|
Showing 1 - 11 of
11 matches in All Departments
Collected volume of studies on the stage representation of Jews in
European theatre between 1830 and 1940. The way in which Jews are
represented on the stage stretches between the poles of
anti-Judaism and anti-Semitism on the one side and Jewish
renaissance and Zionism on the other. The individual studies all
consider the boundary conditions given by cultural and mental
history. This volume is the first attempt to view both the spoken
word and musical theatre from this point of view.
In the course of the 20th century there was a growing discrepancy
between literary dramatics and the modern stage which led to
serious dislocations. Nowadays we are faced with a multiplicity of
theatrical texts which can no longer be described using the
categories of a poetology of drama a " including its epic
extensions, nor can they be explained exclusively from the changes
and conditions of stage aesthetics. The relationship between drama
and the theatre is in a state of flux and constantly requires
innovation from both sides.
Various approaches to staging Goethe's AFaustA undertaken in the
1990s are discussed here in a series of individual analyses.
Following on from an engagement with the play from a largely
ideology-critical perspective in the preceding decades, the
decisive new frame of reference, notably amongst the
representatives of Regietheater (productions by Wolfgang Engel,
Einar Schleef, Christoph Marthaler), proves to be the question of
(theatre-)historical reception. In complete contrast to this - and
to one another - are (a) Stephan MA1/4ller's Zurich version of
AFaust IIA and its total preoccupation with shifts of perception,
and (b) Peter Stein's mammoth, programmatic attempt to achieve
textual fidelity by staging every single syllable of the play
uncut. In his Milan version, Giorgio Strehler essays an
interpretation of AFaustA as the expression of a common European
heritage. By contrast, the 'outside perspective' represented by
AFaustus in Africa!A (Handspring Puppet Company Johannesburg,
William Kentridge) casts a radical culture-critical light on
Europe.
Music theatre represents a provocative challenge both for drama
studies and musicology. Methodologically, analytically, and also
historiographically, the blend of singing, language, voice, acting,
body, and movement on the stage poses problems, particularly as the
majority of historical theatre forms (Posse, operetta, revue,
modern alienation theatre, etc.) are situated somewhere between the
two poles of 'pure' opera and drama. Tackling these problems on an
interdisciplinary plane is doubly urgent as they open out on the
pressing issues involved in extending the purview of traditional
drama research to encompass such aspects as a cultural history of
voice and body, perceptual relations, and the way these are
affected by different media.
Theatre relations between Poland and Germany since the war have
developed in a variety of different ways. The reasons for this are
to be sought in the association of the two German states with
different political power blocs up to 1989, Austria's special
status within Europe, and the specific cultural development
undergone by Poland within the eastern political system. Also of
crucial importance are factors rooted in varying developments in
theatre history, e.g. the Polish avant-garde's orientation to the
west initiated by Mrozek and Gombrowicz, the traditionally
intensive links with Austria, and the worldwide significance
accorded to Polish directors and drama theorists in the wake of
Grotowski and Kantor. While there have been detailed records of the
literary connections between the two countries covering the last 10
years or so, the 1996 conference the present volume stems from was
devoted entirely to the identification of specifically theatrical
factors providing new insights into the Central European theatre
landscape in the second half of the 20th century.
In the last ten years, George Tabori (* 1914) has been one of the
dramatic authors most frequently performed this century in Germany
and also one of the most sought-after directors in German-speaking
theatres. This contrasts with the neglect he has been accorded in
literary and drama studies. Only very recently has there been any
notable change in this situation. This volume sets out to record
and contribute to the ongoing discussion of Tabori's achievements,
both his stage productions and his own plays, on the subject of the
shoah. A comparative angle is also taken on his work, examining and
discussing the significance of his theatrical style for
contemporary drama with reference to authors such as Bertolt
Brecht, Samuel Beckett and Peter Weiss.
The analyses in this volume represent a continuation of those
presented in -Theatralia Judaica I- on the Jewish contribution to
central European theatre from the beginnings of Jewish emancipation
to the advent of National Socialism. Since 1945 Jewish-German
theatre relations have been marked by the Shoah and its aftermath.
In the German-speaking countries the re-establishment of a
theatrical culture was notable from the outset for the significant
contribution made by Jewish authors and theatre artists, while in
Israel the experiences of the immediate past found expression in
the various forms of the Hebrew theatre tradition. Since the mid
fifties there has been an increase in contacts and reciprocal
relations. As shown by events such as the Fassbinder affair in
Frankfurt and the reception of Sobol's work, the recurrent concern
has been to address essential questions pertaining to the
relationship between the two countries."
|
You may like...
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
|