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The Abjection of Performance in Lessing's Dramaturgy
theatre research international · vol. 30 | no. 1 | pp19–35 C International Federation for Theatre Research 2004 · Printed in the United Kingdom DOI:10.1017/S0307883304000847 Of Textual Bodies and Actual Bodies: the Abjection of Performance in Lessing’s Dramaturgy karen jurs-munby¨ Proceeding from the observation that Gotthold Ephraim Lessing’s famous Hamburgische Dramaturgie (Hamburg Dramaturgy) soon abandons the analysis of actual performances in favour of a discussion of character, the article explores Lessing’s problematic relationship with the performing body, situating it in the context of an increasingly textual culture. It shows the implications of this move in terms of gender prescriptions before discussing Lessing’s ‘disgust’ with a particular performance of his Emilia Galotti. Reading this example with Lessing’s treatise Laokoon and drawing on Julia Kristeva’s theory of abjection, it argues that Lessing’s struggle with the performers reveals a profound crisis in subject formation in the sense that the disturbing corporality of the performing body is always threatening sympathetic identification. The article concludes that the Dramaturgie itself constitutes an ‘abjection’ of performance. A postscript opens up the view onto the contemporary relevance and refiguration of Lessing’s Laokoon in the Laokoon Festival in Hamburg. The eighteenth-century dramatist, critic, translator and aesthetic theorist Gotthold Ephraim Lessing sits comfortably enthroned on a pedestal in one of the main squares, the Gansemarkt,¨ in Hamburg (Fig. 1). This monument to him is the only reminder of a barn-like theatre that once stood here and of the short-lived enterprise of the ‘Hamburgische Nationaltheater’ (Hamburg National Theatre) from 1767 to 1769,which was the first ‘standing’ (i.e. -
Educators of the Theatre
Evelyn Deutsch-Schreiner: The Educators of the Theatre. Dramaturgy between Enlightenment and Counter-Enlightenment . The development of the dramaturge parallels the European Enlightenment of the 18th century and reflects the goals of the Enlightenment itself: the start of a new individualism, the capacity and courage to think for oneself, resisting tradition, convention and authority as sources of wisdom and knowledge. A better, happier, "new" human being was the objective, a person able to decide for himself. However, the intellects of the Enlightenment were not only philosophers; they sought to influence realpolitik as well, hoping to emancipate the bourgeoisie from feudal absolutism. The theatre became the medium of dissemination for their views, a medium for the education of the bourgeoisie. Plays from England and France – George Lillo's The London Merchant (1731) and Denis Diderot's Le Père de Famille (1756) – became examples. The new genre of "domestic tragedy", or drame bourgeois, spoke to middle-class sensibilities, making non-nobles the subject of tragedies. In Germany, the theatre found itself at the centre of Enlightenment discourse: According to Johann Christoph Gottsched, theatre was to be a "secular pulpit"; for Gotthold Ephraim Lessing it was a "school of humanity, of feeling and the moral world". From the onset of the Enlightenment theatre was tasked with an educational responsibility in order that people might learn civic virtue. Public theatre was to instruct, to edify, and to better its audience. The new, dramaturgical vocation was not only a product of the Enlightenment but was also intended to propagate its ideas. Lessing advocated dramaturges' working directly with theatre companies rather than in isolation. -
The Abjection of Performance in Lessing's Dramaturgy
University of Huddersfield Repository Jurs-Munby, Karen Of Textual Bodies and Actual Bodies: the Abjection of Performance in Lessing's Dramaturgy Original Citation Jurs-Munby, Karen (2005) Of Textual Bodies and Actual Bodies: the Abjection of Performance in Lessing's Dramaturgy. Theatre Research International, 30 (1). pp. 19-35. ISSN 0307-8833 This version is available at http://eprints.hud.ac.uk/id/eprint/1362/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ theatre research international · vol. 30 | no. 1 | pp19–35 C International Federation for Theatre Research 2004 · Printed in the United Kingdom DOI:10.1017/S0307883304000847 Of Textual Bodies and Actual Bodies: the Abjection of Performance in Lessing’s Dramaturgy karen jurs-munby¨ Proceeding from the observation that Gotthold Ephraim Lessing’s famous Hamburgische Dramaturgie (Hamburg Dramaturgy) soon abandons the analysis of actual performances in favour of a discussion of character, the article explores Lessing’s problematic relationship with the performing body, situating it in the context of an increasingly textual culture. -
5. Lessing and Misogyny: Die Matrone Von Ephesus1
On the Literature and Thought of the N German Classical Era: Collected Essays ISBET HUGH BARR NISBET On the Literature and Thought of German Classical Era This volume provides a valuable contributi on to our knowledge of eighteenth- and nine- teenth-century intellectual life inside and outside Germany. Prof. Karl S. Guthke, Harvard University This elegant collec� on of essays ranges across eighteenth and nineteenth-century thought, covering philosophy, science, literature and religion in the ‘Age of Goethe.’ A recognised authority in the fi eld, Nisbet grapples with the major voices of the Enlightenment and gives pride of place to the fi gures of Lessing, Herder, Goethe and Schiller. The book ranges widely in its compass of thought and intellectual discourse, dealing incisively with themes including the philosophical implica� ons of literature and the rela� onship between religion, science and poli� cs. The result is an accomplished refl ec� on On the Literature and Thought on German thought, but also on its rebirth, as Nisbet argues for the relevance of these Enlightenment thinkers for the readers of today. of the German Classical Era The fi rst half of this collec� on focuses predominantly on eighteenth-century thought, where names like Lessing, Goethe and Herder, but also Locke and Voltaire, feature. The second has a wider chronological scope, discussing authors such as Winckelmann and Schiller, Collected Essays while branching out from discussions of religion, philosophy and literature to explore the sciences. Issues of biology, early environmentalism, and natural history also form part of this volume. The collec� on concludes with an examina� on of changing a� tudes towards HUGH BARR NISBET art in the a� ermath of the ‘Age of Goethe.’ The essays in this volume are brought together in this collec� on to present Nisbet’s widely- acclaimed perspec� ves on this fascina� ng period of German thought. -
Syllabus 324 Rennie Drama 2015 Fall
Prof. Nicholas Rennie Masters of German Drama 172 College Ave., Rm. 201A 01:470:324 (3 credits); index 18732 Tel. 732-932-7201 TTh 1:10-2:30pm [email protected] German House rm. 102, O. hrs. Tu 9:45am, Th 2:30pm, & by 172 College Ave. (CAC) appointment Description: Modern German culture, perhaps more than any other, has been created and disputed on the theater stage. This course will examine the extraordinary political, social, and aesthetic experimentation in German drama from the 18th century to the present. We will read work by such playwrights as Lessing, Goethe, Büchner, Brecht, and Handke. In addition, we will, as much as possible, be viewing and discussing examples of productions: German-language Europe has developed a culture of experimentation with new and old stage materials unsurpassed in its audacity by other European or American cultures. Finally, we may, depending on pricing and what programs come available, be participating together on a trip to see a live production. • Prerequisite: successful completion of German 232 or the equivalent. If you have not completed German 232 with a grade of C or higher, discuss your placement with the instructor at your first class visit. Learning Outcome Goals • Students will be able to use correctly a range of technical terms for the analysis of drama texts and drama production. Additionally, students will develop an understanding of the distinct role that theater has played as a medium of political and cultural debate in the German-language world. Permanent Core Curriculum requirements • [AHp] Arts and the Humanities: Analyze arts and/or literatures in themselves and in relation to specific histories, values, languages, cultures, and technologies. -
Umsetzung Und Verwandlung Der Konzeption Des Erhabenen Bei Schiller
Umsetzung und Verwandlung der Konzeption des Erhabenen bei Schiller Eine Untersuchung über die Wechselwirkung zwischen Dramentheorie, Drama und Inszenierung am Beispiel von Schillers Maria Stuart Inaugural-Dissertation zur Erlangung des Grades eines Doktors der Philosophie in der Fakultät für Philologie der RUHR-UNIVERSITÄT BOCHUM vorgelegt von Dong Hun Kim Gedruckt mit der Genehmigung der Fakultät für Philologie der Ruhr-Universität Bochum Referent: ……. Prof. Dr. Benedikt Jeßing ….......... Korreferent: … Prof. Dr. Ralph Köhnen …………. Tag der mündlichen Prüfung: …30. 01. 2018.... Meinem Großvater Johannes Kim gewidmet Danksagung „mit ganzem Herzen und ganzer Seele, mit deinem ganzen Denken und mit deiner ganzen Kraft“ (Mk. 12, 30) Gott sei Dank! Ich danke allen, die mich in den vergangenen Jahren immer wieder ermutigt haben. Ich bedanke mich ganz herzlich bei meinem Doktorvater, Prof. Dr. Benedikt Jeßing. Herr Jeßing stand mir stets mit seiner sowohl wissenschaftlichen als auch organisatorischen Unterstützung zur Seite. Prof. Dr. Ralph Köhnen danke ich auch für seine Unterstützung als Korreferent. Herr Köhnen hat mir besonders in meiner Disputation neue Anregungen für meinen weiteren wissenschaftlichen Weg gegeben. Ich danke der KAS (Konrad Adenauer Stiftung), die meine Arbeit von 2012 bis 2016 gefördert hat. Die KAS hat mir während der gesamten Förderungszeit viele Möglichkeiten angeboten, an zahlreichen Seminaren und Fortbildungen teilzunehmen. Ich hätte dieses langjährige Projekt ohne die Hilfe meiner Freunde nicht bewältigen können. Margherita Mascalchi Marchetti hat das ganze Manuskript meiner Dissertation gelesen und Feedback gegeben. Florian Pölking, mein Tandempartner, Jana, Naree, Rebekka, Harald usw. Viele haben mir bei der Korrektur dieser Arbeit geholfen und relevante Hinweise für Verbesserungen gegeben. Ich danke auch der Gemeinschaft Chemin Neuf und Pater Gerold Jäger, und Kaplan Johannes Na für ihre geschwisterliche Begleitung auf diesem Weg. -
G. E. Lessing: Poetic Constellations Between the Visual and the Verbal , Vol
Beate I. Allert G. E. Lessing: Poetic Constellations between the Visual and the Verbal , vol. 15 Contents 2018, 426 pages, paperback, € 44,80 [D] Preface ISBN 978-3-939381-97-6 Introduction: Who is G. E. Lessing and What is this Book How to articulate ideas so that they become visually effective? How About? to turn readers into spectators? How to perform texts on stage so that the audience is drawn into the illusion? How to promote PART I: catharsis? In this monograph Beate I. Allert interprets Lessing’s works Seeing and Images—Theoretical Concerns as poetic experiments between the verbal and the visual. Words Chapter 1: Lessing: Ekphrasis and the Art of Understatement and Images are interpreted neither as mere juxtapositions, nor as fluid transformations from one mode of representation to anoth- Chapter 2: Diderot and Lessing: Minimalism and Sketches er but in terms of their intricate dynamics. Lessing evokes poignant Chapter 3: Fables as Visual Texts but Brevity Matters moments and his works illustrate a variety of effects through rhetor- ical features, arrested movements, silences, cutting devices, and Chapter 4: Lessing’s Laokoon and Paralipomena framed images. Lessing aims to evoke compassion to make people Chapter 5: Drama Theory: Lessing’s Hamburg Dramaturgy think about what they see. The book consists of three parts: First, as fermenta cognitionis Lessing’s approach to Ekphrasis and implied difficulties, his approach to fables, his preference for sketches over paintings, and his Laokoon PART II: and the Paralipomena which suggest a new genre of “musikalische Experiments and Staging Poignant Moments Bilder“ while interlacing spatial and temporal dimensions. -
Download the Study Guide for Nathan the Wise
Study Guide Nathan the Wise BILLY GUNN AND MATT HILL Brigham Young University College of Fine Arts and Communications Department of Theatre and Media Arts September 22–October 9, 2004 Pardoe Theatre Study Guide Gotthold Ephraim Lessing 1729 January 22: Lessing born in Kamenz, Saxony. Biography 1741 June: enters St. Afra, Princes’ School, Meissen. 1746 Autumn: Enters University of Leipzig; student of theology. orn January 22, 1729, 1748 The Young Scholar (Der junge Gelehrte) B Gotthold Ephraim 1749 The Jews (Die Juden) Lessing was the third child of 1751 December: To University of Wittenberg. a Lutheran pastor in Kamenz, 1752 Awarded Master’s degree in April; returns to Saxony. After completing Berlin in November. studies at St. Afra’s school in 1753 Friendship with Moses Mendelssohn. 1755 Miss Sara Sampson Meissen, Lessing was ready 1756 May-August: beginning of a European tour, for the University of Leipzig interrupted by outbreak of Seven Years’ War. at the age of sixteen. During Returns to Leipzig. his years at Leipzig, the young 1758 Returns to Berlin. Lessing became infatuated 1759 Philotas (tragedy in one act) with the local theatre 1760–65 In Breslau; military secretary. Studies classics, theology, and philosophy. community, and although he 1766 Laokoon; Lessing in Berlin. never completed his initial 1767 Minna von Barnhelm; first performance, course in theology, Lessing’s Hamburg, September 30. Lessing named critic writings, both dramatic and for a new National Theater in Hamburg. philosophical, were forever 1767–68 Hamburg Dramaturgy (Hamburgische influenced by religion. Dramaturgie) 1770 May: Librarian in Wolfenbütte. 1772 Emilia Galotti, a tragedy 1776 October: Marries Eva König.