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A Companion to the Works of Arthur Schnitzler
A fresh collection of essays on the work of one of the leading figures of the Viennese fin de siècle.This volume of specially commissioned essays takes a fresh look at the Viennese Jewish dramatist and prose writer Arthur Schnitzler. Fascinatingly, Schnitzler''s productive years spanned the final phase of the Habsburg monarchy, World War I, the First Austrian Republic, and the rise of National Socialism, and he realized earlier than many of his contemporaries the threat that racist anti-Semitism posed to the then almost complete assimilation of Austrian Jews. His writings also reflect the irresolvable conflict between emerging feminism and the relentless "scientific" discourse of misogyny, ...
ANEIGNUNGEN, ENTFREMDUNGEN. THE AUSTRIAN PLAYWRIGH
This book is a collection of essays by prominent North American and European experts in Austrian literature concerning the Austrian playwright and author Franz Grillparzer, his relationship to various literary traditions, and his reception from the nineteenth century to the present. The chapters originated at a symposium held in February of 2003 at the University of Alberta sponsored by the University of Alberta's Wirth Institute for Austrian and Central European Studies.
The Burgtheater and Austrian Identity
"The collapse of the Habsburg monarchy in 1918 galvanized discussion about national identity in the new Republic of Austria. As Robert Pyrah shows in this thoroughly documented study, the complex identity politics of interwar Austria were played out in the theatres of Vienna, which enjoyed a cultural prominence rarely matched in other countries. By 1934, productions across the city were being co-opted to serve the newly patriotic cause of the Dollfuss and Schuschnigg regimes, and the Burgtheater, once known as the first German stage, had been transformed into a national theatre for Austria. Using case studies of key productions and a wealth of previously unseen archival material, Pyrah sheds new light on artistic and ideological developments throughout the period, including the neglected earlier years. He documents previously unexplored overlaps in the cultural programmes of Left and Right, and unearths evidence that key institutions were subverted by the Right well before the suspension of parliamentary rule in 1933."
Dramaturgies of War
This book examines the institutional contexts of dramaturgical practices in the changing political landscape of 20th century Germany. Through wide-ranging case studies, it discusses the way in which operationalised modes of action, legal frameworks and an established profession have shaped dramaturgical practice and thus links to current debates around the “institutional turn” in theatre and performance studies. German theatre represents a rich and well-chosen field as it is here where the role of the dramaturg was first created and where dramaturgy played a significantly politicised role in the changing political systems of the 20th century. The volume represents an important addition to a growing field of work on dramaturgy by contributing to a historical contextualisation of current practice. In doing so, it understands dramaturgy not only as a process which occurs in rehearsal rooms and writers’ studies, but one that has far wider institutional and political implications.
Theatre Under the Nazis
Were those who worked in the theatres of the Third Reich willing participants in the Nazi propaganda machine or artists independent of official ideology? To what extent did composers such as Richard Strauss and Carl Orff follow Nazi dogma? How did famous directors such as Gustaf Grüdgens and Jürgen Fehling react to the new regime? Why were Shakespeare and George Bernard Shaw among the most performed dramatists of the time? And why did the Nazis sanction Jewish theatre? This is the first book in English about theater in the entire Nazi period. The book is based on contemporary press reports, research in German archives, and interviews with surviving playwrights, actors, and musicians.
Performance, Subjectivity, Cosmopolitanism
This book looks at the connection between contemporary theatre practices and cosmopolitanism, a philosophical condition of social behaviour based on our responsibility, respect, and healthy curiosity to the other. Advocating for cosmopolitanism has become a necessity in a world defined by global wars, mass migration, and rise of nationalism. Using empathy, affect, and telling personal stories of displacement through embodied encounter between the actor and their audience, performance arts can serve as a training ground for this social behavior. In the centre of this encounter is a new cosmopolitan: a person of divided origins and cultural heritage, someone who speaks many languages and claims different countries as their place of belonging. The book examines how European and North American theatres stage this divided subjectivity: both from within, the way we tell stories about ourselves to others, and from without, through the stories the others tell about us.
Postdramaturgien
Dramaturgie ist längst mehr und anderes als die Beschäftigung mit Inhalt, Form und Rezeptionsweise der in einem Dramentext festgeschriebenen Handlungen zwischen Menschen. Künstlerischästhetische Erkundungen der Möglichkeiten von Theater, Performance oder Tanz sowie sich ändernde Arbeitsweisen und Produktionsbedingungen erweitern den ursprünglichen Radius von Dramaturgie und dramaturgischer Praxis kontinuierlich. Unter dem bewusst thetisch gehaltenen Begriff "Postdramaturgien" fragt dieses Buch, wohin Dramaturgie sich bewegt (hat), was es ist, sein kann oder angesichts heutiger künstlerischer wie gesellschaftspolitischer Umstände sein sollte, welche unterschiedlichen dramaturgischen Ansätze sich verzeichnen lassen oder wie sich die genannten Veränderungen auf die Rolle, Aufgaben sowie das (Selbst-)Verständnis von Dramaturg*innen auswirken. Postdramaturgien versammelt Überlegungen, Einschätzungen und Suchbewegungen von Expert*innen aus Theorie und/oder Praxis. Die einzelnen Beiträge sind selbstverständlich so heterogen wie ihr Gegenstand.
Politische Massenfestspiele in Österreich zwischen 1918 und 1938
In Österreich gab es zwischen 1918 und 1938 eine ausgeprägte Festspielkultur, wobei es nicht nur einen Boom der traditionellen Passionsspiele und verstärkt auch Initiativen zur Gründung neuer künstlerischer Festspiele gab. Auch alle wichtigen politischen Gruppierungen der Zeit wie Sozialdemokraten, Christlichsoziale, Deutsch-Nationale und, in den dreißiger Jahren, die Austrofaschisten bedienten sich der Festspiele, um ihre Macht zu demonstrieren, ihre Ideologie zu transportieren, die Massen im Sinne der eigenen Weltanschauung zu beeinflussen und sich gegenüber den anderen Gruppierungen abzugrenzen. Auf der Grundlage einer Auseinandersetzung mit dem Phänomen der 'Ästhetisierung' bzw....
Franz Grillparzer
In this first comprehensive survey of criticism on Grillparzer, Dr. Roe highlights the main areas of critical debate and provides a chronological account of the major trends and developments: through periods of misunderstanding and neglect or of political appropriation in the cause of Nazism or Austrian nationalism, and through recent decades dominated by various schools of thought, whether sociological or psychoanalytical. The book will be of interest to scholars and students of Austrian and European literature, Austrian culture, and literary theory and criticism.
