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Global Ibsen
Ibsen’s plays rank among those most frequently performed world-wide, rivaled only by Brecht, Chekhov, Shakespeare, and the Greek tragedies. By the time Ibsen died in 1906, his plays had already conquered the theaters of the Western world. Inviting rapturous praise as well as fierce controversy, they were performed in Europe, North America, and Australia, contributing greatly to the theater, culture, and social life of these continents. Soon after Ibsen’s death, his plays entered the stages of East Asia - Japan, China, Korea - as well as Africa and Latin America. . But while there exist countless studies on Ibsen the dramatist and the significance of his plays within different cultures wr...
Post-Imperial Brecht
Post-Imperial Brecht challenges prevailing views of Brecht's theatre and politics. Kruger focuses much of her analysis in regions where Brecht has had special resonance, including East Germany, and South Africa, where Brechtian philosophy has been vigorously employed in the anti-apartheid movement. Kruger also analyses political interpretations of Brecht in light of other key dramatists, including Heiner MÜller and Athol Fugard. The book also examines Brechtian influence on writers and philosophers such as Adorno, Benjamin, and Barthes.
Postsocialist Memory in Contemporary German Culture
Scholarship on Eastern Europe after 1989 often focuses narrowly on the socialist past as authoritarian, dictatorial, or totalitarian. This collection, by contrast, illuminates an additional dimension of post-socialist memory: it traces the survival of hopes and dreams born under socialism and the legacy of the unrealized alternative futures embedded within the socialist past. Looking at contemporary German-language literature, film, theater, and art, the volume analyzes reflections on everyday socialist realities as well as narratives of opposition and dissent. The texts discussed here not only revisit the past, but also challenge the present and help us imagine alternative futures. Rather than framing the unrealized futures envisioned in the pre-1989 era as failures, this collection probes post-socialist memory for its future-oriented potential to rethink issues of community, equity and equality, and late-stage capitalism. Foregrounding the complexities of Eastern European legacies also helps us reimagine the relationship between East and West both in Germany and in Europe as a whole.
Max Pechstein: The Rise and Fall of Expressionism
Max Pechstein (1881–1955) is one of the most prominent German artists of the twentieth century, not least because of his crucial role in the breakthrough of German Expressionism. This long overdue biography combines the portrayal of an outstanding artistic personality with the story of an individual German who struggled through the political upheavals of his time. Pechstein's work is presented in the cultural context of museum politics and art associations, art dealers and critics, market forces and cultural trends.
Performing Unification
Since the moment after the fall of the Berlin Wall, important German theater artists have created plays and productions about unification. Some have challenged how German history is written, while others opposed the very act of storytelling. Performing Unification examines how directors, playwrights, and theater groups including Heiner Müller, Frank Castorf, and Rimini Protokoll have represented and misrepresented the past, confronting their nation’s history and collective identity. Matt Cornish surveys German-language history plays from the Baroque period through the documentary theater movement of the 1960s to show how German identity has always been contested, then turns to performance...
Rocklexikon der DDR
15 Jahre nach der Erstveröffentlichung des "Rocklexikons der DDR" folgt nun eine großflächig überarbeitete und erweiterte dritte Auflage. Neben rund 40 neu hinzugekommenen Stichworten wurde das Buch auch um ein rund 3.500 Einträge umfassendes Interpretenregister ergänzt. Auch wurden die im vereinigten Deutschland veröffentlichten Tonträger in den Diskografien der Protagonisten berücksichtigt
Spielräume und Grenzen
In den ersten beiden Jahrzehnten der DDR war ein Theaterkonzept dominierend, das Identität der Zuschauer mit dem neuen Staat stiften sollte. Offene Theaterformen und Experimente der Moderne blieben dabei ausgeschlossen. Erst in den siebziger Jahren verschwand das Konzept des "sozialistischen deutschen Nationaltheaters" zusehends in der Praxis verschiedenster Spielweisen und Theaterauffassungen. Petra Stuber analysiert erstmals detailliert den Zusammenhang von Politik und Theaterkonzepten, wobei ihr Schwerpunkt auf der Theatergeschichte der ersten beiden DDR-Jahrzehnte liegt. Dabei untersucht sie die Arbeit von Gustav von Wangenheim, Wolfgang Langhoff, Bertolt Brecht, Heinar Kipphardt und Wolf Biermann ebenso wie die Brüche und Umwertungen der 70er und 80er Jahre am Beispiel der Arbeiten von Benno Besson, Frank Castorf, Jo Fabian und der ersten freien Theatergruppe in der DDR, Zinnober. In den Band wurden zugleich wichtige Dokumente der Theaterpolitik der DDR aufgenommen, darunter das verschollen geglaubte Protokoll der Stanislawski-Konferenz von 1953.
