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Artigos de revistas sobre o tema "Volksbühne"

Autor: Grafiati

Publicado: 29 de março de 2025

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1

Otterstrøm, Sara. "Den hierarkiske anarkisme". Peripeti 6, n.º 12 (26 de agosto de 2018): 91–101. http://dx.doi.org/10.7146/peri.v6i12.107708.

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How did the Volksbühne Theatre arise and which values does it embrace? To which degree has the artistic content and the organisational structure been influenced by politics? By using examples and witness reports, a picture of Volksbühne’s identity in the political landscape is drawn.

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2

Woolf, Brandon. "Frank Castorf's Art of Institutional Dis/avowal : A Volksbühne Elegy". Theatre Survey 59, n.º 2 (25 de abril de 2018): 249–64. http://dx.doi.org/10.1017/s004055741800008x.

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There is so much to say about the persistent critiques of and mobilizations against Chris Dercon's vision (or lack thereof) of the newly named Volksbühne Berlin. My task here, however, is a different one: to begin to understand why there has also been such persistent mobilization on behalf of the Volksbühne am Rosa-Luxemburg-Platz. In what follows, I provide some critical context for reflection upon the unique role the Volksbühne played in post-Wall Berlin. I suggest that in his twenty-five-year tenure at the Volksbühne, Frank Castorf worked to refunction the theatre apparatus itself, to transform the theatre as state institution, as interrelated set of supporting structures that extend beyond and behind the proscenium arch. Further, Castorf's work as both director and artistic director helps us to understand the complex relations between a theatre aesthetic, which exposes and critiques the structures of its (state) support, and a theatrical institution with similarly ambitious goals. As an aesthetic and as an infrastructural project, Castorf's Volksbühne enacted a new kind of public theatre in Berlin—and it is this project of institutional dis/avowal that we must remember (and dare to reenact) as so much more than reactionary or provincial nostalgia.

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3

Wesemann, Arnd. "Sie will doch nur spielen". Theater heute 64, n.º 3 (2023): 14–15. http://dx.doi.org/10.5771/0040-5507-2023-3-014.

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4

Wille, Franz, e Eva Behrendt. "Die Welt neu erfinden". Theater heute 66, n.º 3 (2025): 1. https://doi.org/10.5771/0040-5507-2025-3-001.

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5

Syme, Holger Schott. "A Theatre without Actors". Theatre Survey 59, n.º 2 (25 de abril de 2018): 265–75. http://dx.doi.org/10.1017/s0040557418000091.

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When Tim Renner, then secretary of state for cultural affairs in Berlin, announced in March 2015 that Frank Castorf's term as artistic director of the Volksbühne would end in 2017, his reasoning was clear. After twenty-five years, it was time to “develop the Volksbühne further,” to “rethink” where this storied theatre would go next. As the agent of change, Renner had identified Chris Dercon, then still director of London's Tate Modern—a highly regarded museum director with decades of experience as a curator, and none as a theatre maker.

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6

Diederichsen, Diedrich. "Alles nicht so gemeint". Theater heute 64, n.º 4 (2023): 10–11. http://dx.doi.org/10.5771/0040-5507-2023-4-010.

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7

Wesemann, Arnd. "Die Frau, die sich traut". Theater heute 63, n.º 11 (2022): 6–8. http://dx.doi.org/10.5771/0040-5507-2022-11-006.

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8

Otten, Jürgen. "Jenseits von Gut und Böse". Opernwelt 66, n.º 1 (2025): 18–19. https://doi.org/10.5771/0030-3690-2025-1-018.

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9

Behrendt, Eva. "Schnitter und Schnittchen". Theater heute 66, n.º 2 (2025): 10–12. https://doi.org/10.5771/0040-5507-2025-2-010.

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10

Rakow, Christian. "«Frei sei die Liebe! Frei sei das Leben!»". Theater heute 66, n.º 2 (2025): 16–17. https://doi.org/10.5771/0040-5507-2025-2-016.

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11

Rakow, Christian. "Im dunklen Schlund der Existenz". Theater heute 64, n.º 2 (2023): 19–21. http://dx.doi.org/10.5771/0040-5507-2023-2-019.

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Behrendt, Eva. "Rivalinnen, Komplizinnen". Theater heute 64, n.º 1 (2023): 12–14. http://dx.doi.org/10.5771/0040-5507-2023-1-012.

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13

Mirčev, Andrej. "Occupation of the Volksbühne or the missing figure of the proletariat". Maska 35, n.º 200s3 (1 de dezembro de 2020): 110–18. http://dx.doi.org/10.1386/maska_00048_1.

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Abstract When in early 2015 it was announced that long-time director of Volksbühne Frank Castorf would be succeeded by the curator and director of Tate Modern Chris Dercon, theatre circles across Germany were infuriated. The general opinion was that this decision would lead to a radical deviation from the production model and the politics of Berlin’s famous left-oriented theatre. In the autumn of 2017, after the artistic group Staub zu Glitzer squatted the building declaring a collective directorship and turning the Volksbühne into a performative-discursive stage for discussions on social inequalities and gentrification, the situation was further antagonized. However, the occupation lasted only a couple of days as the squatters were soon evicted by police. In an essay ‘Towards the liberation of theatre’ written in the early 60s, Darko Suvin derives the thesis of socialization as that which is ‘truly revolutionary’. Suvin’s intention was to formulate a production model which ‘would be socialist in its structure and tendencies’ and aligned with the ideology of self-management. Using this concept, my text aims to test its epistemic potentiality to reflect on the squatting of Volksbühne. Is it plausible to invoke socialization in an attempt to articulate a discourse critical of commodification and precarisation? Can the occupation of the building on Rosa Luxemburg Square be regarded as a contemporary example of self-management?

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14

Wille, Franz. "Unter Illusionsverdacht". Theater heute 63, n.º 4 (2022): 22–25. http://dx.doi.org/10.5771/0040-5507-2022-4-022.

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15

Woolf, Brandon. "(Gob Squad's) Revolution Now! Or Never?" TDR/The Drama Review 55, n.º 4 (dezembro de 2011): 144–51. http://dx.doi.org/10.1162/dram_a_00128.

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Gob Squad—love children of the contemporary European performance scene—have “occupied” the Berlin Volksbühne for their newest action: Revolution Now! So let the Molotov cocktails fly: “this revolution will be broadcast live!”

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16

Behrendt, Eva. "Dates mit dem Gestern". Theater heute 63, n.º 7 (2022): 22–25. http://dx.doi.org/10.5771/0040-5507-2022-7-022.

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In Hannover inszeniert Ronny Jakubaschk Matthew Lopez’ Broadway-Erfolg «Das Vermächtnis», an der Berliner Volksbühne vertieft sich Julien Gosselin in eine besondere Epoche der deutschen Literaturgeschichte: «Sturm und Drang I» Von Eva Behrendt

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17

Behrendt, Eva. "Labyrinthe des Bewusstseins". Theater heute 65, n.º 7 (2024): 9–11. http://dx.doi.org/10.5771/0040-5507-2024-7-009.

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Künstlerinnendrama und -postdrama: Nuran David Calis bringt Emine Sevgi Özdamars Lebensroman «Ein von Schatten begrenzter Raum» auf die Bühne des Schauspiels Köln, Susanne Kennedy inszeniert «The Work» an der Berliner Volksbühne Von Eva Behrendt

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18

Wille, Franz. "Empfindsame Reisen". Theater heute 63, n.º 5 (2022): 10–13. http://dx.doi.org/10.5771/0040-5507-2022-5-010.

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Ewelina Marciniak demontiert Goethes «Werther» im Deutschen Theater, Fabian Hinrichs und René Pollesch zelebrieren Postcorona-Sensibilität in der Volksbühne, und im Berliner Ensemble wird Wolfgang Borcherts Heimkehrer-Drama «Draußen vor der Tür» sprachgetrocknet Von Franz Wille

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19

Naumann, Matthias. "‚Jeg’ (det) er en anekdote". Peripeti 4, n.º 8 (8 de junho de 2021): 29–40. http://dx.doi.org/10.7146/peri.v4i8.110155.

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In his analysis of Ohad Naharins Virus (Batsheva Dance Company, 2001), Bloody Mess (Forced Entertainment, 2004), and Stadt als Beute (René Pollesch, Volksbühne im Prater, 2001), Matthias Naumann writes about the gesture of speech in contemporary theatre.

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20

Wille, Franz. "Das große Welttheater". Theater heute 64, n.º 8-9 (2023): 12–15. http://dx.doi.org/10.5771/0040-5507-2023-8-9-012.

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Warum verzweifeln, wenn man noch lachen kann? Yael Ronen und Itai Reicher üben Weltuntergang mit «Planet B» am Berliner Maxim Gorki Theater, René Pollesch wälzt an der Volksbühne theatertheologische Probleme: «Mein Gott, Herr Pfarrer!» Von Franz Wille

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21

Behrendt, Eva. "Könixin der Sprakenheit". Theater heute 63, n.º 6 (2022): 16–19. http://dx.doi.org/10.5771/0040-5507-2022-6-016.

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Pinar Karabulut und Khavn de la Cruz porträtieren Arschlochhaftigkeit: von Katja Brunner nach Shakespeare in «Richard drei» am Schauspiel Köln, und nach Alfred Jarrys «König Ubu» in «SMAK! SuperMacho AntiKristo» an der Berliner Volksbühne Von Eva Behrendt

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22

Kunst, Bojana. "The Volksbühne affair: Theatre and the cultural struggle". Maska 33, n.º 193 (1 de dezembro de 2018): 8–23. http://dx.doi.org/10.1386/maska.33.193-194.8_1.

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23

Behrendt, Eva. "Wo die Körper übernehmen". Theater heute 64, n.º 12 (2023): 12–15. http://dx.doi.org/10.5771/0040-5507-2023-12-012.

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René Pollesch feiert «Fantômas» an der Volksbühne, das Maxim Gorki Theater huldigt ukrainischen Müttern und Töchtern mit Sebastian Nüblings Inszenierung von Sasha Marianna Salzmanns «Im Menschen muss alles herrlich sein» und Marta Gornickas «Mothers – A Song for Wartime» Von Eva Behrendt

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24

Pollesch, René, e Michael Shane Boyle. "“A Total Kindergarten”: A Conversation about Chris Dercon's Volksbühne". Theatre Survey 59, n.º 2 (25 de abril de 2018): 282–85. http://dx.doi.org/10.1017/s004055741800011x.

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The decision to appoint Chris Dercon, director of the Tate Modern, as Frank Castorf's successor at the Volksbühne prompted an exodus of the theatre's core artistic ensemble. Chief among those who refused to stay on with Dercon at the helm was the prodigious writer and director René Pollesch.

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25

Röseler, Julia. "Zu Wasser, zu Land und in der Luft". Bühnentechnische Rundschau 117, n.º 1 (2023): 14–18. http://dx.doi.org/10.5771/0007-3091-2023-1-014.

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Die Vorstellungen sind nicht nur ausverkauft, das Stück wurde auch zum Theatertreffen 2023 eingeladen: „Ophelia’s Got Talent“ von Florentina Holzinger an der Volksbühne Berlin sorgt für Aufsehen. Den artistischen Einlagen und dem Einsatz der vier Elemente – vor allem Wasser – gingen eine lange Entwicklungsphase und intensive Vorbereitung voraus. von Julia Röseler

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26

Grésillon, Boris. "Clap de fin pour Frank Castorf à la Volksbühne". Allemagne d'aujourd'hui 221, n.º 3 (2017): 219. http://dx.doi.org/10.3917/all.221.0219.

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27

Thielemans, Johan. "Sartre, Joegoslavië en Castorf. Schmutizge Hände door de Volksbühne". Documenta 21, n.º 3 (20 de março de 2019): 214–22. http://dx.doi.org/10.21825/doc.v21i3.10271.

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28

Roth-Lange, Friedhelm. "International Youth Theatre Festival at Volksbühne, Rosa-Luxemburg-Platz, Berlin". Scenario: A Journal of Performative Teaching, Learning, Research VIII, n.º 1 (1 de janeiro de 2014): 73–76. http://dx.doi.org/10.33178/scenario.8.1.7.

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A dense wall of black bodies is moving across the dimly lit stage. Three faces appear and disappear between the heads and feet of the human chain. They belong to a pregnant woman, her husband and their daughter. They try to find a loophole in this chain to make the breakthrough, sometimes by strategic moves, sometimes by force. Although the intruders eventually succeed and find a provisional place to live, the battle is still on. While looking for an apartment and a job, they are confronted with ever-changing forms of discrimination and xenophobia. Impressive and space-filling images by Dolný Kubin’s Slovakian pupils depict the experience of a family emigrating to an unknown country and who, after having traversed the border, are soon faced with tricky German language barriers: a soup doesn´t “stink“, it rather “smells.“ What is special about this performance is its very strong imagery and spirited acting, strikingly stimulated by special settings. For example, a large, sliced-open box that serves as an emergency shelter for the refugees. The intuition of the actors for minimalist linguistic jokes („ein Gehweg ist kein Stehweg“1) and their courageous associative narration is also remarkable in this play. The students from Rennes are quite ...

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29

Röseler, Julia. "Die große Freiheit". Bühnentechnische Rundschau 118, n.º 3 (2024): 46–51. http://dx.doi.org/10.5771/0007-3091-2024-3-046.

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Am Mecklenburgischen Staatstheater feierte die Oper „Sancta“ Ende Mai Premiere und zog dann weiter zu den Wiener Festwochen. Im Herbst wird die umfangreiche internationale Koproduktion unter der Leitung von Regisseurin und Choreografin Florentina Holzinger dann auch an der Stuttgarter Staatsoper und der Berliner Volksbühne aufgeführt. Wie lief im Vorfeld die Zusammenarbeit zwischen den unterschiedlichen Häusern und Teams, wie war die Aufgabenteilung? Darüber sprachen wir mit Beteiligten aus Schwerin, Stuttgart und München. Von Julia Röseler

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30

Bomy, Charlotte, e Maurice Taszman. "La Volksbühne des années 1970 : une institution rebelle à Berlin-Est". Cahiers d’études germaniques 64, n.º 64 (1 de maio de 2013): 323–34. http://dx.doi.org/10.4000/ceg.9022.

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31

Albinus, Jens. "Det er en tysker eller: Alt det her med tysk teater". Peripeti 19 (11 de outubro de 2022): 68–81. http://dx.doi.org/10.7146/peri.v19isaernummer2.134025.

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It is a German – or: All this about German theatre The essay focuses on actor Jens Albinus’ relationship with German theatre from a very early age and later during his professional career in Germany working with directors such as Frank Castorf and Stefan Bachmann. The essay portrays the rise and fall of Volksbühne as an epicenter of vital European theatre in the nineties. Albinus also reflects on aspirations of a similar approach at The Royal Theatre after the Millennium and on the importance of dramaturgical knowledge and vocabulary for actors.

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32

Stebbins, Amy. "“Eine Aufgekratztheit im Theater”: Acting theAgonat the Volksbühne am Rosa-Luxemburg-Platz". Seminar: A Journal of Germanic Studies 51, n.º 4 (novembro de 2015): 378–97. http://dx.doi.org/10.3138/seminar.2015.51.4.378.

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Hylling Diers, Tanja. "Tragedier i Berlin". Peripeti 7, n.º 13 (1 de janeiro de 2010): 125–34. http://dx.doi.org/10.7146/peri.v7i13.108083.

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Tanja Diers ser nærmere på tre tragedieiscenesættelser på Volksbühne i Berlin: Prometheus af Aischylos, Medea af Seneca (efter Euripides) og Antigone/Elektra af Sofokles. Artiklen vil undersøge Agoraprojektet, mere specifikt de to tragedier iscenesat afhenholdsvis Dimiter Gotscheff og Frank Castorf. Prometheus og Medea er iscenesat eftermeget forskellige æstetiske koncepter henholdsvis med sproget som performativ kraft ogtegn- og associationsoverflod efter postdramatisk forbillede. Undersøgelsen vil fokusere påiscenesættelseskoncepterne med henblik på at diskutere projektets status som et udviklendeprojekt i forhold til bestående teaterkonventioner, kulturel forståelse af forholdet mellemden tyske kultur og den antikke græske, samt relationen til et samtidig publikum.

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34

Thielemans, Johan. "De ontmoeting van Boelgakov en Castrof: Der Meister und Margarita bij de Volksbühne". Documenta 22, n.º 2 (22 de março de 2019): 104–15. http://dx.doi.org/10.21825/doc.v22i2.10300.

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35

Korte, Christine. "Between Stalin and Coca-Cola: Postsocialist Geopolitics and Utopian Ambivalence at Castorf’s Volksbühne". Seminar 61, n.º 1 (1 de fevereiro de 2025): 1–20. https://doi.org/10.3138/seminar.61.1.1.

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This article examines Frank Castorf’s engagement with East-West geopolitics at the Volksbühne, especially in light of the subsequent Russian invasion of Ukraine. In the 1990s, Castorf’s productions focused primarily on postsocialism through an Ost-oriented lens. As NATO expanded eastward, Russia and the work of nineteenth-century novelist Fyodor Dostoevsky became a conceptual space for Castorf to explore the discontents of Western liberal democracies and to sustain a utopian ambivalence or openness. His interpretations of Dostoevsky, starting with Dämonen (1999/2000) and culminating in Die Brüder Karamasow (2015), however, reveal significant shifts in his reception of Russia. In Dämonen, Castorf projected onto Russia a combative, carnivalesque vitality that resisted the perceived consensus and conformism of Western liberal democracies. In Karamasow, the Russia that emerges is more violent, nationalistic, and authoritarian. Here, however, Castorf marks Russian Orthodoxy as the source of its otherness and hence as a terrain where existential questions of morality, politics, and religion remain open. Fully embracing these contradictions, Castorf treats contemporary Russia as a response to the postsocialist condition that takes us beyond the antipodes of Stalin and Coca-Cola.

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Waterfeld, Sarah. "B6112—Art after All: The Alleged Occupation of the Volksbühne am Rosa-Luxemburg-Platz". Theatre Survey 59, n.º 2 (25 de abril de 2018): 276–81. http://dx.doi.org/10.1017/s0040557418000108.

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B6112 is a collective anticapitalist, feminist, antiracist, and queer transmedial theatre production. Welcome to our artwork! Our theatre, our art, our poetry, and our work are weapons of struggle. Art does not take place in a political, social, or economic vacuum. Art takes place in world structured by imperialism and its slaughter, war, destruction, commerce, and slavery. Art must engage with this in both content and form. Otherwise it is obsolete. B6112 advocates a theatre that calls for revolution, reveals relationships of domination, denounces grievances, names guilty parties, presents resistance strategies, explores them, rejects them. B6112 stands for the elimination of nationalisms and gender inequality, for a global citizenship, for a world community in which all people peacefully coexist in equal living conditions. B6112 stands for self-organization and emancipation, for a hierarchy-free theatre that has a mimetic and thus exemplary effect on society. In the face of global disasters, we reject an entertainment theatre or a theatre of display that acts as an opiate in the society. Only when our goals have been achieved will we be able to renegotiate the role of the theatre for our society, redefine its content, and redefine the question of relevance.

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Speckenbach, Jan, e Thomas Irmer. "In Interview: On the Development of Video in the Theatre". New Theatre Quarterly 38, n.º 3 (19 de julho de 2022): 234–41. http://dx.doi.org/10.1017/s0266464x22000161.

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German film artist Jan Speckenbach ingeniously contributed to the development of live video on the stage, and this discussion focuses on his education, as well his as experimental collaborations with director Frank Castorf at the Volksbühne Berlin, starting in 2000. Speckenbach’s background in film and media studies facilitated his explorations of uncharted territory in the theatre, going from a set of fixed cameras on the stage to the use of a camera crew with live-editing for augmented images as part of the whole directing concept and process. His first-hand insights into how actors have interacted with this new technology and how filmmaking can be an integral part of the theatre indicate clearly that filmmaking has played an invaluable role in recent theatre history. Speckenbach here also speaks of his collaborations with other directors, notably Sebastian Hartmann and René Pollesch, and about the future perspectives of this technology, which has changed the theatre altogether.Jan Speckenbach studied art history, philosophy, and media in Karlsruhe, Munich, and Paris during the 1990s. At the beginning of the new millennium he participated in the development of video theatre with Frank Castorf and, now a successful filmmaker, he also continues to work in the theatre. His short film Gestern in Eden [Yesterday in Eden] premiered at Cannes in 2008, while the full-length feature film Die Vermissten [The Missing] was shown at the 2012 Berlinale and Freiheit [Freedom] at the 2017 film competition at Locarno. In 2020 he directed the live-stream of Der Zauberberg [The Magic Mountain, after Thomas Mann’s novel] at the Deutsches Theater in Berlin (premiered online in November 2019), which was subsequently invited to the Berlin Theatertreffen. Thomas Irmer is the editor-in-chief of the Berlin-based monthly Theater der Zeit. He has co-edited two books on the work of Frank Castorf – Zehn Jahre Volksbühne Intendanz Frank Castorf (2003) and Castorf (2016). During the last forty years he has authored, among other significant writings, numerous analytical articles and interviews on Castorf’s creative output.

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Mehring, Franz. "On Hauptmann's ‘The Weavers’ (1893)". New Theatre Quarterly 11, n.º 42 (maio de 1995): 184–89. http://dx.doi.org/10.1017/s0266464x00001202.

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Born in 1846, Franz Mehring as a young man was a follower of Ferdinand Lassalle, who in 1863 had organized Germany's first socialist party. As well as establishing a reputation as a journalist with his contributions to many liberal and democratic newspapers, Mehring was awarded his doctorate at Leipzig University in 1881 for his dissertation on the history and teachings of German social democracy. In his mid-forties he embraced Marxism and in 1891 joined the German Social Democratic Party, soon emerging as the intellectual leader of its left wing. He became editor of the Leipziger Volkszeitung and wrote prolifically for Die Neue Zeit and other radical journals on history, politics, philosophy, and literature. His book The Lessing Legend, published in 1893, is regarded as the first sustained attempt at Marxist literary criticism. His major biography of Karl Marx appeared in 1918, the year before his death. Completed in 1891, The Weavers was accepted for performance by the Deutsches Theater but was rejected by the Berlin censor as ‘a portrayal which specifically instils class hatred’. The first production of the play, discussed by Mehring below, was possible only because the Freie Bühne was a subscription society. In October 1893 a further private performance was given at the Neue Freie Volksbühne, followed by seven more in December at the Freie Volksbühne, where Franz Mehring was chairman. By now, the Prussian State censor had overruled his Berlin subordinate and The Weavers received its public premiere at the Deutsches Theater on 25 September 1894. On each occasion Hauptmann's play was greeted with great enthusiasm by the public, but found no favour with the Imperial family who indignantly cancelled their regular box at the Deutsches Theater. Subsequently The Weavers was banned from public performance in France, Austria, Italy, and Russia. Mehring's article appeared originally in Die Neue Zeit, XI, No. I (1893). Its translation in NTQ forms part of an occasional series on early Marxist dramatic criticism, which already includes Trotsky on Wedekind (NTQ28) and Lunacharsky on Ibsen (NTQ39). EDWARD BRAUN

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VAN DEN BERG, KLAUS. "Scenography and Submedial Space: Frank Castorf's Final Destination America (2000) and Forever Young (2003) at the Volksbühne Berlin". Theatre Research International 32, n.º 1 (março de 2007): 49–67. http://dx.doi.org/10.1017/s0307883306002501.

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German director Frank Castorf and his designer Bert Neumann have created a series of productions that have altered the dramaturgy of visual space. Their scenography integrates stage space with other spaces mediated by technology and interlocks taped and/or live mediated images with live performance. Castorf exposes spaces hidden from the audience's direct view to address the question of what ‘truth’ inheres in an image. The philosopher Boris Groys has called this spatial dramaturgy ‘submedial space’. I flesh out Groy's concept with reference to the writings of Walter Benjamin and analyse how Castorf and Neumann create such spaces through performance strategies that blend live and mediated elements. Using Castorf's productions of Final Destination America (2000) and Forever Young (2003) at the Volksbühne Berlin as examples, I argue that the multilayered images and complex spatial configurations thereby created effectively serve Castorf's purposes of political critique.

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40

ANNUẞ, EVELYN. "Actionism's Afterlife: Christoph Schlingensief Revisited". Theatre Research International 50, n.º 1 (março de 2025): 5–17. https://doi.org/10.1017/s0307883324000373.

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The provocative work of German artist Christoph Schlingensief may seem to be not possible today. However, it developed an afterlife of its own. Against the backdrop of current discourse shifts and political developments my article historicizes this work from the early stage productions at the Berlin Volksbühne after the fall of the Wall to taking to the streets of Vienna at the turn of the millennium, when right-wing populism entered government politics in Europe. Determining the politicality of its fabrication of public tensions, the article calls for a closer consideration of concepts of affect studies in theatre and performance analysis and confronts the memory of Schlingensief's work with a more recent production and their reception in the context of current discussions on race and gender. Turning to Claudia Bosse's IDEAL PARADISE (2016), a street procession in Vienna, it suggests to locate Schlingensief's afterlife in new performative formats re-negotiating contemporary affective politics.

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41

Kim,Hwa Im. "Die Debatte um die Erbe des Nationaltheaters in der Berliner Volksbühne in der Frühzeit der Weimarer Republik". Zeitschrift f？r Deutsche Sprache und Literatur ll, n.º 82 (dezembro de 2018): 207–25. http://dx.doi.org/10.30947/zfdsl.2018..82.207.

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42

Béhague, Emmanuel. "Théâtre et identité collective. Le travail de mémoire à la Volksbühne am Rosa-Luxemburg-Platz sous l'ère Castorf". Recherches germaniques-Hors-série 4, n.º 1 (2007): 79–94. http://dx.doi.org/10.3406/reger.2007.1336.

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43

Rost, Katharina. "Comic Sounds in Contemporary Theatre Performances: Marthaler, Pollesch, Fritsch and Gotscheff". Recherches sémiotiques 35, n.º 2-3 (31 de agosto de 2018): 163–80. http://dx.doi.org/10.7202/1051074ar.

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At the Volksbühne am Rosa-Luxemburg-Platz in central Berlin, directors René Pollesch, Christoph Marthaler, Herbert Fritsch, and Dimiter Gotscheff employ comical elements of slapstick, irony, black humour, exaggeration, bluntness, vulgarity, and absurdity. Sound often proves to be significant to the comical effect of the performances as the use of music, sound effects and a specific way of speaking are characteristic for each of their individual directing styles. Even though their styles are comparable in that they all use of a vast array of acoustic elements, they nevertheless differ greatly from each other. The aim of my article is to categorize their use of comical sounds by considering how and to what effect they are employed. The comical aspect of sounds, situations or actions is not necessarily universal or trans-historical, but rather always depends on the specific cultural and historical context that also coins the specific contemporary theatre practice. The article focusses on these connections and on the shifts of attention that are mainly caused by the comical effects of sound and can cause further comical effects.

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44

Völker, Klaus. "Schnittpunkte von Raum und Zeit". Theater heute 64, n.º 10 (2023): 69. http://dx.doi.org/10.5771/0040-5507-2023-10-069.

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Am 11. Juli dieses Jahres starb der 1949 im Berliner Osten geborene, durch die produktive Zusammenarbeit mit Heiner Müller bekannt gewordene Maler-Bühnenbildner Hans-J. Schlieker, der alles Sehbare sehen, alles Einsehbare vergessen und nur Künstler sein wollte. Interessiert nur an dem, was ist, jenseits von Begriffen und Beschreibung. Er hielt Kunst als Tätigkeit für in Verruf gekommen, zur bloßen Illustration von Ideen, zur Dekoration von Macht und Besitz geschrumpft. Kunst und Künstler, so sein Credo, müssen Abstand wahren, der ihnen die Draufsicht aufs Unbekannte erlaubt. Um als Künstler staatlich nicht behelligt zu werden, arbeitete Schlieker als Bühnentechniker in der Volksbühne. Als Heiner Müller 1980 im Theater im 3. Stock der Volksbühne zusammen mit Ginka Tscholakowa sein nach einer Erzählung von Anna Seghers geschriebenes Stück «Der Auftrag» mit Jürgen Holtz in der Hauptrolle inszenierte, wählte er als Bühnenbildner Schlieker, der für das Stück eine Bühnenrealität erzielen wollte, keinen Abbildrealismus. Er zeigte bzw. illustrierte weder die Französische Revolution noch die Landschaft der Karibik. Mit textilen Materialien schuf Schlieker eine ganz eigene Innenwelt. Es brauchte keine Schauwerte. Die Handlung spielte im Kopf des Autors. Jürgen Holtz bot den Monolog im Fahrstuhl als pures Hörspiel. Wichtig war die Trennung von Emotion und Text. Die «Kälte» verdeutlichte dem Publikum die Hitze der Texte. Noch entscheidender für Müller war die Zusammenarbeit mit Schlieker bei der Inszenierung seiner in der DDR lange verfemten Bearbeitung des «Macbeth» von Shakespeare, 1982 in der Volksbühne. Ausgehend von Fotos typisch Berlinischer Hinterhöfe entwickelte Schlieker einen vieldeutbaren Grundbau mit Telefonzelle, Teppichstange und Matratzen, keine Hinterhofromantik, sondern Matratzengruft-Elend, wobei die roten Ziegelmauern auch die Umrisse einer düsteren mittelalterlichen Schlossruine erahnen ließen, in der gefoltert wurde. Es sollte ein «Abgrund» zwischen Bühne und Zuschauerraum entstehen, ein «Angstraum». Die Zuschauer wurden nicht wirklichem Horror ausgesetzt, doch das Theater musste erlebt werden, damit man zum Nachdenken über Horror gezwungen wurde. Dass sich Schlieker nicht für den literarischen Aspekt eines Textes/Stückes interessierte, empfand Müller als großen Vorteil. Angst und Geometrie In einem Werkstattgespräch mit Ruth Berghaus argumentierte Heiner Müller: «Theater findet ja überhaupt nur statt im Schnittpunkt zwischen Zeit und Raum. Das ist am simpelsten und direktesten am Ballett zu sehen. Zeit als Beschleunigung und Verlangsamung und Raum als Ausdehnung und Schrumpfung, und dies alles mitgeteilt über den Körper. Das ist das Grundmodell von Theater. Man kann es auch anders formulieren, das stammt leider nicht von mir, sondern von Hans-Joachim Schlieker: Theater ist etwas zwischen Angst und Geometrie. Angst und Geometrie sind am elementarsten und einfachsten im Ballett zu sehen. Das von dir im Schauspiel beschriebene Problem ist, dass dort die Angst zu weit verdrängt ist und dass daher auch keine Geometrie mehr zustande kommt. Es gibt kein Gefühl mehr für den Abgrund zwischen Bühne und Zuschauerraum, anstelle dessen Komplizenschaft. Die Oper hat es da leichter, die dafür notwendige Artistik schafft Respekt.» Dass Singen eine Existenzfrage und Lebensweise ist, machte dann auch die Oper für Schlieker attraktiver als Schauspiel. Ideal war für ihn die Zusammenarbeit mit Peter Konwitschny bei Bergs «Wozzek» in Kopenhagen und «Lulu» in Hamburg. Außerdem arbeitete er mit Johann Kresnik, Dimiter Gotscheff, Ruth Berghaus, Werner Schroeter, B. K. Trage -lehn, Fritz Marquardt und stellte die entscheidenden Weichen für Müllers letzte Inszenierungen am Berliner Ensemble, «Quartett» und «Arturo Ui». Marianne Hoppe und Martin Wuttke vor allem waren Schauspieler, die ihr Spiel als Existenzweise aufzufassen verstanden, so dass auch der Text als eine Übersetzung von Wirklichkeit wahrgenommen werden konnte und nicht als simple Abbildung. Die Inszenierung von Bertolt Brechts Gangsterspektakel «Arturo Ui» im Juni 1995 wurde Heiner Müllers Abschiedsinszenierung, mit der er und sein Hauptdarsteller Wuttke das Berliner Ensemble retteten. Sie blieb ähnlich lange im Spielplan wie die Uraufführungsinszenierung 1959 von Palitzsch/Wekwerth mit Ekkehard Schall. Wie schon zuvor als Mephisto in Schleefs «Faust» in Frankfurt am Main spielte Wuttke den Ui mit entfesseltem Machtwillen, knieend, in Unterhosen, die Arme Winkel formend, sich zum Hakenkreuz verbiegend. Der 90-jährige Bernhard Minetti mimte den unterrichtenden Schauspieler, nach ihm auch Marianne Hoppe und dann Jürgen Holtz. Wuttkes Ideengeber und Ballettmeister war der Bühnenbildner Schlieker. Die Aufführung erfüllte ideal dessen künstlerisches Credo: «Ich glaube, dass die Inszenierung sehr viel Raum für Authentizität des Einzelnen lässt, dass sie aufreißt, dass man Fragen nicht zu Ende denkt, sondern tiefer macht, unerklärbarer macht, und darin besteht für mich gleichzeitig der Glanz, aber auch das schwer Ertragbare.» Klaus Völker

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45

Irmer, Thomas. "Theatre as Intervention: Christoph Schlingensief's Hamlet in Zürich and Berlin, 2001". New Theatre Quarterly 28, n.º 4 (novembro de 2012): 343–51. http://dx.doi.org/10.1017/s0266464x12000644.

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Christoph Schlingensief (1960–2010) was a filmmaker, theatre director, and performance artist. In his Hamlet at the Schauspielhaus in Zürich in 2001 – his only staging of a classic – Schlingensief deployed the strategies of intervention typical of his whole work. In this article Thomas Irmer focuses on the actors' troupe in the play, performed by former neo-Nazis. Schlingensief was asking whether an audience would accept the reintegration of people who were determined to leave this extremist group with the support of the German government. At the same time, Schlingensief referred to a historical performance of Hamlet by Gustaf Gründgens, whose career in Nazi and post-war Germany is played in counterpoint against the neo-Nazi outsiders potentially to be reintegrated. Schlingensief's ambivalence here challenged ready-made opinions about overlap between political and aesthetic experience. Thomas Irmer is a scholar, theatre critic, and co-director of four documentary films on theatre, including Die Bühnenrepublik: Theatre in the GDR (2003) and Heiner Müller: a Biographical Portrait (2009). He teaches American theatre at the John F. Kennedy Institute for North American Studies at the Freie Universität in Berlin. He is a regular contributor to Theater Heute, editor of the book Castorf's Volksbühne (2003), and author of the forthcoming Life and Times of Andrzej T. Wirth.

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46

Earnest, Steve. "Frank Castorf at the Volksbühne am Rosa Luxembourg Platz: Alienation Techniques and the Use of Mediated Material on the Live Stage". Theatre Symposium 19, n.º 1 (2011): 41–53. http://dx.doi.org/10.1353/tsy.2011.0005.

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47

Jan, Corentin. "Héritages de l’unification, contre-culture et ville en mutation : le cas du changement de direction à la Volksbühne de Berlin (2015-2019)". Revue d’Allemagne et des pays de langue allemande 54, n.º 2 (9 de dezembro de 2022): 485–98. http://dx.doi.org/10.4000/allemagne.3307.

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48

van den Berg, Klaus. "The Geometry of Culture: Urban Space and Theatre Buildings in Twentieth-Century Berlin". Theatre Research International 16, n.º 1 (1991): 1–17. http://dx.doi.org/10.1017/s0307883300009986.

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In her 1983 book, Semiotik des Theaters, Erika Fischer-Lichte referred to theatre as part of ‘die Geometrie der Kultur’, a network of relationships materialized in space that symbolizes cultural experience. The concept of the geometry of culture may enable us to show how, in an urban space, different strands of human activities find their expression in the outline of urban space. Lewis Mumford demonstrates in The City in History that political programmes, economic interests, and cultural concepts influence the city's organization as well as the functions which individual buildings take in the urban environment. Cultural historians and semioticians such as Mary Henderson, Monika Steinhauser, Michael Hays, and Marvin Carlson have adopted this perspective for their investigations of the history of theatre in various metropolitan areas. For example, Henderson studies the relationship between the theatres and the financial district in New York City; Michael Hays and Monika Steinhauser analyse particular urban monuments, such as the Lincoln Center in New York and the Paris Opera. Marvin Carlson analyses how theatre buildings have been integrated historically as public monuments in various urban settings. Within the context of such studies I will examine the spatial and aesthetic re-alignments that World War II forced upon the integration of theatre buildings in Berlin, taking as case studies four major theatres: the Theater am Schiffbauerdamm, the Deutsches Theater, the Schillertheater and the Volksbühne.

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Wille, Franz. "Die Volksbühnen-Frage". Theater heute 65, n.º 5 (2024): 1. http://dx.doi.org/10.5771/0040-5507-2024-5-001.

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Carrasco, Clare. "Performing ‘Art for the People’: Politics, Spectatorship, and Schoenberg’s Music at the Berlin VolksbÜhne". Music and Letters, 5 de setembro de 2022. http://dx.doi.org/10.1093/ml/gcac068.

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ABSTRACT In early 1920, a performance of Arnold Schoenberg’s Chamber Symphony sponsored by the Berlin Volksbühne (People’s Theatre) set off a dialogue of remarkable vehemence and duration in the musical press. Writing as spectators of what they imagined to be a working-class audience, professional music critics framed the event as a musical performance that itself was a carefully staged piece of political theatre. Their accounts detail and debate the use of casting, symbols, and rituals to enact a ‘leftist’ agenda in which Schoenberg’s music was not the subversive project of a radical few, but a legitimate exemplar of ‘art for the people’—the motto of the Volksbühne. By engaging with the recent ‘performative turn’ in studies of the Weimar Republic, this article presents a rich microhistory of this experimental concert and its afterlife in the press, revealing vital connections to broader practices of political performativity in Weimar democracy.

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