Artículos de revistas: "Germany Drama"

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Gamer, Michael. "National Supernaturalism: Joanna Baillie, Germany, and the Gothic Drama". Theatre Survey 38, n.º 2 (noviembre de 1997): 49–88. http://dx.doi.org/10.1017/s0040557400002076.

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As the most critically lauded dramatist of her time, Joanna Baillie recently has received considerable attention from critics interested in arguing that our neglect of Romantic drama has arisen from “conventional and mistaken assumptions about its strategies and principles.” In a recent issue of Wordsworth Circle devoted exclusively to Romantic drama, Baillie figures in three of its seven articles as a central dramatist of the period, while Jeffrey Cox devotes an entire section of his introduction in Seven Gothic Dramas 1789—1825 (1992) to her work. Even more recently, she has been the subject of special sessions of recent Modern Language Association meetings, and an edition of her Selected Works is scheduled to be published by Pickering and Chatto Press in 1998.

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2

Sharp, Jonathan. "Drama in SPRACHPRAXIS at a German University English Department: Practical Solutions to Pedagogical Challenges". Scenario: A Journal of Performative Teaching, Learning, Research VIII, n.º 1 (1 de enero de 2014): 19–35. http://dx.doi.org/10.33178/scenario.8.1.3.

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This article describes the initial phase of incorporating drama-in-education classes into the practical language curriculum of a German university English department. It offers a brief overview of drama in (higher) education, before focusing on some recent developments in Germany and the UK: specifically the current increase of interest in Theaterpädagogik in Germany, and the incorporation of performative pedagogy in UK higher education, with the example of an initiative at the University of Warwick. The practical language curriculum of the University of Tübingen English Department, within which the drama classes are being run, is introduced. A report on one of the classes is provided, with a short example of a student-led presentation session. After investigating some student feedback from the class, the article concludes by suggesting that a drama approach offers solutions to some challenges posed by the curriculum, and explains a brief rationale for its further development in this context.

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3

Duffy, Susan y Bruce Zortman. "Hitler's Theatre: Ideological Drama in Nazi Germany". Theatre Journal 37, n.º 2 (mayo de 1985): 241. http://dx.doi.org/10.2307/3207084.

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4

Haynes, Michael. "Todesspieland the terrorist docu‐drama in Germany". German Politics 8, n.º 3 (diciembre de 1999): 125–40. http://dx.doi.org/10.1080/09644009908404571.

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5

Göksel, Eva y Stefanie Giebert. "Notes on the third Drama in Education Days 2017". Scenario: A Journal of Performative Teaching, Learning, Research XI, n.º 1 (1 de enero de 2017): 117–20. http://dx.doi.org/10.33178/scenario.11.1.10.

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After two successful conferences (2015 & 2016) at Reutlingen University, the third Drama in Education Days was held at Konstanz University of Applied Sciences, June 30th and July 1st, 2017. The bilingual (English/German) conference focuses on best practice and research in the field of drama and theatre in education in second and foreign language teaching, and is organised by Dr. Stefanie Giebert (Konstanz University of Applied Sciences, Germany) und MA Eva Göksel (Centre for Oral Communication, University of Teacher Education Zug, Switzerland). The two-day event caters to teachers, scholars, and performers working with drama and theatre in language education at all levels – primary through to tertiary. This year’s conference attracted 45 participants from 9 countries including Austria, Canada, France, Germany, Kirgizstan, Spain, Switzerland, the US, and the UK. The conference kicked off Thursday, June 29th, with a hands-on pre-conference workshop, during which Tomáš Andrášik (Masaryk University) demonstrated how improv theatre creates a positive classroom atmosphere and fosters communication skills. In the space of two hours, workshop participants tested out techniques to lower communicative anxiety and to develop public speaking skills. Exercises aimed at building self-confidence in speaking and listening and to empower spontaneous and authentic communication were also presented. ...

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6

Thomson, Aidan J. "‘Proficiscere, anima Christiana’: Gerontius and German Mysticism". Journal of the Royal Musical Association 138, n.º 2 (2013): 275–312. http://dx.doi.org/10.1080/02690403.2013.830475.

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ABSTRACTThe popularity in Britain of Elgar's The Dream of Gerontius was triggered by the successful reception of the work in Germany in December 1901 and May 1902. By examining some of the writings on Elgar by German critics in this period, I explain that what may particularly have appealed to German audiences was the composer's engagement with mysticism, something that as well as being a distinct strand of German theology since medieval times had acquired a new popularity among German artists in a number of fields, as part of a reaction to the materialism of Wilhelmine Germany. Through a reading of the work that takes into account both its Catholic theology and ideas of mysticism more generally, I propose that the two Parts of the work should be conceived as taking place simultaneously, rather than successively, and that the work is thus best understood as belonging to the genre of epic rather than drama.

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Heinrich, Anselm. "‘It is Germany where he Truly Lives’: Nazi Claims on Shakespearean Drama". New Theatre Quarterly 28, n.º 3 (agosto de 2012): 230–42. http://dx.doi.org/10.1017/s0266464x12000425.

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That the Nazis tried to claim Shakespeare as a Germanic playwright has been well documented, but recently theatre historians have claimed that their ‘success’ was rather limited. Instead, commentators have asserted that plays such as Othello, Antony and Cleopatra, and The Merchant of Venice offended National Socialist precepts and were sidelined. This article attempts a re-evaluation and shows that the effect of the Nazi claims on Shakespeare was substantial, and the official efforts that went into realizing these in productions were considerable. It is also argued that the Nazis established a particular reading of Shakespeare, which lasted well into the 1960s and dominated the aesthetics of West German productions of his drama. Anselm Heinrich is Lecturer and Head of Theatre Studies at the University of Glasgow. He is the author of Entertainment, Education, Propaganda: Regional Theatres in Germany and Britain Between 1918 and 1945 (2007), and has co-edited a collection of essays on Ruskin, the Theatre, and Victorian Visual Culture (2009). His new monograph on theatre in Westphalia and Yorkshire for the German publishers Schoeningh is forthcoming.

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8

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, n.º 3 (22 de noviembre de 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 discussed: an adaptation of an Aristophanic comedy (Peter Hack’s adaptation of Aristophanes’ Peace at the Deutsche Theater in Berlin in 1962), a play based on a Sophoclean tragedy (Heiner Müller’s Philoktet, published in 1965, staged only in 1977), and a short didactic play (Lehrstück) based on Roman history (Heiner Müller’s Der Horatier, written in 1968, staged in 1973 in Hamburg in West Germany, and in the GDR only in 1988). At the end there is a brief look at a production of Aeschylus Seven against Thebes at the BE in 1969.

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9

Freeman, Sandra, Michael Jamieson, Christopher Murray, Ulf Danatus, Göran Kjellmer, Anne Moskow, Ronald Paul et al. "Reviews and notices". Moderna Språk 88, n.º 1 (1 de junio de 1994): 96–120. http://dx.doi.org/10.58221/mosp.v88i1.10120.

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Includes the following reviews:pp. 96-97. Sandra Freeman. Griffiths, T.R. & Llewellyn, M. (eds.), British and Irish Women Dramatists Since 1958. pp. 97-98. Michael Jamieson. Esslin, M., Pinter the Playwright. pp. 98-100. Christopher Murray. Hodgson, T., Modern Drama: From Ibsen to Fugard. + Innes, C., Modern British Drama 1890-1990. pp. 100-103. Ulf Danatus. Russell, J.R., The Penguin Dictionary of the Theatre. + Wandor, M., Drama Today; A Critical Guide to British Drama. + Acheson, J. (ed.), British and Irish Drama since 1960. + Hilton, J. (ed.), New Directions in Theatre. pp. 103-105. Göran Kjellmer. Cowie, A.P. & Mackin, R. (eds.), Oxford Dictionary of Phrasal Verbs. p. 105. Anne Moskow. Virago Press - Feminist Publisher. pp. 105-106. Ronald Paul. Burgess, A., A Mouthful of Air. pp. 106-109. Frank-Michael Kirsch. Byram, M. (ed.), Germany. Its Representation in Text, Books for Teaching German in Great Britain. pp. 110-111. Bo Andersson. Günter, S. & Kotthoff, H. (Hrsg.), Die Geschlechter im Gespräch. Kommunikation in Institutionen. pp. 112-113. Gustav Korlén. Leiser, E., Gott hat kein Kleingeld. pp. 114-117. Elisabeth Tegelberg. L'année scandinave 1989-1991, Nouvelles du Nord 1992. pp. 117-118. Börje Schylter. Hedberg, J., Nostalgia. pp. 118-119. Lars-Göran Sundell. Boysen, G., Fransk grammatik. p. 120. Redaktionsmeddelande/A Message from the Editors

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10

Mascha, Katrin B. "Historical “Truth,” Constructed Memory: Restaging Germany’s Reunification in Thomas Berger’s Television Melodrama Wir sind das Volk. Liebe kennt keine Grenzen (We are the people. Love without limits) (2008)". CINEJ Cinema Journal 1, n.º 2 (20 de abril de 2012): 36–49. http://dx.doi.org/10.5195/cinej.2012.41.

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Film and television are popular media for the (re)presentation of history and the depiction of momentous past events. Germany’s reunification is no exception. After the fall of the Berlin Wall, Germany has witnessed a proliferation of media production that endeavors to historicize and aestheticize the past. This coincides with the need to forge a post-Wall identity of the new Germany. My discussion of Thomas Berger’s award winning television drama Wir sind das Volk. Liebe kennt keine Grenzen (2008) examines how reunification is presented in a mixture of fictitious elements and authentic historical reconstruction based on shared memories of this past. Following a melodramatic trajectory, the film aims at the reconciliation of German society as a people twenty years after reunification.

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11

Harris, James F. "Rethinking the Categories of the German Revolution of 1848: The Emergence of Popular Conservatism in Bavaria". Central European History 25, n.º 2 (junio de 1992): 123–48. http://dx.doi.org/10.1017/s000893890002029x.

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The revolution that began in March 1848 continues to fascinate historains, becoming a two-way lens used to examine later as well as earlier German history. It has become central to the “emplotment” of the broader historical narrative of German history. Historians commonly describe the ultimate failure of the revolution as reflecting the unhealthy and anachronistic hold of premodern society over the state in nineteenth and twentieth-century Germany and, therefore, see it as a cornerstone of the Sonderweg thesis. Because the revolution is used to explain later acts in the German historical drama, it is necessary to be as clear as possible about what actually happended in 1848 and 1849.

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12

Linke, Hansjürgen. "A Survey of Medieval Drama and Theater in Germany". Comparative Drama 27, n.º 1 (1993): 17–53. http://dx.doi.org/10.1353/cdr.1993.0008.

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13

Witte, Wilfried. "Pandemie ohne Drama. Die Grippeschutzimpfung zur Zeit der Asiatischen Grippe in Deutschland". Medizinhistorisches Journal 48, n.º 1 (2013): 34–66. http://dx.doi.org/10.25162/medhist-2013-0002.

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14

Ross, Ronald J. "TheKulturkampfand the Limitations of Power in Bismarck's Germany". Journal of Ecclesiastical History 46, n.º 4 (octubre de 1995): 669–88. http://dx.doi.org/10.1017/s0022046900080489.

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Few conflicts in imperial Germany were more important than theKulturkampf, a major dispute between the Catholic Church and the Prussian State and a notorious example of the destructive character of Bismarckian politics. TheKulturkampfbegan in 1871, gathered in intensity and bitterness until 1878, and then continued with slowly diminishing severity down to 1887. Despite all its drama (the attempted assassination of governmental officials, the arrest and trial of prominent churchmen, even riots and mass demonstrations) and its undeniable political importance, theKulturkampfremains among the neglected problems of nineteenth-century German history. For the most part what has been written is so contradictory and prejudiced that even now – more than one hundred years later – the issues remain controversial and, in many respects, obscure.

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15

Carlson, Marvin. "Contemporary Censorship Debates in Germany". New Theatre Quarterly 40, n.º 2 (29 de abril de 2024): 160–66. http://dx.doi.org/10.1017/s0266464x24000058.

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During the past five years the cultural world in Germany has been shaken and divided by a series of controversies involving contemporary works of art charged with being anti-Semitic. Obviously, with the Holocaust continuing to occupy a major position in modern German consciousness and history, sensitivity to anti-Semitic expressions is particularly keen here. This sensitivity has been increased by a number of recent developments, including the growing visibility of far-right political groups, the rise of the Boycott, Divestment, and Sanctions movement (BDS) protesting Israeli treatment of the Palestinians, and the official politicization of these tensions by a parliamentary ruling in 2015 restricting the activities of the BDS. The conflict between legitimate criticism of policies of the Israeli state and legitimate censorship of ethnically offensive material has recently become increasingly bitter in Germany. This article discusses the dynamics of three of the most significant recent examples: the conflict involving Germany’s most prestigious arts festival, the Kassell documenta in 2020; the withdrawal in 2022 of the European Drama Award, the continent’s largest award, from British dramatist Caryl Churchill; and the withdrawal from the Munich stage of the most recent play by Wajdi Mouawad, who has been widely heralded in Germany as the most significant contemporary dramatist.

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16

Theisen, Bianca. "The Drama in Rags: Shakespeare Reception in Eighteenth-Century Germany". MLN 121, n.º 3 (2006): 505–13. http://dx.doi.org/10.1353/mln.2006.0077.

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17

Fiuk, Ewa. "Dyskursy postpamięci we współczesnym transnarodowym filmie niemieckim". Politeja 17, n.º 2(65) (30 de abril de 2020): 143–52. http://dx.doi.org/10.12797/politeja.17.2020.65.11.

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Discourses of Post-memory in Contemporary Transnational German Film The article is dedicated to the problem of trauma and death shown in contemporary transnational (made by directors living in Germany, but of non-German origin) German feature, documentary and experimental film. It raises the question of how the medium of film within its various narration and depiction modes (re)creates memory and post-memory, and at the same time it can be seen as a way to reclaim history in its personal or cultural dimension. The following films have been discussed: Totentraum (1995) and In fremder Erde (2001) by Ayhan Salar, Passing Drama (1999) by Angela Melitopoulos and The Cut (2014) by Fatih Akin. For this purpose, the author has implemented inter alia Aleida and Jan Assmann’s theory of memory.

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18

Krauß, Florian. "When German Series Go Global". Canned TV Going Global 9, n.º 17 (31 de agosto de 2020): 158. http://dx.doi.org/10.18146/view.212.

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The article takes a closer look at the current industry discourse on the transnational circulation of German series. At its centre is a case study of the 1980s period drama Deutschland (2015-2020), based on interviews with key executives and creatives. What is it that makes such ready-made TV fiction go transnational, according to the involved practitioners and in this specific case? Textual factors in particular are examined, such as the thematic and aesthetic extension of the historical-political ‘event’ miniseries through Deutschland. Furthermore, the article explores factors in respect to production, including screenwriting and financing, in the context of the dynamic TV landscape in Germany and Europe.

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19

Barnett, David. "When is a Play not a Drama? Two Examples of Postdramatic Theatre Texts". New Theatre Quarterly 24, n.º 1 (30 de enero de 2008): 14–23. http://dx.doi.org/10.1017/s0266464x0800002x.

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In this article David Barnett investigates the ways in which plays can be considered ‘postdramatic’. Opening with an exploration of this new paradigm, he then seeks to examine two plays, Attempts on her Life by Martin Crimp and 4:48 Psychosis by Sarah Kane, in a bid to understand how their texts frustrate representation and the structuring of time, and concludes by considering how the restrictions imposed upon the postdramatic performance differ from the interpretive freedom of text in representational, dramatic theatre. David Barnett is senior lecturer and Head of Drama at the University of Sussex. He has published monographs on Heiner Müller (1998) and Rainer Werner Fassbinder (2005), the latter as Research Fellow of the Humboldt Foundation, Germany. He has also published articles on contemporary German, English-language, political, and postdramatic theatre.

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Landry, Olivia. "From Elif to Esty? Unorthodox and Turkish German Cinema's Captivity Narrative". Camera Obscura: Feminism, Culture, and Media Studies 37, n.º 2 (1 de septiembre de 2022): 119–47. http://dx.doi.org/10.1215/02705346-9787042.

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Abstract The 2020 Netflix drama series Unorthodox draws on tropes from a vexed archive of transcultural cinema, in particular Turkish German cinema. Through the frame of the captivity narrative, this essay examines how the series about a young Hasidic Jewish woman who escapes her family and community in Williamsburg, New York, and flees to Berlin presents culturally determined themes of victimhood, oppression, and gendered subjugation. A comparison with Turkish German films, such as 40 Square Meters of Germany (40 Quadratmeter Deutschland, dir. Tevfik Başer, West Germany, 1986) and When We Leave (Die Fremde, dir. Feo Aladağ, Germany, 2010), calls attention to the continuity of the captivity narrative, with its troubling themes, and asks the question of intent. As scholars have indicated in the case of Turkish German cinema, filmmakers have frequently been faced with the task of appealing to German mainstream audiences eager to see their own cultural stereotypes reaffirmed on screen. Rooted in colonialist and Orientalist fantasies, the captivity narrative provided an effective conduit. But what is it still doing in Unorthodox? Close readings of several scenes from the series and engagement with Hortense Spillers's concept of “pornotroping” as well as Hamid Naficy's “housebondage” and Meyda Yeğenoğlu's “unveiling” reveal at once the problems and the possibilities of Unorthodox as it employs and subverts the captivity narrative. The essay concludes with an analysis of place, namely, the Berlin setting of the series, as a historically fraught context that likewise raises questions about intentionality and the role of Germany's past and present.

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21

Klein, Christian. "Das Schicksalsdrama des 19. Jahrhunderts als ›Zeitphänomen‹ zwischen literarischer Tradition und gesellschaftlicher Transformation". Internationales Archiv für Sozialgeschichte der deutschen Literatur 44, n.º 1 (4 de junio de 2019): 220–39. http://dx.doi.org/10.1515/iasl-2019-0011.

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Abstract This article focuses on the genre of the ‘drama of destiny’ (Schicksalsdrama), which was particularly popular in Germany between 1810 and 1825, and which – following the premiere of Friedrich Schiller’s Die Braut von Messina (The Bride of Messina, 1803) – reestablished an ancient concept of destiny as a category of understanding. Through an analysis of Zacharias Werner’s drama Der vierundzwanzigste Februar (The Twenty-fourth of February, 1809), this article shows how the reference to destiny offered a fitting model of meaning to nineteenth-century audiences facing a challenging time of shifting values and socio-political change and uncertainty.

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22

Irmer, Thomas. "A Search for New Realities: Documentary Theatre in Germany". TDR/The Drama Review 50, n.º 3 (septiembre de 2006): 16–28. http://dx.doi.org/10.1162/dram.2006.50.3.16.

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There are three major periods of German documentary theatre: the emerging genre in the 1920s with the theatre of Erwin Piscator; the documentary drama in the 1960s; and, beginning in the late 1990s, the new forms of alternative and independent theatre that are highly experiential and question the conception and performance of historical discourses. In the context of German postwar social history, documentary theatre has contributed to the repoliticization of a society that is still processing catastrophic historical events.

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23

Ade Mahendra, Rizky, I. Wayan Suwena y I. Nyoman Suarsana. "Eksistensi Drama Tari Gambuh di Desa Adat Pedungan, Kelurahan Pedungan, Kecamatan Denpasar Selatan". Sunari Penjor : Journal of Anthropology 4, n.º 2 (11 de julio de 2021): 68. http://dx.doi.org/10.24843/sp.2020.v4.i02.p03.

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The dance drama gambuh is a performing art in the form of total theater. In addition to the dominant elements of dance, there are also elements of other arts such as percussion, literary arts, vocal / dialogue arts, fine arts, and make-up that are harmoniously integrated and beautiful. The dance drama gambuh has become a sacred dance in Pedungan Traditional Village, Pedungan Village. Currently the development of the dance drama gambuh is no longer a foreign art among teenagers, this is evidenced by the high interest of teenagers who want to dance this dance when it is performed at temples and at Balinese art parties. Thedance drama gambuh has succeeded in introducing its dance outside the province and even abroad to be precise in Germany. Thus this research formulates the following problems, (1) the existence of the dance drama gambuh in Pedungan Traditional Village, Pedungan Village and (2) the meaning of the dance drama performance gambuh in Pedungan Traditional Village, Pedungan Village. This research uses the structural functional theory from Radcliffe-Brown, the symbolic interpretive theory from Clifford Geertz, and the theory of the meaning of symbols proposed by Victor Turner. These three theories are used because they have a relationship in the dance drama gambuh. The data collection technique starts with the informant determination technique, the observation technique, and the interview technique. This dance drama performance gambuh has meanings contained in the story such as religious meaning, aesthetic meaning, socio-cultural meaning, education meaning, and identity meaning. The results of this study reveal that the dance drama gambuh still exists among children, adolescents, and adults. With the establishment of the Kerta Jaya studio, which was built by I Kadek Sudiarta dance drama gambuh this can be introduced to children as the next generation so that dance drama gambuh this doesn’t disappear. The dance drama gambuh has also become an identity in Pedungan Village.

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24

Joubin, Rebecca y Sophia Nissler. "Escape to Germany in Syrian Television Drama: From Cross-Cultural Gender Constructions to Transnational Tropes of Masculinity and Homeland". Middle East Journal 75, n.º 3 (26 de noviembre de 2021): 428–47. http://dx.doi.org/10.3751/75.3.14.

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Looking at programs from the 1960s onward, this article shows the persistence and evolution of the gender imbalance in Syrian television characters' relationships with Germany. Before the 2011 uprising, screenwriters linked women charac ters to Germany as a way to challenge patriarchal standards of sexuality and gendered conceptions of national belonging. As the war has ensued, this trope has vanished. Meanwhile, long-standing narratives about men emigrating to Germany continue to represent abandonment of the homeland and have become intensified through nationalist nostalgia.

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25

Loewe, Andreas. "Proclaiming the Passion: Popular Drama and the Passion Tradition in Luther's Germany". Reformation & Renaissance Review 12, n.º 2-3 (20 de octubre de 2010): 235–82. http://dx.doi.org/10.1558/rrr.v12i2-3.235.

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26

Schade, Richard E. y David Price. "The Political Dramaturgy of Nicodemus Frischlin. Essays on Humanist Drama in Germany". German Quarterly 64, n.º 2 (1991): 239. http://dx.doi.org/10.2307/407088.

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Brown, Cheri y David Price. "The Political Dramaturgy of Nicodemus Frischlin: Essays on Humanist Drama in Germany". German Studies Review 14, n.º 2 (mayo de 1991): 382. http://dx.doi.org/10.2307/1430580.

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Casey, Paul F., Nicodemus Frischlin y David Price. "The Political Dramaturgy of Nicodemus Frischlin: Essays on Humanist Drama in Germany." Sixteenth Century Journal 22, n.º 3 (1991): 569. http://dx.doi.org/10.2307/2541484.

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Mirecka, Agata. "Polski krytyk teatralny Andrzej Wirth – mistrz przemieszczania się i jego rola w kształtowaniu nowego oblicza teatru w Niemczech". Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 22 (31 de diciembre de 2022): 173–84. http://dx.doi.org/10.24917/20811853.22.10.

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Andrzej Wirth, a 20th century Polish essayist, philosopher and theatre critic, is one of the often forgotten theatre and drama scholars in Poland, perhaps due to his long life in exile. A recognized expert in theatre studies and philosophy, he has lectured at many universities around the world, especially in the United States and Europe. He gained particular recognition as the founder and director of the Institute for Applied Theatre Studies at the University of Giessen in Germany. The aim of this article is to introduce Wirth’s personality, outline his life between cultures and highlight his importance for the development of theatre studies in Germany, as well as his great contribution to the promotion of Polish literature in Germany in the mid-20th century. Andrzej Wirth’s life was beyond borders and divisions, although with a particular attachment to the culture of his homeland and Germany; he was rooted in childhood memories and a desire for theatre as a liberated art in an age of evolving media technologies.

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Schewe, Manfred y Susanne Even. "What exactly is an apple pie? Performative arts and pedagogy: Towards the development of an international glossary". Scenario: A Journal of Performative Teaching, Learning, Research X, n.º 2 (1 de julio de 2016): 65–81. http://dx.doi.org/10.33178/scenario.10.2.6.

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Please note that this is a slightly edited version of the group discussion. Scenario wishes to acknowledge the vital contribution of Josephine Rutz by expressly thanking her for the transcription of the discussion. MS: Welcome everyone to this afternoon’s group discussion as part of the 4th SCENARIO FORUM Symposium. As you have read in the Symposium programme the German professional association Bundesarbeitsgemeinschaft (BAG) Spiel & Theater e.V. aims to develop an international glossary of key terms in the area of applied drama and theatre and has invited professionals from outside Germany to become involved in this project. Thank you for coming along to this session which is the first brainstorming session on the topic of an international glossary in the area of Performative Arts and Pedagogy. The participants in today’s group discussion are based at institutions in English speaking countries. I wish to thank especially our guests from abroad for their contributions to the Symposium: Barbara Schmenk from Canada, University of Waterloo; Katja Frimberger from Britain, Brunel University, London and Mike Fleming, University of Durham; and, of course, also a big thanks to my university colleagues Róisín O’Gorman and Bernadette Cronin, based in the Department of Drama and Theatre Studies ...

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Erne, Lukas. "Eighteenth-Century Swiss Peasant Meets Bard: Ulrich Bräker's A Few Words About William Shakespeare's Plays (1780)". Theatre Research International 25, n.º 3 (2000): 255–65. http://dx.doi.org/10.1017/s0307883300019714.

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Britain began making Shakespeare her national poet early in the eighteenth century, and Germany followed suit a few decades later, progressively turning ‘unser Shakespeare’ into one of three national poets, with Goethe and Schiller. As early as 1773, Johann Gottfried Herder included his essay on ‘Shakespear’ in a collection entitled Von Deutscher Art und Kunst. The drama of the ‘Sturm und Drang’, which Herder's collection programmatically inaugurated, appropriated what Goethe (Götz von Berlichingen), Schiller (The Robbers) and their contemporaries (mis)understood to be Shakespeare's dramatic technique. By the end of the century, the assimilation had advanced far enough for August Wilhelm von Schlegel, the famous translator of seventeen of Shakespeare's plays, to indulge in no slight national chauvinism: ‘I am eager’, he writes in a letter to his cotranslator Ludwig Tieck, ‘to have your letters on Shakespeare.… I hope you will prove, among other things, that Shakespeare wasn't English. I wonder how he came to dwell among the frosty, stupid souls on that brutal island? … The English critics understand nothing about Shakespeare.’ Even though Tieck failed to prove that Shakespeare was not of English birth, the conviction that Shakespeare was best understood by German rather than by English critics only grew in the course of the nineteenth century. Appropriately, it was in Germany that the first periodical devoted exclusively to Shakespeare, the Jahrbuch der Deutschen Shakespeare-Gesellschaft, was founded in 1865. Fifty years later, the German novelist Gerhart Hauptmann could still claim that ‘there is no people, not even the English, that has the same right to claim Shakespeare as the German. Shakespeare's characters are a part of our world, his soul has become one with ours: and though he was born and buried in England, Germany is the country where he truly lives.’

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32

Artemova, Ekaterina Z. "RECEPTION OF MAX DREYER’S DRAMA IN THE RUSSIAN CULTURE IN THE EARLY 20TH CENTURY (1900-1914)". RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, n.º 7 (2022): 123–37. http://dx.doi.org/10.28995/2686-7249-2022-7-123-137.

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The article deals with the socio-cultural peculiarities of the perception of the German writer Max Dreyer in Russia in the beginning of the 20th century. The research focuses on the theatrical discourse in the magazines and newspapers of Moscow and St. Petersburg. The study showed that the author, little known today, enjoyed wide popularity in Russia at the beginning of the 20th century. His plays were performed in many theaters, both in the capital and in regions. A quick and lively response to foreign theatrical novelties and their transfer to the Russian stage was a general cultural trend of the era. This is the era of the rise of public interest in the theater and in contemporary Russian and Western drama novelties. The vector of socio-cultural development is what predetermined the demand for the German playwright in Russia. In Germany Dreyer’s most popular play was “The Trial Candidate”, in Russia, “The Seventeen Year Olds”. One of the most important factors in its success was that Dreyer’s work fell in line with major trends and preferences in the theatrical repertoire. His interest in the question of women, the problems of contradiction between dream and reality, the theme of a pure soul suffering from lies and social conventions was common

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Mahoney, John L. y Jeffrey N. Cox. "In the Shadows of Romance: Romantic Tragic Drama in Germany, England, and France". South Central Review 5, n.º 2 (1988): 115. http://dx.doi.org/10.2307/3189587.

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Nicholis, Roger A. y Jeffrey N. Cox. "In the Shadows of Romance: Romantic Tragic Drama in Germany, England and France". Comparative Literature 42, n.º 4 (1990): 373. http://dx.doi.org/10.2307/1770715.

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DREYER, MATTHIAS. "Prospective Genealogies: Einar Schleef's Choric Theatre". Theatre Research International 34, n.º 2 (julio de 2009): 138–45. http://dx.doi.org/10.1017/s0307883309004477.

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Since the 1980s, a growing number of performances in Europe have created new forms of choric theatre in search of altered concepts of the political. In Germany, one of its pioneers was the GDR-born director Einar Schleef (1944–2001). The article explores his oeuvre, from his first choric production Mothers (1986), a classical drama project, to his last production, Betrayed People (2000), which focused on the problem of revolution in Germany. Schleef's genealogical project reintroduced the chorus as a repressed figure that develops a spectral potentiality. Through a detailed analysis of Schleef's approach to performing history, the article examines how choric theatre initiates theatrical processes of cultural remembrance and creates a relation to the past that becomes generative of the future.

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Malura, Jan. "Central European Cultural Transfers in the Humanism and Baroque Periods: Three Examples from Literary History". Porównania 31, n.º 1 (30 de septiembre de 2022): 407–34. http://dx.doi.org/10.14746/por.2022.1.22.

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This study investigates cultural transfer in Central Europe in the sixteenth and seventeenth centuries. It focuses on three different fields ( parody Protestant religious song, Christmas drama ) and explores the directions and mechanisms of cultural exchange and the role of mediators in the dissemination of selected literary phenomena. The observation of cultural transfers confirms to some extent the traditional idea of the journey of cultural work from the West to the East. However, the individual transfers are significantly influenced by specific cultural contexts. The social, ethnic and religious situation strongly connected cultural life in the Czech lands with the literary models available in the north-east and southern regions of Germany, while Polish cultural traffic, with a few exceptions, is rather distant from these areas, though. The conditions in Silesia were specific, because a significant share of the population was German and a strong multi-confessional situation prevailed there.

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37

Jordan, James. "Audience Disruption in the Theatre of the Weimar Republic". New Theatre Quarterly 1, n.º 3 (agosto de 1985): 283–91. http://dx.doi.org/10.1017/s0266464x00001664.

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Disruption of plays by their audiences has not been an uncommon occurrence in theatre history, but the received wisdom has it that rioting more or less went out of fashion once the house lights could be lowered for the performance. But the combination in the theatre of the Weimar Republic of the politically radical and artistically experimental drama of inter-war Germany with the high political tensions of the times proved an explosive one. The frequent audience disturbances of the period were, however, less the spontaneous expression of genuine indignation than a carefully planned and orchestrated attempt to suppress radical art and opinion. In this article, James Jordan, a member of the Department of German at the University of Warwick, traces the course of theatrical disruption as a tactic of emergent Nazism – and the reactions to it of the theatres, the playwrights, and a too-often-myopic judiciary.

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Habel, Sabrina. "Selbst-Bildungen. The Tradition of Comedy and the Emancipation of German Jews in Carl Sternheim’s The Snob". Naharaim 15, n.º 2 (24 de noviembre de 2021): 179–200. http://dx.doi.org/10.1515/naha-2021-0016.

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Abstract The article explores the connection between enlightenment and comedy, as well as its importance for German Jewry. Following Hegel, whose thoughts on ancient drama as well as modern society have shaped the German discourse on comedy until today, this article demonstrates that questions of self-formation, emancipation, and historical self-location are central to comedy. In Carl Sternheim’s comedy The Snob, the idea of self-formation resonates with the historic concept of “civic improvement” through “Bildung”: Jewish emancipation in Germany stood at the end of an educational project that outlasted Jews’ achieving legal equality. The Snob is a comedy about Jewish acculturation and bourgeoisification and embodies Marx’s understanding of comedy as ambivalent: on the one hand, comedy helps people to part cheerfully from their past that was characterized by inequality, but, on the other, it indicates that a world-historic fact like Jewish emancipation may be prone to repeat itself as a farce. Sternheim’s comedy develops a poetic that embraces ambivalence, but also opens the genre of comedy to the question of therapy and healing. It depicts the struggle between autonomy and social formation – the dialectics of German “Bildung.”

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Sribnyak, Ihor, Milana Sribniak y Viktor Schneider. "Ukrainian amateur theatre in Ukrainian POWs camp Wetzlar, Germany (Autumn 1915 – Winter 1917)". European Historical Studies, n.º 17 (2020): 108–54. http://dx.doi.org/10.17721/2524-048x.2020.17.8.

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The article covers specifics of Ukrainian amateur theatre functioning in the camp Wetzlar (Germany) throughout autumn 1915 – winter 1917. Its activity became possible thanks to the creation of the Mykola Lysenko Music and Drama Society which maintained the technical side of theatre production, casted plays, appointed stage directors, and was responsible for stage property and necessary stage sets. Delegated council of the society ensured financial income of the camp theatre by accumulating earned money from each performance and allocating sums for assistance to actors and other society members. Music and Drama Society worked in close rapport with leaders of Ukrainian camp organization and members of the Educational Department of the Union for the Liberation of Ukraine (ULU) in Wetzlar camp. Their full-fledged support ensured successful development of the folk theatre to a considerable degree during the initial phase of its activity. Thanks to these aspects, it became possible to establish and develop the activity of the camp choir as well as brass and string bands, which joined the aforementioned society based on a self-regulated organization. Theatrical performances accomplished high artistic and realistic levels of depiction. Therefore, the activity of the camp theatre enabled intensification of forming Ukrainian prisoners’ of war (POWs) national identity. Each time folk music and song concerts and performances of Ukrainian playwrights’ theatrical pieces awakened bright memories about Motherland among Ukrainian POWs, as well as served as a powerful method of their patriotic upbringing that supplemented the activity of educational courses and various groups that consequently enabled to raise a considerable cohort of Ukrainian citizens devoted to the Motherland.

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Peskova, Anna Yu. "Modern Slovak drama about The Second World War". Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 63 (2022): 268–77. http://dx.doi.org/10.37816/2073-9567-2022-63-268-277.

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The paper addresses the Slovak drama of the 21st century dedicated to the Second World War, the Holocaust, and the Slovak National Uprising. After the “velvet revolution” of 1989, interest in the military and insurgent theme in Slovak art as a whole declined sharply, but as early as in the 21st century playwrights and theaters of Slovakia are increasingly beginning to return to these topics. Many of these plays created in the last twenty years were written in order to actualize public discussions about the period of the Slovak Republic (1939–1945), around the mass deportation of Jews from its territory, around the arization, etc. The main task of these plays` authors is to put serious moral questions before the viewer. For this purpose, the paper focuses on social and historical context in which National Socialism spread in Slovakia. Such are, for example, the works of R. Ballek “Tiso”, P. Rankov “It Happened on the First of September (or Some Other Time)”, A. Gruskova “The Woman Rabbi”, V. Klimachek “The Holocaust”, Y. Yuraneva “The Silent Whip”. One of the most important questions that Slovak writers and society have been asking in recent decades is the question of how and why Slovaks actually joined Nazi Germany during the Second World War, what prompted them to do this.

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Heinrich, Anselm. "Theatre in Britain during the Second World War". New Theatre Quarterly 26, n.º 1 (febrero de 2010): 61–70. http://dx.doi.org/10.1017/s0266464x10000060.

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In this article Anselm Heinrich argues for a renewed interest in and critical investigation of theatre in Britain during the Second World War, a period neglected by researchers despite the radical changes in the cultural landscape instigated during the war. Concentrating on CEMA (the Council for Encouragement of Music and the Arts) and the introduction of subsidies, the author discusses and evaluates the importance and effects of state intervention in the arts, with a particular focus on the demands put on theatre and its role in society in relation to propaganda, nation-building, and education. Anselm Heinrich is Lecturer in Theatre Studies at the University of Glasgow. He is the author of Entertainment, Education, Propaganda: Regional Theatres in Germany and Britain between 1918 and 1945 (2007), and with Kate Newey and Jeffrey Richards has co-edited a collection of essays on Ruskin, the Theatre, and Victorian Visual Culture (2009). Other research interests include émigrés from Nazi-occupied Europe, contemporary German theatre and drama, and national theatres.

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Milne, Drew. "Cheerful History: the Political Theatre of John McGrath". New Theatre Quarterly 18, n.º 4 (noviembre de 2002): 313–24. http://dx.doi.org/10.1017/s0266464x02000428.

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In this essay, Drew Milne suggests affinities between the dramatization of history in the work of John McGrath and Karl Marx. He shows how both Marx and McGrath refused to mourn the histories of Germany and Scotland as tragedies, but that differences emerge in the politics of McGrath's radical populism – differences apparent in McGrath's use of music, historical quotation, and direct address. McGrath's layered theatricality engages audience sympathies in ways that emphasize awkward parallels between modern and pre-modern Scotland, and this can lead to unreconciled tensions between nationalism and socialism which are constitutive of McGrath's plays. Drew Milne is the Judith E. Wilson Lecturer in Drama and Poetry, Faculty of English, University of Cambridge, and a Fellow of Trinity Hall. He has published various articles on drama and performance, including essays on the work of August Boal, Samuel Beckett, and Harold Pinter, and is currently completing a book entitled Performance Criticism.

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Burton, Alan y Tom May. "‘Treading on sacred turf’: History, Femininity and the Secret War in the Plays for Today Licking Hitler, The Imitation Game and Rainy Day Women". Journal of British Cinema and Television 19, n.º 3 (julio de 2022): 325–59. http://dx.doi.org/10.3366/jbctv.2022.0629.

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The article examines the three single television plays Licking Hitler, The Imitation Game and Rainy Day Women, which were broadcast in the celebrated BBC drama strand Play for Today between 1978 and 1984. Each play was set within the secret war: at a radio station broadcasting black propaganda to Germany, at Bletchley Park, and at the heart of a secret mission to investigate dark doings in remotest Fenland. Similarly, each play dealt substantially with female characters and their troubled experience of wartime Britain. The plays provided a revisionist treatment of the mythology of the Second World War, painting a less cosy picture of the ‘People’s War’, with its supposed egalitarianism, shared sacrifice and vision of the different classes all supposedly ‘pulling together’. The article investigates the changing historiography of the secret war, a process in which the authorities attempted to manage the release of wartime secrets dealing with sabotage, resistance, deception and cryptography, and shows how the three dramas came into being through, and were influenced by, the opening up of the secret archive. Detailed attention to the production of the plays and their reception considers how the three historical dramas related to the Play for Today strand, traditionally celebrated for productions dealing with contemporary social and political issues.

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Nägele, Horst. "Warum wir uns mit N.F.S Grundtvigs idealismus-kritischen Abhandlungen beschäftigen". Grundtvig-Studier 46, n.º 1 (1 de enero de 1995): 205–16. http://dx.doi.org/10.7146/grs.v46i1.16189.

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Warum wir uns mit N.F.S. Grundtvigsidealismus-kritischen Abhandlungen beschäftigenBy Horst NägeleHorst Nägele begins his article with the statement that circumstantial evidence suggests that the democratic credibility of the Federal Republic of Germany may be questioned. Nägele argues for this view by comparing social conventions in Scandinavia and Germany.He adduces historical material to support his theory of a cultural difference on this point. The criticism levelled by the poet Jens Baggesen at the High German language for its remoteness from reality, is dealt with first. Then follows a discussion of the similar criticism by Grundtvig of the idealistic German philosophy, which, according to Grundtvig, is linked up with the Imperialist inclinations of Germany. Hence Germany’s propensity to .litism which finds expression in the New High German literary language as well as in philosophy. In Grundtvig’s view, the connection between the litist, and therefore Imperialist, unitary culture of Germany and the idealistic philosophy manifests itself in the detachment from reality that is characteristic of Schelling’s philosophy. When Schelling talks about the I that embodies itself, it becomes the image of nothing perceiving itself, in contrast to an I attached to a body. Grundtvig also finds evidence of this German tendency towards a missing sense of reality in Schiller’s poetical works. On a close examination of Grundtvig’s writings, it will appear that Friedrich Schiller’s (quasi-idealistic) tragedies are as a whole seen to convey the notion of heroes being (lifeless) shadows, easily killed. For Schiller’s higher, moral human nature, determined by liberty, cannot conquer death; in Grundtvig’s view, only the spirit of history can do that. Grundtvig’s view of life contrasts, for instance, with Schiller’s drama Wallenstein, where the protagonist chooses of his own free will to submit to death and evil.After discussing Grundtvig’s interpretation of Schiller’s dramas, Nägele returns to Schelling’s philosophy as an example of a tendency in German idealism. As Grundtvig understood it, life depends on truth. Grundtvig attaches importance to immediate actuality (‘fundamental and ultimate reality’) as it is the prerequisite for the conception that the ideal is the cause of .all temporal reality.. Grundtvig’s attitude contrasts sharply with what he calls the delusive view of the German idealistic philosophers who despise the body and annihilate life in order to idolize an egocentric construct, with the disastrous consequence that life doesn’t count. Thus Schelling mixes good with evil, truth with falsehood, since the absolute ideal, reason perceiving itself, is given the highest priority, i.e. preceding reality. According to Grundtvig, what is ideal, what is possible, always depends on reality, on what is real. In Grundtvig’s view, truth can only be perceived by man in his life on earth in contradistinction to falsehood; therefore it is impossible to identify the divine perception of the eternal truth and the human recognition of truth.This is the main line of thought in Grundtvig’s criticism of Schelling’s philosophy. It is Nägele’s argument that this criticism is highly topical since it is reflected in the debate over morals today, in the endeavours to create dignified social conventions, and in the complex issue of the future character of the European community as either a union or a loose cooperative structure.

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Mikos, Lothar. "Digital Media Platforms and the Use of TV Content: Binge Watching and Video-on-Demand in Germany". Media and Communication 4, n.º 3 (14 de julio de 2016): 154–61. http://dx.doi.org/10.17645/mac.v4i3.542.

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The advancing digitalization and media convergence demands TV broadcasting companies to adjust their content to various platforms and distribution channels. The internet, as convergent carrier medium, is increasingly taking on a central role for additional media. Classical linear TV is still important, but for some audiences it has been developing from a primary medium to a secondary medium. Owing to the growing melding of classical-linear TV contents with online offerings (e.g. video-on-demand platforms or Web–TV), a great dynamic can be seen which has triggered numerous discussions about the future of TV for some time now. This article will summarize the results of two different audience studies. Film and television shows are meanwhile distributed online via Video-on-Demand platforms such as Netflix or Amazon Prime Video. The first audience study has dealt with the use of VoD-platforms in Germany investigating user rituals, user motivation to watch films and TV shows on these platforms, and the meaning of VoD in everyday life. Most of the participants in this study reported that they mainly watch TV drama series at Netflix or Amazon Prime. Therefore, the second audience study focused the online use of television drama series of individuals and couples elaborating the phenomenon of binge watching. In relating the audience practice to the new structures of the television market the article will shed light on the future of television.

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Grange, William. "Shakespeare in the Weimar Republic". Theatre Survey 28, n.º 2 (noviembre de 1987): 89–100. http://dx.doi.org/10.1017/s004055740000051x.

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The Weimar Republic occupies a period in German history that has long fascinated students of theatre and drama. It was a period of profound change in German social, political, and cultural experience, and rarely has the confluence of those experiences figured so influentially upon the performance of William Shakespeare's plays. In decades previous to Weimar, German Shakespeare productions manifested the awed reverence in which the playwright was held, since most German actors, directors, and designers regarded Shakespeare in the same light as they did Goethe and Schiller. In 1864, for example, Germany celebrated the three-hundredth anniversary of the playwright's birth with the founding of the Deutsche Shakespeare Gesellschaft and the proclamation that Shakespeare was not “a foreign poet, but one which England must share with us, due to his inborn Germanic nature.” In the Weimar Republic, however, the view of Shakespeare as playwright changed; it did so perhaps because everything else was changing in that volatile period, and also because Weimar culture encouraged innovation and experimentation. The republic itself, after all, was an experiment. If in retrospect the Weimar Republic's experimentation with democracy seems a failure, its success and achievement in painting, architecture, music, literature, and theatre cannot be denied. One overlooked area of particular achievement is the work of Weimar theatre artists who succeeded in their attempts to dismantle Shakespeare's status as a cultural icon.

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Earnest, Steve. "Heiner Muller: Contexts and History: A Collection of Essays from the Sydney German Studies Symposium 1994, and: Drama Contemporary : Germany (review)". Theatre Journal 50, n.º 1 (1998): 132–34. http://dx.doi.org/10.1353/tj.1998.0008.

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Morton, Tom. "Contesting Coal, Contesting Climate: Materializing the Social Drama of Climate Change in Australia and Germany". Environmental Communication 15, n.º 4 (24 de enero de 2021): 465–81. http://dx.doi.org/10.1080/17524032.2020.1865428.

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Shebelbain, Yana Olegovna. "PLAY ON TEENAGERS IN SHORT LISTS OF DRAMA FESTIVALS OF RUSSIA AND GERMANY (2001-2019)". Ural Philological Herald. Series Draft: Young Science, n.º 5 (2019): 42–52. http://dx.doi.org/10.26170/ufv19-04-04.

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Adam, Eugenia A. "From the history of the translator transformations of A.P. Chekhov's drama "Three sisters" in Germany". Sibirskiy filologicheskiy zhurnal, n.º 3 (1 de septiembre de 2009): 37–41. http://dx.doi.org/10.17223/18137083/28/5.

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