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1
Kennedy, Shane Michael. "Expressionist Art and Drama Before, During, and After the Weimar Republic". PDXScholar, 2015. https://pdxscholar.library.pdx.edu/open_access_etds/2508.
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Expressionism was the major literary and art form in Germany beginning in the early 20th century. It flourished before and during World War I and continued to be the dominant art for of the Early Weimar Republic. By 1924, Neue Sachlichkeit replaced Expressionism as the dominant art form in Germany. Many Expressionists claimed they were never truly apart of Expressionism. However, in the periodization and canonization many of these young artists are labeled as Expressionist.
This thesis examines the periodization and canonization of Expression in art, drama, and film and proves that Expressionism began much earlier than scholars believe and ended much later than 1924. This thesis examines the conflicts in Germany that led to Expressionism and which authors and artists influenced Expressionists. It will also show that after Expressionism ceased to be the dominant art form in Germany, many former Expressionists continued to use expressionistic form in their works but ceased to use expressionistic content. This thesis argues that both the periodization and canonization of Expressionism should be expanded to include all works that may be classified as having expressionistic form.
2
Findlay, H. "The representation and function of angels in medieval German Easter and passion plays". Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.381869.
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Waldmann, Elinor. "Frank Wedekinds Bismarck : deutschnationale Heldenverehrung oder Dokument subversiver Kritik /". Frankfurt am Main [u.a.] : Lang, 2005. http://www.loc.gov/catdir/toc/fy0716/2007468668.html.
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4
Muirhead, Rachael. "Johann von Rist (1607-77) and the theory and performance of drama in seventeenth century Germany". Thesis, Durham University, 2015. http://etheses.dur.ac.uk/11227/.
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Receiving Rist’s theatre – a literary-historical challenge A claim in Die AllerEdelste Belustigung Kunsst- und Tugenliebender Gemüther (1666) indicates that Rist may have composed as many as 30 dramas. There are now only five dramatic works attributed to him: Irenaromachia (1630), Perseus (1634), Das Friedewünschende Teutschland (1647), Das Friedejauchtzende Teutschland (1653), Depositio Cornuti Typographici. The best estimate claims that only a further two had been published, a Herodes and a Wallenstein. The others have since been lost, perhaps even destroyed during Rist’s lifetime as his home was sacked twice by invading troops. Of the five that remain, Irenaromachia does not bear Rist’s name, while the Depositio differs greatly in conception and execution from the others and may not have numbered among the 30 claimed theatrical compostions. Thus the surviving dramas do not constitute a more or less unified body of works challenges German literary studies to engage with these discontinuities – a task which it consistently avoids. The problematic nature of the surviving corpus is compounded by the fact that this was only a fraction of what was produced, a situation which invites an (albeit speculative) attempt to contextualise the surviving dramas in a wider sphere of literary-theatrical activity. This leads to the next difficulty, considering that the composition of dramas, even when these number 30 rather than four or five, was just one area of Rist’s prolific activity as a writer. This presents the problem of how to relate Rist’s dramas to his other writings and activities. This task is itself complicated by the tendency to focus on Rist’s verse compositions, which in the twentieth century emphasised his secular compositions. The current focus of much of Rist scholarship lies in his religious songs, from a theological, hymnological,and musicological perspective. He has also maintained a presence in the lay imagination, as several of his songs have been included in Protestant hymnbooks since the 18th century. Scholarship is now, however, turning its attention again to Rist as a dramatist and this thesis is part of this renewed attention. It is difficult to know what to do with Rist’s dramas. The problems they present are considerable, but this thesis will show that Rist’s dramas exist in the context of a concept of dramaturgy and a theory of acting that is much more sophisticated than has often been thought and that goes beyond the narrowly poetic into performance practice.
5
Schor, Ruth. "Eine alltägliche Tätigkeit : performing the everyday in the avant-garde theatre scene of late nineteenth-century Berlin". Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:f182a548-e450-4efa-a3a0-478461d44ab6.
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This dissertation situates late nineteenth-century Berlin's reception of naturalist drama in contemporary discourse about European modernism, which to date has disregarded the significant impact of this cultural environment. Examining the Berlin avant-garde's demand for "truth" and "authenticity," this study highlights its legacy of promoting more honest and dynamic forms of human interaction. Sketching the historical background, Chapter 1 demonstrates how the reception of Henrik Ibsen in Berlin fuelled creative strategies for a more honest approach to theatre. From literary matinees to more egalitarian ways of directing theatre, this moment in cultural history significantly shaped people's understanding of theatre as a tool for social criticism and as a means of creating a sense of intimacy. Two important figures are highlighted here: literary critic and theatre director Otto Brahm, central to the promotion of naturalism, and his more prominent protégé Max Reinhardt, who developed Brahm's legacy. Situating these developments in a theoretical framework, Chapter 2 draws on the concept of "the everyday" as set out by Toril Moi, Stanley Cavell, and Ludwig Wittgenstein to link the role of the ordinary on stage to the avant-garde's search for authenticity and truthfulness. Through this framework, Ibsen's social dramas from A Doll's House to Hedda Gabler (Chapter 3) can be seen perfectly to exemplify this shift in perspective from the 1880s through the 1890s, revealing the complexity of truthfulness in communications. Tracing these themes in other dramatic works, innovative readings of Arthur Schnitzler's Liebelei (Chapter 4) and Rainer Maria Rilke's Das tägliche Leben (Chapter 5) shed new light on these two fin-de-siècle authors. By highlighting these authors' previously unrecognised connections with Berlin's avant-garde theatre scene and their dramatic exploration of interpersonal connection, this study shows both how theatre functioned as a tool to examine human relationships and to what extent twentieth-century literature was grounded in this way of thinking.
6
Georgiou, Michalis. ""Digital Theatre" and "Cyber Theatre" in Drama Education at School : A study of 2 performance projects at a High-school in Eberswalde, Germany". Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper (KV), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-105834.
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The aim of this study is to highlight: 1. how the introduction of new technologies in Drama Education at school can renew the context in which performance projects take place and 2. how the constraints imposed by a pandemic, such as those caused by COVID-19, can be overcome through cybertheatre. The phenomenological method is used to analyze a digital and a cyberperformance project, as theatre is an event that takes place between its creators and its spectators. With the use of digital tools in school performances a new experience emerges for students and spectators, as the "living" actor is combined with "non-human" actors. Besides, the cyberperformance provides a solution to a real problem in the midst of a pandemic crisis, as the spectators participate remotely from the comfort of their own home. In terms of interactivity, by giving the spectator the opportunity to use some information or to choose the action of the play, the performances become more interesting, while theatre is being highlighted, as an event that differs from other media such as T.V. or cinema. Finally, the dialogue that can be produced in a chat-forum in cyberperformance works as a reflection to it.
7
Heuer, Imke. "'The German's tale' : German history, English drama and the politics of adaptation". Thesis, University of York, 2008. http://etheses.whiterose.ac.uk/14111/.
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This thesis investigates the adaptation history of Harriet Lee's novella 'Kruitzner, or The German's Tale' (1801). Published in The Canterbury Tales, a collection of novellas by Harriet Lee and her sister Sophia, 'Kruitzner' is now largely remembered as the source of Byron's tragedy Werner (1822) . However, in addition to Werner, the story was incarnated as a closet drama (1802) by Georgiana, Duchess of Devonshire, in collaboration with her sister Harriet, Countess of Bessbororough; a stage play by Lee herself (1825), and a stage adaptation of Werner by William Charles Macready (1830).
8
Koszta, Cindy A. "The hero in German revolutionary drama". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0016/MQ52096.pdf.
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Jefferis, Sibylle Anna Bierhals. "Ein spätmittelalterliches Katharinenspiel aus dem Cod. Ger. 4 der University of Pennsylvania Text und Studien zu seiner legendengeschichtlichen Einordnung /". Göppingen : Kümmerle, 2007. http://books.google.com/books?id=PO5lAAAAMAAJ.
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Weiss-Schletterer, Daniela. "Das Laster des Lachens ein Beitrag zur Genese der Ernsthaftigkeit im deutschen Bürgertum des 18. Jahrhunderts /". Wien : Böhlau, 2005. http://catalog.hathitrust.org/api/volumes/oclc/61488343.html.
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Boran, Erol M. "Eine Geschichte des türkisch-Deutschen Theaters und Kabaretts". Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1095620178.
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Taylor, Ulrike E. "Theorie und Praxis im dramatischen Werk Rainer Lewandowskis". Morgantown, W. Va. : [West Virginia University Libraries], 2001. http://etd.wvu.edu/templates/showETD.cfm?recnum=1880.
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Sakellari, Alexandra. "The scenic presentation of the Electra-myth in Greek, German and American drama". Thesis, University of Bristol, 1994. http://hdl.handle.net/1983/844c957b-a33e-4e4a-a6ba-a3b3bd83174d.
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O'Regan, Inge Brigitta. ""Zuwachs unsrer existenz" : the quest for Being in J.M.R. Lenz". Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/31078.
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Jakob Michael Reinhold Lenz (1751-1792), whose plays have been acclaimed as the prototype of the modern drama of Brecht and Durrenmatt, is a controversial figure who rose to prominence on the German literary scene in the early seventeen seventies.
Among Lenz's theoretical writings is the influential essay "Anmerkungen ubers Theater," in which he introduces his innovative dramatic theories and describes the independent protagonists he envisions for the German stage. In the same essay, he demands "Zuwachs unsrer Existenz" (a heightened awareness of existence) from contemporary drama.
However, in marked contrast to the "Anmerkungen," the protagonists of his two most prominent plays, Der Hofmeister (1774) and Die Soldaten (1776), are self-alienated, ontologically insecure individuals who seem victims of the socio-political realities of their times. Not surprisingly, critics are divided in their opinion as to what the contradictions in Lenz's oeuvre signify.
Lenz was a student of Immanuel Kant's between 1768 and 1770, a time when the latter was formulating ideas that would find their full expression years later in his critical philosophy. In 1770, Kant presented his inaugural address "de mundi sensibilis atque intelligibilis forma et principiis" (On the Form and Principles of the Sensible and Intelligible World) to the assembled faculty and students of KCnigsberg Academy, among them J.M.R. Lenz. It is in the inaugural dissertation that Kant introduces his thesis of the individual as an inhabitant of two "worlds," the noumenal and the phenomenal, a central concept in his first critique, Kritik der reinen Vernunft, which would be published in 1781.
This study examines Lenz's thoughts as they surface in his theoretical essays and his major plays and puts forward the thesis that it is Kant's division of the self into an intelligible and a sensible realm which prompts Lenz's call
for "Zuwachs unsrer Existenz." Lenz's quest is fuelled, furthermore, by his acute awareness of the ontological insecurity of the individual self, an awareness which seems to anticipate the thought of Kierkegaard.
The overriding purpose of this thesis is, through a reevaluation of Lenz's theoretical and dramatic works, to elucidate this eighteenth-century writer's quest for authentic being, a quest that he considered to be the individual's most urgent task.Arts, Faculty of
Central Eastern Northern European Studies, Department of
Graduate
15
Salyer, Jeffrey William. "The expressionist stage in light of Bataillian expenditure /". Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/6678.
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Krebs, Katja. "Dissemination of culture through a translational community : German drama in English translation on the London West End stage from 1900-1914". Thesis, University of Hull, 2002. http://hydra.hull.ac.uk/resources/hull:12373.
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This thesis seeks both to chart the dissemination of German drama 'on the London West End Stage between 1900 and 1914 and to provide an account of the ideological factors which inevitably underlie such a considerable programme of translational activity. In other words, the play a particular group or individuals decide to translate, the nature of the translational choices and strategies which are employed at every stage of the translation process, the particular time, place, and manner of staging, and the issues of reception are never ideologically neutral events. Translation always exists within a historical and cultural context. The main set of premises for a study of this kind - indeed, for all work which might come under the heading Descriptive Translation Studies - is the notion that all translation involves re-writing (see Lefevere 1985), that such re-writing "is never innocent" (Bassnett & Lefevere 1990:11), and that "all translation implies a degree of manipulation of the source text for a certain purpose" (Hermans 1985: 11). It should be stressed, however, that although Descriptive Translation Studies might be described as the dominant methodology within the relatively new discipline of Translation Studies this thesis represents one of the first extended attempts to apply that methodology to the English stage.
17
Beus, Yfen Tsau. "Towards a paradoxical theatre : Schlegelian irony in German and French romantic drama, 1797-1843 /". New York : Peter Lang, 2003. http://catalogue.bnf.fr/ark:/12148/cb39018321j.
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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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Peters, Jens. "Narration and dialogue in contemporary British and German-language drama (texts – Translations – mise-en-scène)". Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/14393.
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The aim of this thesis is to undertake a comparative study of contemporary British and German-language playwriting, with an eye specifically towards possible reasons and solutions for the problematic situation of German-language playtexts in Britain. I will first conduct a stylistic analysis of a selection of British and German-language playwrights, focusing on the differences in representation of interiority through dialogue and narration. I will then introduce a phenomenological lens that will expand this literary analysis by looking at specific stagings of these texts, and at the use of gestures in particular. Tracing the performative implications of dialogue and narration in their relationship with gestures, I will suggest that while dialogue mostly requires metonymical gestures, the phenomenology of narration is better served by a more metaphoric use. This is followed by a chapter on translation, which will look at the specific problems and chances posed by narration and so-called ‘postdramatic’ plays in general. After these theoretical considerations, I will scrutinise my findings in a practical environment in two major steps. The first step is a comparative rehearsal observation of one German and one British director and their work with contemporary playtexts. My main question will be in how far the tendency towards dialogue in British plays and towards narration in German-language plays is matched by corresponding trends in the directors’ formal language. Furthermore, I will contextualise the work of these two directors in the larger field of directing in their respective countries. The second and final step of my practical investigation will be an implementation and testing of the previous theses in two directing projects of my own. I will again focus on rehearsal methodologies, attempting to find out which methodologies are particularly useful for the rehearsal of narrative playtexts and thereby hoping to formulate some first ideas for the specific requirements of German-language playtexts in a British context.
20
Sowerby, Gudrun. "Das Drama der Weimarer Republik und der Aufstieg des National sozialismus : der Feind Steht Rechts". Thesis, University of Nottingham, 1988. http://eprints.nottingham.ac.uk/11521/.
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This thesis examines plays written in the period from 1923 to 1933, whose subject matter is the rise of right wing radical forces and ultimately the rise of Hitler. Twelve plays, including those of well known authors such as Ernst Toller, Georg Kaiser, and Oedön von Horväth, as well as plays of minor authors, were chosen solely on the grounds of their antifascist stance. An attempt was made to interpret and analyse their contribution to the theory of fascism. The economic, socio-political and psychological issues raised in each individual play are examined in close reference to the historical events of the Weimar Republic and related to current thoughts on fascism. Although individual plays attack different outward signs of a rising tide of right wing radicalism and judge from different political view points, some common factors could be established. The rise of Hitler is largely seen as the culmination of an active counter-revolutionary movement starting the day the Republic was created. The driving force behind counter-revolution and National Socialism is seen as the economic interests specifically of the former privileged social groups and industry. Those plays which acknowledge a mass following of National Socialism see it again as motivated by economic considerations. On the whole both Hitler as Führer and National Socialism as a mass movement were underestimated. The inability of the Weimar Republic to create a just economic climate and democratically orientated institutions, specifically in the judiciary and the army, are seen as factors contributing to the rise of Hitler.
21
Loehrmann, Jared. "Die Moderne Frau und ihr Drama: Marie Eugenie delle Grazies Drama Der Schatten (1901); ein Schlüsseltext zur Wiener Moderne". BYU ScholarsArchive, 2008. https://scholarsarchive.byu.edu/etd/1552.
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Marie Eugenie delle Grazies Drama Der Schatten wurde am 28. September 1901 im Wiener Hofburgtheater, einer der bedeutendsten Bühnen Europas, uraufgeführt, jedoch nach nur vier Vorstellungen abgesetzt. Das mit dem Bauernfeld-Preis ausgezeichnete Stück bildet den Zenit von delle Grazies literarischem Schaffen und beinhaltet Diskurse von hohem damaligem Stellenwert, die uns einen tieferen Einblick, vom Standpunkt der modernen Frau, ins Fin-de-Siècle Wien geben können. Das Drama und seine Dichterin wurden im Wien der Jahrhundertwende sowohl gefeiert als auch gerügt. Delle Grazie hatte mit Vorurteilen gegen sie als Frau und Dichterin, sowie mit der Kritik an ihrer unkonventionellen Dramaturgie zu kämpfen. Betrachtet man Der Schatten jedoch im Kontext der Zeit, wird schnell erkennbar, dass die Wiener Dichterin sich vorzüglich darauf verstand die Diskurse ihrer Zeit aufzugreifen und künstlerisch und unikal zu verarbeiten. Inhaltlich ist ihr Protagonist, der Dichter Ernst Werner, die moderne Antwort auf Goethes Faust. Werner ist der faustische Künstler, der sich in freudscher Fasson mit seiner dunklen Seite, seinem Schatten, auseinandersetzt. Dabei werden immer wieder Nietzsches philosophische Ideen thematisiert, insbesondere die des Übermenschen, der sich seine Welt neu erschafft. Darüberhinaus weist das Drama in seiner Darstellung ritualistische Charakteristen auf und erschöpft in seiner Thematik postmodernes Gedankengut, wie es im Film der Jahrtausendwende problematisiert wird.
22
Mastag, Horst Dieter. "The transformations of Job in modern German literature". Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/30647.
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In modern times German authors have made ample use of the Job-theme. The study examines the transformations that the story of Job has undergone in German narrative and dramatic works from Leopold von Sacher-Masoch's Der neue Hiob (1878) to Fritz Zorn's Mars (1977).
The most striking feature of these works lies in their diverse characterization of the Job-figure. As a mythical figure he remains synonymous with the sufferer, but he may be characterized as patient or impatient, humble or arrogant, innocent or guilty, rich or poor, courageous or cowardly; he may be a Jew or a Christian, a Nazi or an anti-Nazi, a believer or an agnostic.
The authors have retained most of the characters included in the Old Testament story. The Job-figure usually has a wife (who doubts and despises God), a number of children (who die in an impending disaster), and several friends (who accuse him of wrong-doing). Concerning the plot, most writers have excluded any prologue in heaven. The suffering of the Job-figure (usually brought on by the loss of loved ones, by physical pain and by mental agony) is always central to the story. More often than not, however, the modern Job-figure exhibits a form of impatience and impiety once misfortune has struck. A theophany (literal confrontation with God) does not occur, but a divine agent may be provided in the form of a dream or a vision, or indirectly by nature. An epilogue (the restoration of Job's health, possessions and children) is usually omitted, but some authors imply a renewal of Job, so as to suggest a purpose for and a hope after his arduous trials.Arts, Faculty of
Central Eastern Northern European Studies, Department of
Graduate
23
Bahn, Michael. ""Geschehen" : Untersuchungen zur Buchform des Dramas". Master's thesis, Universität Potsdam, 2009. http://opus.kobv.de/ubp/volltexte/2013/6536/.
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Die Arbeit befasst sich auf der Ebene des Textes mit der Frage nach dem Textproduzenten der Buchform des Dramas. Gibt es im Drama ähnlich wie in der Epik oder Lyrik eine vermittelnde Instanz? Und sind die Nebentexte tatsächlich als Anweisungen oder nicht doch eher als Hinweise zu verstehen? Am Beispiel des expressionistischen Dramas "Geschehen" von August Stramm werden die vorherigen Überlegungen überprüft und für eine Textanalyse fruchtbar gemacht.
24
Hillenbrand, Sarah. "Before Bergson and beyond : canonical German Lustspiele in light of his theories and techniques of the comic /". abstract and full text PDF (UNR users only), 2008. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1455663.
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Thesis (M.A.)--University of Nevada, Reno, 2008."May, 2008." Includes bibliographical references (leaves 77-78). Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2009]. 1 microfilm reel ; 35 mm. Online version available on the World Wide Web.
25
Harries, Rebecca Virginia. "The monstrous world and its shadow, the grotesque aesthetic and the apocalyptic in German Expressionist drama and film". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ49873.pdf.
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Oswald, Franz. "A comparative study of the reception of Martin Walser's novels and dramas in the Federal Republic of Germany, the German Democratic Republic, The United Kingdom, and the United States of America between 1957 and 1980". Thesis, Oswald, Franz (1985) A comparative study of the reception of Martin Walser's novels and dramas in the Federal Republic of Germany, the German Democratic Republic, The United Kingdom, and the United States of America between 1957 and 1980. PhD thesis, Murdoch University, 1985. https://researchrepository.murdoch.edu.au/id/eprint/52970/.
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This thesis analyses the synchronic variety of the responses to Martin Walser's novels and plays by academic and journalistic critics between 1957 and 1980 in the Federal Republic of Germany, the German Democratic Republic, the United Kingdom, and the USA. The coexistence of several conflicting horizons of expectations is shown thus criticising the earliest reception aesthetics of Hans Robert Jauss which assumed a single horizon of expectations. The variety of responses is related to differences between academic and journalistic critics, between national cultures, and between the politicalphilosophical positions of newspapers, journals, and individual critics. Thus literary reception is placed in a historical and social framework absent in Jauss’s earliest reception aesthetics. Following suggestions by the Prague structuralist Felix Vodicka the written responses by professional critics are taken as the accessible and formulated expressions of influential or dominant aesthetic norms.
This analysis of the reception of Walser’s works also describes to some extent the general conditions of the construction of meaning by the reader. At the same time it contributes to the interpretation of Walser's works by showing the possibility of different concretisations. An interpretation of the novel Jenseits der Liebe serves as an example for a response which consciously reacts to previous concretisations.
The thesis further demonstrates that critics respond to all strata of Horst Ruthrof's model of the literary work including the stratum of work ideology. However, it can be seen that the full range of the recipient's activities is insufficiently described by the reading theories implied in Janas' emphasis on "aesthetic distance" as the central norm and in Roman Ingarden's strata model which excludes work ideology.
Jacques Leenhardt's concept "concretisation legitime" is differentiated in order to distinguish several types of critics and literary norms. Five types of critics (traditionalist-realist, liberal-modernist, avantgardist - New Left, traditionalist – Marxist, and Marxist-Brechtian) are identified in the thesis and their relative strength in the media of the four compared countries is assessed.
27
Smith, Rupert James Buchanan. "The influence and effect of German expressionist drama on theatrical practice in Britain and the United States, 1910-1940". Thesis, Royal Holloway, University of London, 1987. http://repository.royalholloway.ac.uk/items/029505a4-509f-4f19-a34f-48048816d96b/1/.
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The thesis will consider the impact of German expressionist theatre in Britain and America in the period 1910 to 1940, concentrating on developments in writing, design, criticism and theatrical organisation. An introductory chapter will provide a resume of the major trends in European and American theatre in the period, leading to an examination of the detailed aspects of German Expressionism to be pursued in the following chapters. This will be followed by the two major sections of the thesis, dealing with the British and American theatrical scene respectively. The former will concentrate on the growth of the provincial theatre and its response to Expressionism, and on examples of the specialised interest in the style in some British theatres. The latter will concentrate on the genesis of the American literary theatre in groups such as the Washington Square Players, the Provincetown Players and the Theatre Guild, and will also concentrate on the extent to which an expressionist influence in stage design ran alongside the absorption of literary techniques. This will be followed by a consideration of the influence of Expressionism in the sphere of political theatre, through an examination mainly of the work of two groups, the American New Playwrights Theatre and the British Group Theatre. Generally the thesis will present an analysis of primary sources from the period, and will largely limit itself to a consideration of the effects of Expressionism within the stated countries and period, rather than extending to a consideration of developments after the Second World War or outside Britain and America.
28
Ebert, Reika D. "Vom Barbaren zum aufgeklärten Herrscher : zur Entwicklung des Türkenbildes im deutschsprachigen Drama des 17. Jahrhunderts /". Thesis, Connect to this title online; UW restricted, 2000. http://hdl.handle.net/1773/9943.
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Rissmann, Jeannette. "Dialect, drama and translation : a socio-cultural investigation into the factors influencing the choice of strategies in German-speaking Europe". Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/58093/.
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This thesis examines the translation of dialect in drama in German-speaking Europe, exploring the complex influences on the choice of strategies by practitioners. Utilising paradigms of Descriptive Translation Studies, polysystem theory and norms theory, it investigates how the target culture influences dialect translation practice. The study offers, for the first time, a systematic overview of the functions of dialect in drama, and the translation strategies available, identifying the influences on dialect translation practice in northern Germany, German-speaking Switzerland and Scotland. Based on these, three research areas are explored, focussing on northern Germany, German-speaking Switzerland and Luxembourg: - the sociolinguistic situation and the emergence of oral standard; - the use of dialect in German-language drama as a stylistic device in particular genres and, especially, for socio-political functions; - how the translation process illuminates the norms for drama and dialect translation and their connection with both sociolinguistic factors and norms of German drama production. Three case studies exemplify the findings, illustrating the complexity of targetculture- related factors that had an impact on translating three British plays into standard and into Swiss German, Low German and Luxembourgish: Stephen Greenhorn’s Passing Places, John Millington Synge’s The Playboy of the Western World and Ray Cooney’s Run for Your Wife. This study offers a unique insight into drama and dialect translation in Germanspeaking Europe. It demonstrates that the introduction of an oral standard mitigates against dialect use in German original drama and translations; that changing relationships between German-speaking countries, nationalist movements and efforts to raise the status of a dialect encourage its use in drama; and that genres like comedy, murder mystery, farce, but also Naturalist, Realist and folk plays are more likely to use, and be translated into, dialect. It suggests similar projects for other countries, and will be of relevance to theatre and translation practitioners.
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Regele, Hildegard C. "Kunstkrankheiten und Heilkünste : kathartische Dynamiken durch Samuel Hahnemanns Homöopathie und Bertolt Brechts episches Theater = [Art(ificial) illnesses and healing arts : cathartic dynamics through Samuel Hahnemann's homeopathy and Bertolt Brecth's epic theater] /". view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3190541.
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Thesis (Ph. D.)--University of Oregon, 2005.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 518-539). Also available for download via the World Wide Web; free to University of Oregon users.
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Gillespie, Dana M. (Dana Marie). "Leni: A Screenplay Based on the Career of Leni Riefenstahl". Thesis, North Texas State University, 1988. https://digital.library.unt.edu/ark:/67531/metadc500269/.
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This screenplay dramatizes the controversial career of German film maker Leni Riefenstahl during ten years of her association with the Nazi Party. Beginning with the premiere of her first film in 1932, this account chronicles her rise as a film director of such films as Triumph of the Will and Olympia to her arrest after World War II on charges that she had been a Nazi sympathizer. Besides delineating the character and talents of Leni Riefenstahl, this screenplay addresses the difficult question of the relationship between politics and art.
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Bouhouch, Souad. "L'esthétique du tragique chez Madame de Staël". Thesis, Université de Lorraine, 2016. http://www.theses.fr/2016LORR0155.
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Cette étude est consacrée au tragique dans les fictions d’amour staëliennes. Les héros nobles sont livrés à une lutte vaine contre le destin, en sachant qu’ils vont mourir. Leur ambivalence les empêche de vivre tout épanouissement individuel, dans une société qui vit un immense échec social, moral et politique. Le bonheur précaire vécu est suivi du silence, de l’absence et du sentiment d’une culpabilité mortelle dans un espace et un temps initialement tragiques. Le sujet tragique remet en cause ses qualités morales et intellectuelles. Lucide, démuni devant le savoir tragique, désillusionné sur l’amour et sur la vie, cet être accomplit son rôle tragique : se sacrifier et disparaître. Son renoncement donne un effet émouvant et sublime. Staël dénonce à travers le tragique les crimes de la Révolution, la tyrannie de napoléon. La souffrance humaine peut être perfectible. Le tragique staëlien donne une leçon esthétique : la vérité est dans la liberté morale et la beauté de l’âmeThis study is devoted to the tragic in love staëliennes fictions. The noble heroes engaged in a futile struggle against fate, knowing they will die. Their ambivalence prevents any living individual fulfillment in a society that lives a huge social failure, moral and political. Precarious lived happiness is followed by silence, the absence and the feeling of a deadly guilt in a space and a time initially tragic. The tragic subject undermines his moral and intellectual qualities. Lucid, powerless before the tragic knowledge, disillusioned about love and life, this being accomplished his tragic role: sacrifice and disappear. His renunciation gives a moving and sublime effect. Staël denounces the tragic through the crimes of the Revolution, the tyranny of Napoleon. Human suffering can be improved. The tragic staëlien gives an aesthetic lesson: the truth is in moral freedom and beauty of the soul
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Thomsen, Frank. "Von der Taktik zur Tugend Wandlung des Ethikkonzepts in Brechts marxistischen Dramen von 1929-1945 /". Frankfurt : Lang, 2008. http://catalog.hathitrust.org/api/volumes/oclc/272561135.html.
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Firaza, Joanna. "Die Ästhetik des Dramenwerks von Rainer Werner Fassbinder : die Struktur der Doppelheit /". Frankfurt am Main [u.a.] : Lang, 2002. http://www.gbv.de/dms/bs/toc/342126318.pdf.
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vom, Schemm A. (Axel). "Dichter am Ball:untersuchungen zur Poetik des Sports am Beispiel deutschsprachiger „Fußball-Literatur”". Doctoral thesis, University of Oulu, 2006. http://urn.fi/urn:isbn:9514283023.
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Abstract In view of numerous texts from completely different genres the study shows to what extent and degree of differentiation the topic soccer is covered in German-language literature and allows general conclusions on a poetics of sport. Here solely German-language literary sources are considered. The work is divided into a theoretical and a text-related part. In the former section the approaches to the topic – on one hand via German studies and on the other hand via interdisciplinary sport science – is made clear by means of basic considerations on the questions “what is literature?” and “what is sport”. In addition, a revisable basis for the subsequent studies is provided. The text-related part – in turn subdivided according to the three main genres lyric poetry, epic poetry and drama – shows how exactly soccer appears as literary subject. Formal differences induced by the form of presentation within a genre (sonnet vs. visual poetry) or across genres (detective story vs. modern drama) take effect as well as context-related variations of the subject (soccer as symbolic carrier of meaning vs. soccer as vehicle for transporting ethical values). A concluding chapter each on the realization of the sport models introduced in the theoretical part in literary practice follow the individual genre areas. The various aspects that can be attributed to a poetics of sport conclude the study in a summarizing part. Not least here the comprehensiveness of the findings can be seenAbstract Die Untersuchung zeigt mit Blick auf zahlreiche Texte ganz unterschiedlicher Gattungen, in welchem Umfang und wie differenziert das Thema Fußball in der deutschen Literatur behandelt wird und lässt damit allgemeine Rückschlüsse auf eine Poetik des Sports zu. Betrachtet werden hier ausschließlich deutschsprachige, literarische Quellen. Die Arbeit gliedert sich in einen theoretischen und einen textbezogenen Teil. Im erstgenannten Abschnitt wird durch grundsätzliche Überlegungen zu den Fragen „Was ist Literatur? ” und „Was ist Sport? ” der einerseits germanistische, andererseits interdisziplinäre sportwissenschaftliche Zugang zum Thema verdeutlicht. Zudem ist hier eine überprüfbare Basis für die anschließenden Untersuchungen geschaffen. Der textbezogene Teil – wiederum untergliedert nach den drei Hauptgattungen Lyrik, Epik und Drama – zeigt, wie Fußball genau als literarisches Motiv erscheint. Formale Unterschiede bedingt durch die Darstellungsform innerhalb einer Gattung (Sonett vs. Visuelle Poesie) oder grenzüberschreitend (Kriminalroman vs. Modernes Drama) kommenden dabei ebenso zum Tragen wie inhaltliche Variationen des Motivs (Fußball als symbolischer Bedeutungsträger vs. Fußball als Vehikel zur Vermittlung ethischer Werte). Je ein resümierendes Kapitel über die Umsetzung der im theoretischen Teil eingeführten Sportmodelle in der literarischen Praxis schließt sich an die einzelnen Gattungsbereiche an. Die verschiedenen Aspekte, die sich einer Poetik des Sports zuschreiben lassen, schließen die Studie in einem zusammenfassenden Teil ab. Nicht zuletzt hier zeigt sich die Reichhaltigkeit der Untersuchungsergebnisse
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Csehi, Jason. "When Two Worlds Collide: The Allied Downgrading Of General Dragoljub “Draža” Mihailović and Their Subsequent Full Support for Josip Broz “Tito”". Kent State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=kent1258151570.
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Auseller, Jordi. "Das Märchenstück im zeitgenössischen Kindertheater. Die Adaption von Grimms Märchen für die Bühne". Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/392678.
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Die vorliegende Arbeit befasst sich mit dem Kinder- und Jugendtheater im
deutschsprachigen Raum, genauer mit dem Theater für Kinder und Jugendliche, um einer
Verwechslung des Theaters mit Kindern und Jugendlichen vorzubeugen. Behandelt wird
vorwiegend das professionelle Theater für junge Zuschauer mit ausgebildeten Schauspielern als
Phänomen des 20. Jahrhunderts unter Ausklammerung anderer weitverbreiteter Formen des
Theaters für Kinder, wie das Puppen-, Figuren-, Musik- und Tanztheater.
Die Arbeit beschränkt sich auf die Untersuchung des Märchentheaters. An allen Bühnen für
Kinder- und Jugendtheater in Deutschland können Märchenspiele auf den Spielplänen
festgestellt werden, die bekannte Märchen zur Vorlage haben. Dabei handelt es sich meistens
um Dramatisierungen von klassischen Märchen der Brüder Grimm (Aschenputtel, Dornröschen,
Rumpelstilzchen, König Drosselbart usw.), zum Teil sind es aber auch Bearbeitungen von
Andersens oder Perraults Märchen für die Bühne. Märchen werden als „Klassiker“ des
deutschen Kindertheaters bezeichnet. Deshalb sollen sie hier ausführlich besprochen werden,
denn es sind immer wieder Märchenaufführungen, die heftige Diskussionen ausgelöst haben
und noch immer auslösen.
Bei den Dramatisierungen und Bearbeitungen der verschiedenen epischen Vorlagen
verfahren die Autoren individuell verschieden. Während sich einige streng an den
Handlungsablauf der Vorlage halten, greifen andere einzelne Motive heraus und gestalten damit
ihr eigenes Märchenspiel. Es liegen aber auch Märchenspiele vor, in denen Motive aus
verschiedenen Vorlagen zusammengesetzt und verquickt sind. Weitere Märchenspiele
wiederum weisen in der Handlung nur noch eine ganz schwache Verwandschaft mit der
epischen Vorlage auf.
Doch über solche äußerlichen Unterschiede hinaus ist infolge der Märchendramatisierung
der resultierende Text, d.h. das Märchenstück, nach Form und Inhalt kein dramatischer Text
mehr, sondern ein „Zwitterprodukt“, das zwischen Erzählung und Drama angesiedelt und daher
auch nicht mehr der gattungshistorischen Trias von Lyrik, Epik und Dramatik zuzuordnen ist.
Insofern verlangt es nach einem neuen Verständnis auf Gattungs- und Bedeutungsebene.
Für eine Untersuchung der Übertragungsmomente durch den Gattungswechsel ist eine
Definition des Begriffs des Dramas erforderlich, sowie seine Abgrenzung und Unterscheidung
von demjenigen des zur Dramatisierung ausgewählten Grundlagentextes, des Märchens also.
Die Erhebung von Merkmalen im Sinne einer Herausarbeitung gattungsspezifischer
Unterschiede zwischen epischem und Bühnentext verdeutlicht die Herausforderungen, denen
2
sich Bühnenbearbeiter stellen müssen. Über die individuell schöpferische Leistung hinaus geht
mit einer jeden Bearbeitung von Märchen für die Bühne ein vielfältiges Umschalten formeller
Konventionen aus entgegengesetzten Gattungssystemen einher, die im Laufe der Jahrhunderte
ausgeformt worden sind. Auf der Bühne trifft das Bemühen von Märchenbearbeitern insofern
nicht nur auf neue bühnengerechte Darbietungsverfahren, sondern auch auf beträchtliche
gattungsbezogene Maßnahmen.
Eine weitere Komponente in der Untersuchung bildet die konkrete Textanalyse zur
Verdeutlichung der Prozesse durch die Gattungsübertragung. Dies erfolgt bei uns grundsätzlich
durch die Besprechung von konkreten Beispielen aus einem repräsentativen historischen Korpus
von 15 Autoren bzw. Autorenteams: 14 aus dem traditionellen Märchenstück und einer aus der
modernen Variante. Unsere Aufmerksamkeit gilt dabei insbesondere der Auseinandersetzung
mit Letzterem, Friedrich Karl Waechter (1937-2005), einem der erfolgreichsten Stückeschreiber
seiner Zeit im Kontext der Dramatisierung von Märchen. Es ist zu betonen, dass die hier
analysierten Stücke auf Märchen der Brüder Grimm basieren.
In der Analyse werden die Kategorien Handlung, Figur, Raum und Zeit untersucht. Ziel ist
es, einerseits zu klären, welche gattungsspezifischen Merkmale Märchenstücke aufweisen, und
andererseits die Veränderungen aufzuzeigen, die Bühnenbearbeiter am Grundlagentext
vornehmen und welche Formen dieser annimmt, wenn sie Erzmuster der epischen Kunst, so wie
Märchen es sind, für die Bühne adaptieren. Zwar belegt die Analyse unterschiedliche
Herangehensweisen bei der Dramatisierung und Bearbeitung von Märchen. Doch über die
Unterschiede hinaus werden viele Parallelen in der Gestaltung und Ästhetik der vorliegenden
Märchenstücke ersichtlich, die uns an allgemein übliche Bearbeitungskriterien denken lassen.
Alle Märchenstücke zeugen von einer an das Originalmärchen angelehnten Struktur. Außerdem
weisen sie in der Handlung eine starke Verwandschaft mit der Vorlage sowie eine stärkere
Typisierung der Figuren auf.
Die Arbeit möchte also nicht nur einen Beitrag zur Analyse von Märchenstücken leisten,
sondern stellt auch den Versuch dar, verschiedene Formen der Märchendramatik im Bereich des
Kinder- und Jugendtheaters in Deutschland zu erklären. Es wird allerdings nicht darauf
abgezielt, die Diagnose einer bestimmten Zeit zu erstellen. Vielmehr geht es hier um eine
gattungspoetische Auseinandersetzung.This dissertation deals with the children’s and youth theatre in the German-speaking field,or more accurately, with the theatre for children and adolescents; basically devoting itself to the investigation of fairy-tale theatre. Folk and fairy tale adaptations as a theatrical genre along with their aesthetic have dominated the repertory of German children’s theatre for a long time (see chapter 1) and here, therefore, they are to be discussed in detail. Authors proceed in different ways when they adapt tales into plays. While some keep strictly to the sequence of events of the original tale, others pick out single motives in order to retell the story on stage. There are also many adaptations that use motives from different stories and combine them into crossovers, and many others that show within the performance only quite a weak affinity with the original tale. Beyond that, as a result of the fairy-tale dramatization the resultant text is not a dramatic text any more, but a “hybrid” product between narrative and drama. In this regard, it doesn’t fit into the tripartite system of genres (narrative, drama, poetry) any more. To be able to understand transference moments between genres, a definition of the concepts is required. Therefore, as a preliminary framework, chapter 2 provides a definition of the concept of “drama”, as well as its differentiation to that of the basic text chosen for the adaptation: the fairy tale. It is only by gathering the formal features of genre and recognizing the essential differences between an “original” text and a scripted play that one becomes aware of the challenges adapters are confronted with while adapting the narrative text for the stage. Beyond individual creative achievements, every fairy tale stage adaptation is accompanied by a varied switching of formal conventions from opposing systems of genre which have been formed over many centuries. We clarify the key concepts of this approach through a close reading of selected texts and a discussion of specific examples. The analysis presented in chapter 3 is based on a representative historical corpus of 15 authors or author’s teams: 14 from the traditional fairy-tale model, that is, in the tradition of the 19th century children’s comedy, and one from the modern fairy tale variant. Here we focus on Friedrich Karl Waechter (1937-2005), whose modern adaptions of Grimms’ tales became influential for repertories. Our aim is to uncover what features characterize the genre of the fairy-tale play.
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Kuhn, T. "Literary form and politics in German exile drama 1933 to 1939 : A study of Ferdinand Bruckner's 'Die Rassen', Theodor Fanta's 'Die Kinder des unbekannten Soldaten', and Bertolt Brecht's 'Furcht und Elend des Dritten Reiches'". Thesis, University of Oxford, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.371683.
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Wedel, Heike. "Darstellendes Spiel auf Englisch als Perspektive für den bilingualen Sachfachunterricht". Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2010. http://dx.doi.org/10.18452/16204.
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Deutschlandweit nehmen die Schulen zahlenmäßig von Jahr zu Jahr zu, die ein bilinguales Angebot z.B. als Zweig oder als Modul in ihr Unterrichtsprogramm aufnehmen. Die meisten Angebote sind in englischer Sprache, aber auch andere – vor allem europäische Sprachen – spielen eine Rolle. Mittlerweile gibt es bilinguale Angebote in fast allen Fächern, wobei die gesellschaftswissenschaftlichen Fächer wie z.B. Geschichte und Geographie nach wie vor dominieren. Überraschenderweise spielt das Fach Darstellendes Spiel in der Diskussion um potenziell geeignete bilinguale Fächer weder in der Theorie noch in der Praxis eine nennenswerte Rolle. Mit der Wahl dieses Themas für die vorliegende Dissertationsschrift wird der bilinguale Sachfachunterricht Darstellendes Spiel erstmals in das Blickfeld der Forschung gerückt. Damit werden sowohl dem Sachfach als auch dem bilingualen Unterricht neue Perspektiven eröffnet. In der vorliegenden Dissertation wird folgenden übergeordneten Fragestellungen nachgegangen: Wie kann das bilinguale Sachfach Darstellendes Spiel für die Sekundarstufen I und II der allgemeinbildenden Schulen konzipiert werden? Worin liegt das besondere Potenzial des bilingualen Sachfachunterrichts Darstellendes Spiel? Welches sind seine spezifischen Merkmale? Dabei soll aufgezeigt werden, wo und in welchem Maße der Einsatz der Fremdsprache die sachfachliche Arbeit positiv oder negativ beeinflusst bzw. welche Auswirkungen der Unterricht im Sachfach auf den Fremdsprachenerwerb hat. Zur Beantwortung dieser Fragen wurde eine Auswahl existierender Ansätze zum szenischen Spiel im Fremdsprachunterricht unter Einbeziehung allgemeiner Überlegungen zur Funktion von Theaterspiel analysiert und zu den Besonderheiten des bilingualen Sachfachunterrichts in Beziehung gesetzt. Das auf dieser Basis erstellte Konzept wird in seinen vielfältigen Potenzialen analysiert und ausgelotet und mit Hilfe eines Praxisbeispiels in englischer Sprache veranschaulicht.The number of schools in Germany which offer to teach one or more subjects in a foreign language (content and language integrated learning = CLIL) is still growing. The subjects often chosen for this type of instruction are Geography and History. Other subjects are less frequently taught in a foreign language. The courses vary in length (a number of school years or only some weeks). Drama is very rarely chosen as a CLIL-subject, and there are hardly any reports of successful teaching of or scientific literature about CLIL Drama. This thesis puts CLIL Drama for the first time in the centre of scientific research, thus opening new prospects for Drama and CLIL. The main questions this thesis attempts to answer are the following: What could a concept for CLIL Drama look like for pupils at state schools aged between 13 and 18? How can the potential value added of CLIL Drama be described? What are its key features? This thesis also points to the advantages and disadvantages of CLIL Drama. In the search for an answer to the above questions the author has analysed existing approaches to teaching a foreign language (mainly English, but also German and French) with the help of drama, including the current German discussion about bilingual teaching at state schools. Furthermore, the author presents an alternative look into what theatre is about in this context. On the basis of the results of her research the author draws up a broad concept for CLIL Drama at German secondary schools. The thesis concludes with an illustration of a CLIL Drama project (in English) launched among 14-year-olds at a German gymnasium.
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Jaeger, Dagmar. "Theater im Medienzeitalter : das postdramatische Theater von Elfriede Jelinek und Heiner Müller". Bielefeld Aisthesis-Verl, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&docl̲ibrary=BVB01&docn̲umber=015646186&linen̲umber=0002&funcc̲ode=DBR̲ECORDS&servicet̲ype=MEDIA.
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Ranke, Wolfgang. "Theatermoral : moralische Argumentation und dramatische Kommunikation in der Tragödie der Aufklärung /". Würzburg : Königshausen & Neumann, 2009. http://d-nb.info/991845668/04.
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Boran, Erol M. "Eine Geschichte des türkisch-deutschen Theaters und Kabaretts". The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1095620178.
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Tsampa, Anatoli. "Wort Ton Bild Welt". Doctoral thesis, Humboldt-Universität zu Berlin, 2017. http://dx.doi.org/10.18452/18053.
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Die Dissertation untersucht die Entwicklung des Gesamtkunstwerk-Konzeptes und seine Aktualität, Möglichkeit und Notwendigkeit in Bezug auf ein modernes filmisches Gesamtkunstwerk. Ausgegangen wird von der ästhetischen Theorie und Praxis der deutschen Frühromantik, in der das Konzept wurzelt. In einer umfassenden Betrachtung und Analyse der ästhetischen und gesellschaftspolitischen Dimension des Konzeptes in den Schriften und dem Werk Richard Wagners sollen wesentliche Strukturmerkmale erkundet und soll ein Maßstab für ein ‚positives‘ zeit-genössisches Gesamtkunstwerk gebildet werden, das sich von seinem ideologischen Missbrauch befreit. Erforscht wird, inwiefern der Farb- und Tonspielfilm ein geeignetes Kunstmedium für die Anwendung des Konzeptes darstellt und wie sich die Frage seiner gesellschaftspolitischen Dimension in der globalen Epoche übersetzen lässt.The dissertation explores the evolution of the concept of the Total Work of Art (ʹGesamtkunstwerkʹ) as well as its actuality, feasibility and necessity in the form of a modern cinematic Gesamtkunstwerk. Starting point is the aesthetic theory and praxis of the Early German Romanticism, in which the concept is rooted. An extensive consideration and analysis of the concept in both its aesthetic and socio-political dimension as developed in the writings and works of Richard Wagner aims to define its essential structural features and to set the standard for a ʹpositiveʹ contemporary Gesamtkunstwerk beyond its ideological abuse. Key is the examination of how and to what extend the sound and colour feature film constitutes a legit artistic medium for the application of the concept as well as how its sociopolitical facet translates within the global era.
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"Das Zeitstück in den zwanziger Jahren". Thesis, 2009. http://hdl.handle.net/10210/1955.
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D.Litt. et Phil.During the last half of the Twenties a widespread movement developed in the theatre that concerned itself with critical social subjects and matters impacting on society. Such topical plays were not an innovation, but a recurrent phenomenon in literature. This type of literature may be traced from the “Sturm-und-Drang” plays, over the “Jungdeutschen” (Young Germans) period to Naturalism. However, seldom does it occur as concentrated as during the Weimar Republic. With far over a hundred plays, topical theatre dominated the stage during the period of the Republic. The realistic topical theatre of the Twenties arose in answer to social conditions; it is an explanatory, critical theatre. War, revolution, and inflation had caused vast social changes and defects to which literature attempted to provide an answer. In the hope of improving the existing disgraceful conditions leftist and leftist-liberals took up their pens to create awareness amongst the population. The topical theatre movement considered itself a movement for the Republic. Many authors were experts in different fields rather than artists. Their aim was not to create autonomous works of art for posterity; they wanted to correct social injustices as soon as possible. Topical plays were usually written in great haste. As soon as the matter referred to lost its public interest, production of the play ceased. The plays were distinguished by their reportage style approaching journalism. As a rule, they concluded with an appeal in the audience. Topical theatre is, in the first instance, theatre of matter or substance. Formalistically, traditional structure was maintained. The contents of the chapters of this study, therefore, are orientated to the problems governing the lives of people during this period. Once the concept and the literary-historical context of the period have been covered in chapters 1 and 2, different areas of concern are examined in the following chapters. Chapter 3 concerns itself with the lost generation of young people after the First World War, their sexual bewilderment, their schooling and educational problems. Chapter 4 explores those problems of the Republic that impacted on the every day lives of the population. Amongst these are inflation, unemployment, and lack of housing. The crisis concerning justice and the resultant loss of faith amongst the people in judgements handed down by the courts and in jurisprudence are covered in chapter 5. To this area belong an examination of individual questions of justice that concerned day-to-day life, for instance, abortion and capital punishment. The struggle for survival of the Republic is explained in chapter 6. The increasing polarization led to severe public struggles and was reflected in plays of the Republic. An increasing number of rightist topical plays with strong propagandistic characteristics appeared. Plays depicting revolution and war dominated the stage. Topical theatre ended with the seizure of power by the National Socialists in 1933. Threads indicating a relationship between the theatre of the first Republic and the theatre of the sixties in the Federal Republic by Germany may be drawn. Period criticism and documentary style connect documentary theatre and topical theatre. The dialect folk plays of Fassbinder, Kroetz, and Sperr continue the renewal of the folk play of the Twenties in which Horváth and Fleizer introduced social criticism.
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Sosulski, Michael Joseph. "Body, text, and nation : theatrical reform in eighteenth-century Germany /". 1999. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:9934123.
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Arjomand, Minou. "Theatre on Trial: Staging Postwar Justice in the United States and Germany". Thesis, 2013. https://doi.org/10.7916/D8VM4BK8.
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This dissertation studies the interchange between political theatre and postwar political trials. I argue that to an extraordinary extent, theatre history in this period is inextricable from trial history. Through close archival study of mid-century theatre productions including Bertolt Brecht's 1954 production of "The Caucasian Chalk Circle" and the fifteen simultaneous premiere productions of Peter Weiss's "The Investigation" in 1965, I show how directors and playwrights looked to legal trials in order to develop and articulate theories of epic and documentary theatre, and how this new theatre in turn sought to effect justice in ways that trials alone could not.
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Bílá, Alice. "Současná německá dramatika pro děti a mládež". Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-357821.
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(in English): This diploma thesis deals with contemporary original drama for children in Germany. It is based on texts written by German writers, which were nominated for the dramatic competition of the prestigious German theater festival in a limited period. Through this selection, they try to capture their characteristic features and tendencies that can be traced back to the text themselves. At the same time, it wants the Czech reader to approach the specifics of the environment in which these texts are created. The work itself is reflected in term of broader contexts, on the background of its historical development and also from the point of view of the structure and functioning of the German theater system and cultural policy in general.
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Oborska, Nina. "„A przedstawia X, podczas gdy S patrzy…” Dramaty niemieckojęzyczne na scenach polskich w latach 1990-2010". Doctoral thesis, 2013. https://depotuw.ceon.pl/handle/item/291.
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Przedmiotem badań dysertacji są polskie inscenizacje dramatów niemieckojęzycznych zrealizowane w latach 1990-2010. Narzędzia badawcze takie jak utworzona na pograniczu dyscyplin literaturoznawstwa, teatrologii, socjologii oraz antropologii analiza ramy inscenizacyjnej pozwalają autorce ustosunkować się do tezy, iż kryteria doboru oraz zastosowanie poszczególnych elementów ramy inscenizacyjnej mają wpływ na realizację tekstu dramatycznego w przestrzeni scenicznej. Schemat badania prowadzi od oryginalnego tekstu dramatu w języku niemieckim, przez jego tłumaczenie, scenariusz, aż do końcowego produktu procesu przetwarzania tekstu na potrzeby polskiego widza - inscenizacji. Na potrzeby swojej pracy autorka wybrała trzy teksty niemieckojęzycznych autorów pochodzących z różnych kręgów kulturowych obszaru Niemiec, Austrii oraz Szwajcarii, byli to: Dea Loher, Peter Handke oraz Werner Schwab. Aby dojść do wniosków wieńczących dysertację autorka przebadała 8 inscenizacji przygotowanych przez polskich reżyserów w całym kraju w latach 1990-2010. Główne wnioski powstałe w wyniku szczegółowych badań to stwierdzenie, iż zainteresowanie polskich twórców teatralnych skupiło się głównie wokół tekstów tematyzujących kondycję człowieka końca XX wieku, zagrożeń, jakie tworzy dla jednostki współczesny świat, a także wokół problemów współczesnych społeczeństw takich, jak brak głębokich więzi międzyludzkich, wyizolowanie ze społeczeństwa jednostek słabych, chorych lub nieprzystosowanych do życia z innymi, również wokół tekstów zwracających uwagę na powyższe postawy lub je krytykujących. Także sposób, w jaki niemieckojęzyczni autorzy poruszają wyżej wymienione problemy jest – przez wzgląd na swoją bezpośredniość oraz prowokacyjność – wyjątkowo atrakcyjny dla polskich twórców, co sprzyja wybieraniu przez nich do inscenizacji tekstów niemieckojęzycznych. Dzięki odważniejszemu niż polskie podejściu do problemów współczesnego świata, które charakteryzuje dramaty niemieckojęzyczne, polscy twórcy teatralni, jak również widzowie zmieniają swoje przyzwyczajenia recepcyjne na rzecz otwartości na nowe sposoby poruszania znanych im kwestii.The main issue of the thesis are stage productions of contemporary German-language dramas which have been played on Polish stages between 1990 and 2010. The most important method of work was analysis of the stage production frame which has been created on the mutual part of fields like literature, theater, anthropology and sociology. This method has been created to research chosen Polish stage productions and the stage production frame used by Polish directors who decided to perform German-speaking dramas on Polish stages. The pattern of research leads from the original German-speaking text, through its translation and script to the final form which is stage production performed in front of Polish audience. Dea Loher, Peter Handke and Werner Schwab were the authors whose texts have been chosen to be researched. But the main subject of the research were Polish stage productions of those. After having researched deeply into chosen stage productions the following was to state: Polish theater artists are mostly interested in texts which focus on the mental shape of a human being of the end of 20th century, dangers that are created by the contemporary world, social relations and problems connected to those, as lack of deep relations between and among people who maintain to live close to other individuals, isolation of those who are weak, ill and maladaptive and also texts which criticize those. The way in which German-speaking authors touch upon these issues is attractive to Polish artists because of its provocativity and receptiveness. The attitude of German-speaking artists to contemporary problems, which is more daring than the Polish one, helps Polish audience and Polish artists to change their habits and develop their perception of well-known problems and subjects.
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Cattell, Allison G. "Disability Drama: Semiotic Bodies and Diegetic Subjectivities in post-WWI German Expressionist Drama". Thesis, 2014. http://hdl.handle.net/10012/8417.
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In this dissertation, I examine discourses on disability and the body in three German Expressionist dramas written directly after WWI both for the discursive work they do in this context and for their relevance today: Ernst Toller’s Die Wandlung: Das Ringen eines Menschen (1918) and Der deutsche Hinkemann (1923) as well as Karl August Wittfogel’s Der Krüppel (1920). I analyze how these plays draw on ideas about disability in post-WWI Germany in the midst of a broad-ranging critique of the violence inherent in nationalistic, militaristic, economic, and rehabilitationist discourses. The analysis contributes to the current discussion on how to dismantle what are referred to in disability studies as “disabling discourses,” that is, those discourses that lend support to discrimination against bodies marked as disabled. I contend that the use of representation to subvert bodily norms and resist “the medical model of disability” did not begin only after the emergence of the disability rights movement. I demonstrate how these three Expressionist plays indeed resist disabling discourses in ways that were both feasible and intelligible in their context. I argue that not only was the discourse on disability in this time and place multiple, but also that the primary texts use of a variety of (literary) strategies to resist normative paradigms that privilege able-bodied, aesthetically-pleasing, and economically-productive bodies. The analysis shows how these representations pose a challenge the medical mode of understanding the body, critically engage the social stigma that often accompanies the presence of disability, and offer alternative ways of reading and valuing the body. I argue that literary representations of disability can serve to de-naturalize ideas about ability and other ideals of embodiment, and that even the hyperbolic bodies one encounters in these Expressionist dramas can help readers to better understand processes of disablement. This project will also demonstrate that literary representations of disability are of importance for disabled and non-disabled persons alike because they reveal and critically engage various techniques that are used to categorize and assign value to all bodies in a society in which ideals of ability, beauty, and utility are used to assess the value of life.
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Glendinning, Lesley Kristin. "Mennonites at play : postmodern aspects of Low German drama". 2006. http://hdl.handle.net/1993/7947.
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For those approaching Mennonite culture with little or no previous knowledge, the official definition involves accounts of the martyrdom of early Anabaptists (the Mennonites' forerunners), a history of presecution, and a rigid biblical doctrine that persevered into the twentieth century. However, these aspects are matched, and countered, by a tradition of humour that existed alongside the more serious nature of Mennonitism. My thesis explores one expression of this humourous side of the culture in the Low German Drama created by Mennonites in Manitoba. My study explores the characterisitcs of Low German drama in order to determine both how it functions within the Mennonite community, and its position in relation to English-speaking, mainstream culture. A number of theories aid in my examination of these comic plays, and these can be categorized under the broad term "postmodernism". My discussion investigates Low German drama's subversive qualities, as well as how it probes questions of identity, ethnicity, and the status of women in Mennonite society. Located at the margins of both Mennonite and English-speaking, secular culture in Canada, the Low German comedy in my study holds many important social and theoretical implications with regard to these larger, surrrounding entities.