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Franz A. Birgel Muhlenberg College
Werner Herzog's Debt to Georg Buchner Franz A. Birgel Muhlenberg College The filmmaker Wemcr Herzog has been labeled eve1)1hing from a romantic, visionary idealist and seeker of transcendence to a reactionary. regressive fatalist and t)Tannical megalomaniac. Regardless of where viewers may place him within these e:-..1reme positions of the spectrum, they will presumably all admit that Herzog personifies the true auteur, a director whose unmistakable style and wor1dvie\v are recognizable in every one of his films, not to mention his being a filmmaker whose art and projected self-image merge to become one and the same. He has often asserted that film is the art of i1literates and should not be a subject of scholarly analysis: "People should look straight at a film. That's the only \vay to see one. Film is not the art of scholars, but of illiterates. And film culture is not analvsis, it is agitation of the mind. Movies come from the count!)' fair and circus, not from art and academicism" (Greenberg 174). Herzog wants his ideal viewers to be both mesmerized by his visual images and seduced into seeing reality through his eyes. In spite of his reference to fairgrounds as the source of filmmaking and his repeated claims that his ·work has its source in images, it became immediately transparent already after the release of his first feature film that literature played an important role in the development of his films, a fact which he usually downplays or effaces. Given Herzog's fascination with the extremes and mysteries of the human condition as well as his penchant for depicting outsiders and eccentrics, it comes as no surprise that he found a kindred spirit in Georg Buchner whom he has called "probably the most ingenious writer for the stage that we ever had" (Walsh 11). -
William Kentridge Brings 'Wozzeck' Into the Trenches
William Kentridge Brings ‘Wozzeck’ Into the Trenches The artist’s production of Berg’s brutal opera, updated to World War I, has come to the Metropolitan Opera. By Jason Farago (December 26, 2019) ”Credit...Devin Yalkin for The New York Times Three years ago, on a trip to Johannesburg, I had the chance to watch the artist William Kentridge working on a new production of Alban Berg’s knifelike opera “Wozzeck.” With a troupe of South African performers, Mr. Kentridge blocked out scenes from this bleak tale of a soldier driven to madness and murder — whose setting he was updating to the years around World War I, when it was written, through the hand-drawn animations and low-tech costumes that Metropolitan Opera audiences have seen in his stagings of Berg’s “Lulu” and Shostakovich’s “The Nose.” Some of what I saw in Mr. Kentridge’s studio has survived in “Wozzeck,” which opens at the Met on Friday. But he often works on multiple projects at once, and much of the material instead ended up in “The Head and the Load,” a historical pageant about the impact of World War I in Africa, which New York audiences saw last year at the Park Avenue Armory. Mr. Kentridge’s “Wozzeck” premiered at the Salzburg Festival in 2017. Zachary Woolfe of The New York Times called it “his most elegant and powerful operatic treatment yet.” At the Met, the Swedish baritone Peter Mattei will sing the title role for the first time; Elza van den Heever, like Mr. Kentridge from Johannesburg, plays his common-law wife, Marie; and Yannick Nézet- Séguin, the company’s music director, will conduct. -
Woyzeck Bursts Onto the Ensemble Theatre Company Stage
MEDIA RELEASE CONTACT: Josh Gren [email protected] or 805.965.5400 x103 ELECTRIFYING TOM WAITS MUSICAL WOYZECK BURSTS ONTO THE ENSEMBLE THEATRE COMPANY STAGE March 25, 2015 – Santa Barbara, CA — The influential 19th Century play about a soldier fighting to retain his humanity has been transformed into a tender and carnivalesque musical by the legendary vocalist, Tom Waits. “If there’s one thing you can say about mankind,” the show begins, “there’s nothing kind about man.” The haunting opening phrase is the heart of the thrilling, bold, and contemporary English adaptation of Woyzeck – the classic German play, being presented at Ensemble Theatre Company this April. Inspired by the true story of a German soldier who was driven mad by army medical experiments and infidelity, Georg Büchner’s dynamic and influential 1837 poetic play was left unfinished after the untimely death of its author. In 2000, Waits and his wife and collaborator, Kathleen Brennan, resurrected the piece, wrote music for an avant-garde production in Denmark, and the resulting work became a Woyzeck musical and an album entitled “Blood Money.” “[The music] is flesh and bone, earthbound,” says Waits. “The songs are rooted in reality: jealousy, rage…I like a beautiful song that tells you terrible things. We all like bad news out of a pretty mouth.” Woyzeck runs at the New Vic Theater from April 16 – May 3 and opens Saturday, April 18. Jonathan Fox, who has served as ETC’s Executive Artistic Director since 2006, will direct the ambitious, wild, and long-awaited musical. “It’s one of the most unusual productions we’ve undertaken,” says Fox. -
WOYZECK a Record and Analysis of a Production by JOHN C. RAPSEY BA, B Ishop
WOYZECK A Record and Analysis of a Production by JOHN C. RAPSEY B.A., Bishop's University, 1967 THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of THEATRE We accept this thesis as conforming to the required atandatd THE UNIVERSITY OF BRITISH COLUMBIA July, 1969 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and Study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department The University of British Columbia Vancouver 8, Canada ABSTRACT Woyzeck, an unfinished play from the year 1837 ti by the German playwright Georg Buchner, was produced and directed by John Rapsey, in partial fulfilment of the requirements for a Master of Arts degree in the Department of Theatre of the University of British Columbia, at the Dorothy Somerset Studio from October 16 - 19, 1968. The following is a detailed record of that production along with the director's analysis and interpretation of the script. Woyzeck was produced on a budget of $350.00 and was performed four times by a predominantly student cast in a theatre seating approximately ninety people. Settings, costumes and seating arrangement were designed by Irene Rapsey. This record is divided into three main sections. -
Berg's Worlds
Copyrighted Material Berg’s Worlds CHRISTOPHER HAILEY Vienna is not the product of successive ages but a layered composite of its accumulated pasts. Geography has made this place a natural crossroads, a point of cultural convergence for an array of political, economic, religious, and ethnic tributaries. By the mid-nineteenth century the city’s physical appearance and cultural characteristics, its customs and conventions, its art, architecture, and literature presented a collage of disparate historical elements. Gothic fervor and Renaissance pomp sternly held their ground against flights of rococo whimsy, and the hedonistic theatricality of the Catholic Baroque took the pious folk culture from Austria’s alpine provinces in worldly embrace. Legends of twice-repelled Ottoman invasion, dreams of Holy Roman glories, scars of ravaging pestilence and religious perse- cution, and the echoes of a glittering congress that gave birth to the post-Napoleonic age lingered on amid the smug comforts of Biedermeier domesticity. The city’s medieval walls had given way to a broad, tree-lined boulevard, the Ringstrasse, whose eclectic gallery of historical styles was not so much a product of nineteenth-century historicist fantasy as the styl- ized expression of Vienna’s multiple temporalities. To be sure, the regulation of the Danube in the 1870s had channeled and accelerated its flow and introduced an element of human agency, just as the economic boom of the Gründerzeit had introduced opportunities and perspectives that instilled in Vienna’s citizens a new sense of physical and social mobility. But on the whole, the Vienna that emerged from the nineteenth century lacked the sense of open-ended promise that charac- terized the civic identities of midwestern American cities like Chicago or St. -
CHAN 3094 BOOK.Qxd 11/4/07 3:13 Pm Page 2
CHAN 3094 Book Cover.qxd 11/4/07 3:12 pm Page 1 CHAN 3094(2) CHANDOS O PERA IN ENGLISH PETER MOORES FOUNDATION CHAN 3094 BOOK.qxd 11/4/07 3:13 pm Page 2 Alban Berg (1885–1935) Wozzeck Opera in three acts (fifteen scenes), Op. 7 Libretto by Alban Berg after Georg Büchner’s play Woyzeck Lebrecht Collection Lebrecht English translation by Richard Stokes Wozzeck, a soldier.......................................................................................Andrew Shore baritone Drum Major .................................................................................................Alan Woodrow tenor Andres, a soldier...............................................................................................Peter Bronder tenor Captain ................................................................................................................Stuart Kale tenor Doctor .................................................................................................................Clive Bayley bass First Apprentice................................................................................Leslie John Flanagan baritone Second Apprentice..............................................................................................Iain Paterson bass The Idiot..................................................................................................John Graham-Hall tenor Marie ..........................................................................................Dame Josephine Barstow soprano Margret ..................................................................................................Jean -
International Review of the Aesthetics and Sociology of Music
1 UDC: 78.01:78.06 International CODEN: IRAMDA Review of the ISSN 0351-5796 Aesthetics and Sociology of IRASM, Vol. 43 No. 2, pp. 263-471 Music Zagreb, December 2012 Contents – Sadržaj Original Scientific Papers – Izvorni znanstveni članci Staffan Albinsson: Early Music Copyrights: Did They Matter for Beethoven and Schumann? 265-302 Sažetak: Što su značila ranaautorska prava za Beethovena i Schumanna? 302 Abstract - Résumé The general legal and business conditions pertaining to the music publishing business improved considerably in the 50 years between the 1790s, when Beethoven began his career, and the 1840s, when Schumann experienced his professional peak. The paradigm shift in politics, economics and music which occurred at the end of the eighteenth century made it possible for Schumann to make a living predominantly from what he earned from publishers‟ fees. Publishers united to participate in the creation of stronger copyright laws. They could depend on legal protection against re-printers and it was thus possible for them to offer higher fees. Keywords: economic history of music copyrights · intellectual property rights · music business · business history Anna Kasten: Erzählte Geschichten und geschichtete Erzählungen – Georg Büchners Fragment Woyzeck und seine musikalischen Adaptationen 303-324 Summary: Narrated Stories and Stratified Narrations – Georg Büchner's Fragment Woyzeck and its Musical Adaptations 322-323 Sažetak: Ispričane pripovijetke i raslojene priče – Fragment Woyzeck Georga Büchnera i njegove glazbene adaptacije 323-324 Abstract – Résumé Alban Berg und Manfred Gurlitt haben das Dramenfragment Woyzeck von Georg Büchner nahezu gleichzeitig in den 20er Jahren vertont. Zur Diskussion steht, wie die Komponisten auf Basis der frühen Editionsgeschichte mit dem fragmentarischen Charakter des Materials umgegangen sind und wie sich durch die unterschiedliche Interpretation die inhaltliche Ausrichtung in Bezug auf Büchner verschoben hat. -
Georg Büchners Woyzeck-Fragment Und Werner Herzogs Verfilmung
Die Rechte am Manuskript liegen beim Autor Marc Klesse (Würzburg) Das Los der Geringen. Georg Büchners Woyzeck-Fragment und Werner Herzogs Verfilmung 1. Tod ohne Verklärung. Georg Büchner und der historische Woyzeck Entgegen der landläufigen Meinung, ein früher Tod begünstige eine nachhaltige Verklärung des Verstorbenen, finden sich unmittelbar nach dem 19. Februar 1837, als der 23 Jahre alte Georg Büchner in Zürich seinen Kampf gegen Typhus verliert, weder posthume Glorifizierungen noch gewichtige Nekrologe in einschlägigen Zeitungen. Stattdessen verschwinden die Spuren Büchners aus der Literaturgeschichte, in der er bis zu seinem Ableben ohnehin nur einen Seitenschauplatz einnehmen durfte.1 Die schriftstellerische Hinterlassenschaft liegt daraufhin 13 Jahre brach; keine Publikation, keine gedruckten Zeugnisse und nicht zuletzt kein wohlwollendes Urteil, das dem Arztsohn Büchner den Ruf eines scharfsinnigen, zeitkritischen Autors attestiert. Dass er dies dennoch war, steht außer Frage, was z.B. eine oberflächliche Lektüre des überlieferten Briefverkehrs deutlich macht; so schreibt Büchner im Februar 1834 in einem Brief an seine Familie: Es ist deren eine große Zahl, die im Besitze einer lächerlichen Äußerlichkeit, die man Bildung, oder eines toten Krams, den man Gelehrsamkeit heißt, die große Masse ihrer Brüder ihrem verachtenden Egoismus opfern. Der Aristocratismus ist die schändlichste Verachtung des heiligen Geistes im Menschen; gegen ihn kehre ich seine eigenen Waffen; Hochmut gegen Hochmut, Spott gegen Spott.2 Zu dieser Zeit durchlebt Büchner, der sein in Straßburg begonnenes Medizinstudium in Gießen fortsetzt, eine tiefe Sinnkrise. Die unter den Menschen herrschende Gewalt, der Fatalismus der Geschichte und nicht zuletzt der frustrierende Alltag im repressiv geführten Herzogtum Hessen lassen Büchner zum politischen Aktivisten werden. -
The Concurrent Prevalence of Modernism and Romanticism As Seen in the Operas Performed Between the World Wars and Exemplified in Ernst Krenek’S Jonny Spielt Auf
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 6-10-2020 The Concurrent Prevalence of Modernism and Romanticism as seen in the Operas Performed between the World Wars and Exemplified in Ernst Krenek’s Jonny Spielt Auf Nicole Fassold Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Performance Commons Recommended Citation Fassold, Nicole, "The Concurrent Prevalence of Modernism and Romanticism as seen in the Operas Performed between the World Wars and Exemplified in Ernst Krenek’s Jonny Spielt Auf" (2020). LSU Doctoral Dissertations. 5301. https://digitalcommons.lsu.edu/gradschool_dissertations/5301 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE CONCURRENT PREVALENCE OF MODERNISM AND ROMANTICISM AS SEEN IN THE OPERAS PERFORMED BETWEEN THE WORLD WARS AND EXEMPLIFIED IN ERNST KRENEK’S JONNY SPIELT AUF A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The College of Music and Dramatic Arts by Nicole Fassold B.M., Colorado State University, 2015 M.M., University of Delaware, 2017 August 2020 Acknowledgements I would like to express my deepest gratitude to the professors and panel members that have guided me throughout my Doctoral studies as well as to my parents and sister, my family all over the world, my friends, and my incredible husband for their unending support and encouragement. -
Science Fiction Made Real in Immersive Theatres Howson
Zombies, time machines and brains: Science fiction made real in ANGOR UNIVERSITY immersive theatres Howson, T. Thesis Eleven DOI: 10.1177/0725513615613461 PRIFYSGOL BANGOR / B Published: 04/11/2015 Peer reviewed version Cyswllt i'r cyhoeddiad / Link to publication Dyfyniad o'r fersiwn a gyhoeddwyd / Citation for published version (APA): Howson, T. (2015). Zombies, time machines and brains: Science fiction made real in immersive theatres. Thesis Eleven, 131(1), 114-126. https://doi.org/10.1177/0725513615613461 Hawliau Cyffredinol / General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. 27. Sep. 2021 Title: Zombies, time machines and brains: science fiction made real in immersive theatres Author: Teri Howson1 Abstract Critical thought on immersive theatres is gathering in pace with many arguments centred on explorations of audience/performer interaction and the unique relationship these theatres create. Within this paper I look beyond these debates in order to consider the implications of immersive theatres within contemporary culture, with the aim of furthering the ways in which immersive theatres are presently being framed and discussed. -
GEORG BÜCHNER Julian Bilton Lecturer in Drama University Ofeastanglia
MACMILLAN MODERN DRAMATISTS Macmillan Modern Dramatists Series Editors: Bruce King and Adele King Published titles Neil Carson. Arthur Miller Ruby Cohn. New American Dramatists, 1960-1980 Bernard F. Dukore. Harold Pinter Julian Hilton. Georg Buchner Leonard C. Pronko. Eugene Labiche and Georges Feydeau Theodore Shank. American Alternative Theatre Further titles in preparation MACMILLAN MODERN DRAMATISTS GEORG BÜCHNER Julian Bilton Lecturer in Drama University ofEastAnglia M ©Julian Hilton 1982 All rights reserved. No part of this publication may be reproduced or transmitted, in any form or by any means, without permission. First published 1982 by THE MACMILLAN PRESS LTD London and Basingstoke Companies and representatives throughout the world ISBN 978-0-333-29110-8 ISBN 978-1-349-16737-1 (eBook) DOI 10.1007/978-1-349-16737-1 The paperback edition of this book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out, or otherwise circulated without the publisher's prior consent in any form of binding other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. Con'tenu Acknowledgements vii Editor's Preface ix 1 A brief life: 1813-37 1 2 A man out of his time 20 3 A tradition of dissent 34 4 Danton's Death 58 5 Leonce and Lena 88 6 Woyzeck 113 7 A man of our time 138 References 152 Select Bibliography 159 Brief Chronology 162 Index 164 List of Plates 1a. Georg Buchner, penned sketch by Alexis Muston, from Fischer, Georg Buchner Untersuchungen und Margin alien (Bonn: Bouvier Verlag Herbert Grundmann, 1972): by kind permission Professor Fischer 1b. -
Woyzeck Script Sample
Script Sample For performance rights, please contact: Max Grossman Abrams Artists Agency 275 Seventh Avenue 26th Floor New York, NY 10001 [email protected] Woyzeck by Georg Büchner translated by Rob Melrose © 2007 Rob Melrose All rights reserved Though written in 1836 and 1837, Woyzeck was first published in 1879 and first produced on November 8, 1913 in Munich at the Residenztheater. This translation premiered March 15, 2007 at The Cutting Ball Theater (Rob Melrose, Artistic Director) in residence at EXIT on Taylor. It was directed by Adriana Baer with music by Cliff Caruthers, sets designed by Melpomene Katakalos, costumes designed by Raquel Barreto, props designed by Carlos Aguilar, and lighting designed by Rob Melrose. It was dramaturged by Lucia Scheckner and stage managed by Robert McPhee with the following cast: Marie Drea Bernardi Woyzeck Chad Deverman Carnival Barker, Captain David Sinaiko Doctor Ryan Oden Barker's Wife, Kathy, Child Felicia Benefield Horse, Margaret, Little Marie Rebecca Martin Drum Major, Merchant Matthew Purdon Under Officer, Innkeeper, Child John Russell Ape, Andres Bill Selig Characters Franz Woyzeck Marie Zickwolf Christian, her child about one year old Captain Doctor 1 Drum Major Under Officer Andres Margaret Carnival Barker Barker’s Wife Kathy Little Marie Grandmother Karl (Fool) Jew (Merchant) Kathy Innkeeper Ape Horse Children Journeymen Townspeople 1 - Open field. The town in the distance. WOYZECK Yes Andres, this place is cursed. See that light streak on the grass there where the toadstools are so thick? A head rolls down it every night. Once there was a guy who picked it up, he thought it was a hedgehog.