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Tankred Dorst
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German Shakespeare Studies at the Turn of the Twenty-first Century
"This collection of fifteen essays offers a sample of German Shakespeare studies at the turn of the century. The articles are written by scholars in the old "Bundeslander" and deal with topics such as culture, memory and natural sciences in Shakespeare's work, Shakespearean spin-offs, and the reception of Venice and Shylock in Germany. Series: Shakespeare and His Contemporaries."--Publisher's website.
Shakespeare on the German Stage: Volume 2, The Twentieth Century
Shakespeare has been a central figure in German literature and theatre. This book tells the story of Shakespeare in the German-speaking theatre against the background of German culture and politics in the twentieth century. It follows the earlier volume by Simon Williams on the reception of Shakespeare during the previous 300 years (Shakespeare on the German Stage, 1586-1914). Hortmann concentrates on the two most important and fruitful periods: the years of the Weimar Republic (1919-1933) and the turbulent decades of the sixties and seventies, when the German theatre was revitalised by a stormy marriage of avant-garde art and revolutionary politics. A section by Maik Hamburger covers developments in the theatres of the German Democratic Republic. Hortmann focuses on the most representative and colourful directors and actors, describing and illustrating individual productions as examples of particular trends or movements.
Schubert's Vienna
The Vienna in which Franz Schubert lived for the thirty-one years of his life was not just a city of music, dance, and coffeehouses - a centre of important achievements in the arts. It was also the capital of an empire that was constantly at war in the composer's youth and that became a police state during his maturity.
Images of Shakespeare
A wide range of approaches is presented in this collection, among them artists' images of Shakespeare. Victorian Hamlets, changing images of the protagonists in Romeo and Juliet, degrees of metaphor in King Lear, and Shakespeare's plays in performance.
Local and Global Myths in Shakespearean Performance
This collection of scholarly essays offers a new understanding of local and global myths that have been constructed around Shakespeare in theatre, cinema, and television from the nineteenth century to the present. Drawing on a definition of myth as a powerful ideological narrative, Local and Global Myths in Shakespearean Performance examines historical, political, and cultural conditions of Shakespearean performances in Europe, Asia, and North and South America. The first part of this volume offers a theoretical introduction to Shakespeare as myth from a twenty-first century perspective. The second part critically evaluates myths of linguistic transcendence, authenticity, and universality wi...
Shakespeare as German Author
Shakespeare as German Author, edited by John McCarthy, revisits in particular the formative phase of German Shakespeare reception 1760-1830. Following a detailed introduction to the historical and theoretical parameters of an era in search of its own literary voice, six case studies examine Shakespeare’s catalytic role in reshaping German aesthetics and stage production. They illuminate what German speakers found so appealing (or off-putting) about Shakespeare’s spirit, consider how translating it nurtured new linguistic and aesthetic sensibilities, and reflect on its relationship to German Geist through translation and cultural transfer theory. In the process, they shed new light, e.g., on the rise of Hamlet to canonical status, the role of women translators, and why Titus Andronicus proved so influential in twentieth-century theater performance. Contributors are: Lisa Beesley, Astrid Dröse, Johanna Hörnig, Till Kinzel, John A. McCarthy, Curtis L. Maughan, Monika Nenon, Christine Nilsson.
Theatergeschichte
Das Theater ist im Abendland gleich dreimal erfunden worden: Zum ersten Mal im alten Athen als Darstellungs- und Verhandlungsort einer ganz neuen politischen Lebensform, der Demokratie; zum zweiten Mal in Rom als professionalisierter Kultur- und Unterhaltungsbetrieb; und ein drittes Mal nach mehr als 600 Jahren Spielpause und der kollektiven Theatralität des Spätmittelalters, indem man sich an die antiken Theaterformen erinnerte. Da war der Weg frei für das Schauspieler-Theater der Commedia dell'Arte, für Shakespeare, Molière, Lessing, Goethe; das Theater wurde literatur- würdig und zu einer Kunst, die bis heute alle Sinne und alle Talente zusammenbringt: dramatische Dichtung, die Körperkunst des Schauspiels, die Konzeptkunst der Regie, die bildende Kunst der Bühnen- und Kostümgestaltung und der Theaterarchitektur, die Bühnenmusik. Die reich illustrierte Theatergeschichte des renommierten Theaterwissenschaftlers und -historikers Günther Erken zeichnet diesen imposanten, zweieinhalb Jahrtausende umfassenden Prozess griffig, pointiert und leicht lesbar nach.
Werkstattberichte
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