: A Collaboration in Direction and Choreography." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/751.
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This text is a partial record of the development of the Virginia Commonwealth University production of The Civil War: A Musical that opened on April 7, 2005 for a three-week run ending April 28, 2005. The greater part of the text is devoted to the evaluation of the underlying principles of direction and choreography applied in the creation of an artistically aid financially successful production of this size. Included in the evaluation of The Civil War: A Musical are analyses of the directors' --Patti D'Beck and David Leong --individual creative processes, aesthetics, and working styles. The result of this evaluation and analysis is a compilation of the fundamental principles of direction and choreography applied The Civil War: A Musical as a methodology for the creation of theatre. Further reflections on collaboration and artistry serve as the culmination of lessons inherent in both the creation of the Theatre VCU production of The Civil War: A Musical and in the author's three years of study in the VCU Master of Fine Arts program in Theatre Pedagogy with an emphasis in Movement Direction and Choreography.
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Friedlander, Lauren. ""Spending the day in front of the mirror"." Oberlin College Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1305644057.
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Beaufort, Philippe. "Le projet de l'action créatrice." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq25380.pdf.
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Readman, Geoffrey. "What does the Applied Theatre Director do? : directorial intervention in theatre-making for social change." Thesis, University of Northampton, 2013. http://nectar.northampton.ac.uk/7848/.
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This thesis critically interrogates the practice of artistic directors within applied theatre companies in the United Kingdom. ‘Applied theatre’ describes the process of theatre-making in which commitment to ethical, pedagogical, philosophical and social priorities are integral dimensions of theatre-making designed for specified participants, communities and locations. The research views the term director as encompassing any individuals with designated responsibility for the artistic coherence of theatre in both community and rehearsal room contexts. It argues that directorial processes in applied theatre have rarely been the focus of systematic research and that a theoretical framework to conceptualise practise will contribute new knowledge. The research design gathers evidence of directorial contributions, examining ‘why’ and ‘how’ interventions are constructed. The various theories, techniques and methods used by directors to shape and effect positive interventions are observed and interrogated, through a systematic research approach, in five director case studies. The case studies reflect discrete areas of theatre practice. Published research is sparse and literary evidence is occasionally drawn from historical, cultural and mainstream theatre contexts, from developments in Alternative and Political theatre and from Drama in Education praxis. The thesis concludes with a theoretical framework that articulates applied theatre directing as a process that shares some common ground with mainstream theatre directing, but which retains discrete alternative practices and philosophies that define an alternative directorial model.
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Amato, William J. III. "The Technical Direction of the 2009 Kent State University School of Theatre and Dance Production of Twelfth Night." Kent State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=kent1241188098.
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Henrique, Marina Gomes 1974. "Marias." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285288.
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Orientador: Antonio Fernando da Conceição PassosDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-24T21:34:19Z (GMT). No. of bitstreams: 1 Henrique_MarinaGomes_M.pdf: 1393898 bytes, checksum: c3b6192a2da03a56185d3e6db5020ee0 (MD5) Previous issue date: 2010
Resumo: Este trabalho é fruto do processo de transcriação do poema de Bertold Brecht "A infanticida Marie Farrar" em uma peça de teatro e um roteiro de curta metragem. Para isso outras fontes literárias e o filme documentário "Camelos também choram" foram fundamentais no processo criativo, assim como os ensaios constantes da peça "Marias". O processo empírico da criação revelou em primeiro plano as histórias a serem contadas no teatro e no cinema
Abstract: This work is a result of the recreation of Bertold Brecht's poem "The infanticide Marie Farrar" in a theater play and a short film. Other sources for this literary and movie-documentary "The story of the weeping camel" were crucial in the creative process as well as the rehearsal for the play "Marias". The empirical process of creation revealed in the foreground the stories to be told in the play and in the movie
Mestrado
Multimeios
Mestra em Multimeios
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Mayo, Megan E. "Building a workable model for youth theatre an exploration into a courageous and complex field." Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4798.
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As an active director of productions featuring youth actors, I find myself debating the same questions continuously: Are there clear and demonstrated differences between working with young people and adults when directing a youth theatre production? Are there approaches and methods of working with young people that differs greatly from working with adults? Are these methods supported and utilized by those working professionally in the field? Is there an ideal format for a theatre producing only productions with youth? I believe that directing young actors tends to require a shift in focus due to the pliability, sensitivity, and inexperience of the actors. I feel the director must take into account the emotional, developmental, and educational needs of the young people and at the same time remain focused on the creation of a product with artistic integrity and clear storytelling. Due to the didactic nature of Youth Theatre, directing young people often requires an awareness of process over product despite the similar end goal of directing adults. Since little research or literature exists about the differences between working with adults versus young people, I will pursue information by interviewing several recognized professionals in the field of Theatre by and for Youth. I will examine their multiple methods, techniques, and practices of working with young people. In addition, I will use my personal experience working with youth at the Orlando Repertory Theatre in Florida and Coterie Theatre in Missouri. Through an investigation into the emerging field of Youth Theatre coupled with my education, I plan to develop a workable and effective youth theatre company based upon these findings with the hope it might inspire others working in this field.ID: 030646248; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.F.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 109).
M.F.A.
Masters
Theatre
Arts and Humanities
Theatre; Theatre for Young Audiences Track
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Skordis, Ranza (Ranza Nora-J). "Improvisation and playmaking : a look at some improvisation techniques and their applications during the directing process." Thesis, Stellenbosch : Stellenbosch University, 2003. http://hdl.handle.net/10019.1/53461.
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Thesis (MDram)--Stellenbosch University, 2003.ENGLISH ABSTRACT: In this thesis the author investigates aspects of the use of improvisation and improvisational methods, techniques and exercises by modem practitioners. The study commences with a look at the beginnings of modem improvisation in the nineteenth century, when improvisation was used only tentatively by performers as a preproduction aid to the exploration of character and personal response. In more recent times the process has become one of collaboration and research; as a means of selfdiscovery, as a means of text creation and as a vehicle for finding a 'voice' for the silent majority within a particular community or society. This study also traces the use of improvisation in South Africa where the improvisational process has been incorporated into democratic and collaborative forms like workshop theatre and workers' theatre, and serves as a useful method of political investigation and conscientisation. The study will also briefly touch what on is now termed 'theatre-fordevelopment', since its practitioners make extensive use of improvisational techniques, and its techniques are allied to those of workers' and workshop theatre. The final chapter provides an application of the theories discussed in the bulk of the study in a brief discussion of the author's own attempts at utilising improvisation as a directing and scriptwriting tool in a student production.
AFRIKAANSE OPSOMMING: In hierdie tesis ondersoek die outeur die gebruik van improvisasie en die verskillende metodes, tegnieke en praktiese toepassings daarvan deur moderne praktisyns. Die tesis begin deur te kyk na die oorsprong van moderne improvisasie in die 1ge eeu toe imporvisasie slegs tentatief deur akteurs gebruik is om vóór die produksiefase as 'n hulpmiddel te dien om 'n karakter en persoonlike reaksies te ondersoek. Die proses het onlangs tot een van samewerking en navorsing verander; as 'n methode tot selfontdekking, 'n hulpmiddel by teks-skepping en as 'n medium om 'n "stem te vind" vir die 'stille meerderheid' binne 'n gegewe gemeenskap of samelewing. Hierdie studie ondersoek ook die gebruik van improvisasie in Suid Afrika waar die improvisasieproses in demokratiese en spanwerk vorme soos bv. werkswinkelteater en werkersteater geïnkorporeer is, waar hulle as uiters nuttige vorme van politieke ondersoek en -bewusmaking dien. Die studie raak ook vlugtig aan 'teater-virontwikkeling', aangesien die praktisyns daarvan grootliks gebruik maak van improvisasie-tegnieke en die tegnieke wat hulle gebruik redelike ooreenstem met dié van werkswinkelteater en werkersteater. Die finale hoofstuk verskaf 'n toepassing van die verskeie teorieë wat in die hoofgedeelte van die tesis bespreek word, in 'n kort bespreking van die outeur se eie pogings om improvisasie as 'n regie- en teksskeppingsinstrument in 'n studenteproduksie, te gebruik.
Books on the topic "Theater – Production and direction – Germany"
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DDR, Brecht-Zentrum der, ed. Bertolt Brecht, die Rundköpfe und die Spitzköpfe: Ein Greuelmärchen, Musik Hanns Eisler : eine Dokumentation der Aufführung des Deutschen Theaters Berlin, 1983. Berlin: Das Zentrum, 1985.
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Literature versus theatre: Textual problems and theatrical realization in the later plays of Heiner Müller. Bern: P. Lang, 1998.
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Ortrud, Gutjahr, Stemann Nicolas, and Thalia Theater (Hamburg Germany), eds. Ulrike Maria Stuart von Elfriede Jelinek: Uraufführung am Thalia-Theater Hamburg in der Inszenierung von Nicolas Stemann. Würzburg: Königshausen & Neumann, 2007.
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Roland, Spahr, ed. Der verbrannte Schmetterling: Wege des Theaters in die Wirklichkeit. Hamburg, Leipzig: Europäische Verlagsanstalt, 2010.
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Germany), Thalia Theater (Hamburg, ed. Reigen von Arthur Schnitzler: Sexuelle Szene und Verfehlung in Michael Thalheimers Inszenierung am Thalia-Theater Hamburg. Würzburg: Königshausen & Neumann, 2009.
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Katharina, Schmitt, and Krausser Helmut 1964-, eds. Theater als Utopie: Regisseure von morgen : [zum Festival "Radikal jung" im April 2010]. Leipzig: Henschel, 2010.
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van, Dijk Anouk, Beckenbach Malte, and Gronemeyer Nicole, eds. Trust. Berlin: Theater der Zeit, 2010.
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Rouse, John. Brecht and the West German theatre: The practice and politics of interpretation. Ann Arbor, Mich: UMI Research Press, 1989.
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Poschmann, Gerda. Der nicht mehr dramatische Theatertext: Aktuelle Bühnenstücke und ihre dramaturgische Analyse. Tübingen: M. Niemeyer, 1997.
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Zlobin, Alekseĭ. I︠A︡bloko ot i︠a︡bloni: German, Fomenko i drugie oproverzhenii︠a︡ Nʹi︠u︡tonova zakona. Sankt-Peterburg: Izdatelʹstvo Ivana Limbakha, 2016.
Find full textBook chapters on the topic "Theater – Production and direction – Germany"
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Piscator, Erwin. "The Programme of the Proletarian Theatre (1920)." In Modern Theories of Drama, 220–23. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198711407.003.0036.
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Abstract A comparison of Toiler’s explanation of the background of Masses and Man (see previous item) with the programme put forward by the director Erwin Piscator (1893-1966) as the policy for a newly established political theatre company clearly shows the wide differences between various forms of committed theatre, in Germany as elsewhere. The manifesto reproduced below was issued in 1920 on behalf of the Proletarian Theatre, a group recently founded under the auspices of several left-wing political parties as well as working-class and allied organizations; published in the special October 1920 issue of the magazine Der Gegner, this was later reproduced in Piscator’s book, Das Politische Theater (1929), in which he argued the case for a socially progressive theatre on the basis of his own, by then substantial, production record.
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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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Simon, Eckehard. "Manuscript Production in Medieval Theatre: The German Carnival Plays." In New Directions in Later Medieval Manuscript Studies, 143–66. Boydell and Brewer, 2000. http://dx.doi.org/10.1515/9781846150241-014.
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Gaines, Malik. "The Radical Ambivalence of Günther Kaufmann." In Black Performance on the Outskirts of the Left. NYU Press, 2017. http://dx.doi.org/10.18574/nyu/9781479837038.003.0004.
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Within the oeuvre of German film, theater, and television director Rainer Werner Fassbinder, the actor Günther Kaufmann typically played roles that radicalized his Afro-German body. The development of Fassbinder’s style through a history of political theater and the generational perspective of the late sixties helped construct a deeply critical presentation of difference, complicated by class, gender, race, sexuality, and provincial location, that unsettled the representation of a post-war West German order and its capitalist successes. Kaufmann problematized representation in a series of Fassbinder’s early productions, often through sexualized, violent, and campy portrayals that exceed both the Marxist and psychoanalytic readings often applied to Fassbinder’s work. Kaufmann’s unresolvable presence articulates a radical ambivalence that is critically effective if politically untidy.
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Savran, David. "Celebrating the Great Tralala." In Tell it to the World, 188–238. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780190249533.003.0006.
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Abstract Musicals in Germany are performed more and more frequently in state-subsidized opera houses where they receive far more sumptuous productions than they could ever expect on Broadway. Among directors of music theatre, Barrie Kosky, who was artistic director of the Komische Oper Berlin between 2012 and 2022, has become especially celebrated for bringing the glamour and pizzazz of Broadway to Berlin. Kosky is unique among directors based in Germany for his mastery of the Broadway idiom and his ability to make musicals speak directly and powerfully to contemporary audiences. His productions of Kiss Me, Kate, West Side Story, Candide, Fiddler on the Roof, and The Threepenny Opera reconceived the originals while leaving the scores intact, to give them an immediacy, splendor, and relevance that their recent Broadway revivals lacked.
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Murray, Sterling E. "Love in a Village and a New Direction for Musical Theater in Eighteenth-Century America." In Rethinking American Music, edited by Tara Browner and Thomas L. Riis, 77–102. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042324.003.0005.
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This chapter reviews the compositional history of Love in a Village, a pastiche—a form in which borrowed songs are blended with original music--by Arne, Giardini, Geminiani, and Boyce, among others. In this case study, Murray examines the foundations of music theater in eighteenth-century America through the lens of David Douglass’s American Company, which first performed Love in a Village in the New World in Charleston in 1766. The author raises the question of how Douglass’s troupe succeeded financially and how in doing so it created a “new direction” for early American musical theater, an orientation and production concept that required trained voices and fuller orchestras, forces well in excess of those typically used for older ballad operas.
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Fay, Laurel E. "Consolidation (1958-1961)." In Shostakovich, 207–24. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195134384.003.0013.
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Abstract n March 1957, the news that Shostakovich was at work on his first operetta, Moscow, Cheryomushki, dealing “with the life of young builders in Moscow” spread around the globe. From the composer’s standpoint, the announcement was probably premature. He had not yet completed his Eleventh Symphony. But the keen anticipation at the prospect of Russia’s preeminent composer of “serious” music crossing over into the popular theater could not be denied. It was a source of special pride for the Moscow Theater of Operetta, which recruited the composer with the help of chief conductor Grigoriy Stolyarov, whose association with Shostakovich stretched back a quarter century to the Moscow premiere of Katerina Izmailova. Another veteran of that Nemirovich-Danchenko Theater production, Vladimir Kandelaki (he created the role of Boris Timofeyevich), was also now associated with the Moscow Theater of Operetta. He undertook the direction of Shostakovich’s operetta.
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Ehrenfeld, David. "Scientific Discoveries and Nature’s Mysteries." In Swimming Lessons. Oxford University Press, 2002. http://dx.doi.org/10.1093/oso/9780195148527.003.0031.
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One of the joys of science is its steady production of wonderful discoveries. At irregular but not intolerable intervals, it throws out to the waiting world findings that add spice to a thousand morning newspapers and enliven the conversations of countless barbers and taxi drivers. Some branches of science are especially fruitful in their production of wonders: physics doles out an inexhaustible supply of elemental particles with clever, memorable names like quark. Medicine provides powerful antibiotics freshly isolated from weird sources such as exotic muds and frogskin, arraying them against an equally fresh crop of antibiotic-resistant microbes. Geology reveals previously unsuspected earthquake faults under major cities and dazzles us with hidden, underwater chains of volcanoes in secret, violent eruption. Even paleontology can be counted on for the latest, well-documented theory of how birds came to fly or, as I have already discussed, why the dinosaurs became extinct. And then, every ten years or so, like the return of a speeded-up Halley’s Comet, animal behavior brightens the scientific horizon with a new and incredible explanation of how animals find their way home. Not long ago, the wires were humming, or would have hummed if wires hummed anymore, with the discovery by P. Berthold and three colleagues that bird migration has a rapidly evolving genetic basis. Evidently, the inherited tendency of a population to choose a particular migratory direction can change in a few years, with the selection of another direction. Berthold, working in Radolfzell, in southwest Germany, made the most of an earlier observation: since the 1950s, increasing numbers of blackcaps, Old World warblers, have been spending the winter in Britain, traveling from their breeding grounds in Germany and Austriaduring the fall migration. Traditional wintering grounds are in the western Mediterranean countries far to the south; most blackcaps still go there in the fall. But the blackcaps wintering in Britain have done well; global warming (or chance) has ameliorated the winter climate, and the British are dedicated bird feeders. What Berthold did was to capture forty male and female blackcaps in England, transport them to Germany, breed them, and raise their young.
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Billheimer, John. "Torn Curtain (1966)." In Hitchcock and the Censors, 264–70. University Press of Kentucky, 2019. http://dx.doi.org/10.5810/kentucky/9780813177427.003.0036.
Full textAbstract:
When he made Torn Curtain in 1966, Hitchcock was sixty-six, the Production Code was thirty-six, and both were in decline. The curtain of the title is the Iron Curtain, and Paul Newman plays a nuclear scientist assigned to travel to East Germany as a Communist sympathizer to bring back the mathematical formula for an anti-missile system. The Production Code had three major concerns with the script. In one of the movie’s earliest scenes, there appeared to be inappropriate ‘intimacies of lovemaking’ between Newman and costar Julie Andrews. Code reviewers also worried that the killing of the East German bodyguard assigned to Newman was entirely too gruesome, and a scene in which Newman cried, ‘Fire!’ in a crowded theater might create panic among real theatergoers. Hitchcock recut the love scene, had Newman shout ‘Fire!’ in German? presumably so only German audiences would panic?but left the bodyguard’s murder uncut because he wanted to show just how difficult and messy it is to kill a man. He succeeded in this, and the murder is the high point of a disappointing film and a worthy addition to Hitchcock’s canon of memorable scenes.
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Denning, Michael. "The Politics of Magic: Orson Welles ’s Allegories of Anti-Fascism." In Orson Welles ’s Citizen Kane, 185–216. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195158915.003.0007.
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Abstract The Rhetoric OF Fascism and anti-fascism runs throughout Welles ‘s career. “Our Julius Caesar gives a picture of the same kind of hysteria that exists in certain dictator-ruled countries of today,” a Mercury press release asserted of the 1937 modern-dress production. The most famous scene in the Mercury Julius Caesar was the killing of Cinna the poet (played by Norman Lloyd) by the mob. One critic wrote that it was “a scene which for pure power and sinister meaning has never been surpassed in the American theatre”; “not even the Group Theater in all their frenzy against dictators,” another wrote, “ever devised a more thrilling scene than that in which the poet, Cinna, is swallowed up by an angry mob.” “It ‘s the same mob,” Welles told the New York Times, “that hangs and burns Negroes in the South, the same mob that maltreats the Jews in Germany. It ‘s the Nazi mob anywhere.” When Welles went to Hollywood two years later, his first project, the unfinished film of Heart of Darkness, was, in his own Citizen Kane enjoyed a spectacular critical reception. American novelist John O ‘Hara, writing for Time magazine, said quite simply that it was the best motion picture he had ever seen. ‘ Other serious reviewers in this country didn ‘t debate whether or not it was unusually good, but whether or not it was a great, even revolutionary, achievement. Meanwhile, Kane was the subject of considerable controversy in Hollywood; it was nominated for nine Academy Awards but received only one, for best original screenplay by Herman Mankiewicz and Orson Welles, who were booed by detractors at the award ceremony.
Conference papers on the topic "Theater – Production and direction – Germany"
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Hildebrandt, Arndt, Jannis Landmann, Thorsten Ongsiek, and Nils Goseberg. "Drag Coefficients of Vertically-Mounted Full-Scale Blue Mussel Dropper Lines." In ASME 2018 37th International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/omae2018-78534.
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Developments in marine aquaculture in the last 30 years indicate that the bivalve-related industry is feasible offshore and that opportunities for large-scale, industrious production of shellfish stock exists. The objective of the project “CAWX1607” is to develop, model and test such systems. However, the forces acting on suspension cultures, the most likely form of marine farm systems are unknown. Here, drag coefficients provide an efficient approach for the calculation of arbitrary complex structures by using the Morison equation. The CD-coefficients take into account vortex shedding effects as well as the surface roughness of the structure. This paper reports on developed and conducted tests at the medium wave and towing tank “Schneiderberg” (WKS) at the Ludwig-Franzius-Institute for Hydraulic, Estuarine and Coastal Engineering of the Leibniz University Hanover, Germany. The tests were conducted for current velocities between 0.25–1.0 m/s for three samples of blue-lipped mussel specimens. During physical testing the forces and moments in x-, y- and z-direction, the elevation of the water surface, a velocity profile in the vicinity of the live-blue mussels, as well as the velocities of the towing carriage were recorded. The developed methodology, data treatment as well as the resulting CD-coefficients are presented. Further, the CD-coefficients obtained are presented in the context of natural variation of living structures and discussed in comparison to CD—curve characteristics of offshore structures, e.g. rough cylinders.