2005 Next Wave Festival
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DIPLOMARBEIT Titel der Diplomarbeit ELFRIEDE OTT UND DIE SCHAUSPIELKUNST – Schauspieltechniken im Vergleich Verfasserin Corinna Pumm Angestrebter akademischer Grad Magistra der Philosophie (Mag.phil) Wien, 2015 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Theater- Film- und Medienwissenschaft Beutreuer: Mag. Dr. Monika Meister 1 Ehrenwörtliche Erklärung Ich erkläre ehrenwörtlich, dass ich die vorliegende wissenschaftliche Arbeit selbstständig angefertigt und die mit ihr unmittelbar verbundenen Tätigkeiten selbst erbracht habe. Ich erkläre weiters, dass ich keine anderen als die angegebenen Hilfsmittel benutzt habe. Alle ausgedruckten, ungedruckten oder dem Internet im Wortlaut oder im wesentlichen Inhalt übernommenen Formulierungen und Konzepte sind gemäß den Regeln für wissenschaftliche Arbeiten zitiert und durch Fußnoten bzw. durch andere genaue Quellenangaben gekennzeichnet. Die während des Arbeitsvorganges gewährte Unterstützung einschließlich signifikanter Betreuungshinweise ist vollständig angegeben. Die wissenschaftliche Arbeit ist noch keiner anderen Prüfungsbehörde vorgelegt worden. Diese Arbeit wurde in gedruckter und elektronischer Form abgegeben. Ich bin mir bewusst, dass eine falsche Erklärung rechtliche Folgen haben wird. Corinna Pumm Wien, 21. Mai 2014 2 Inhaltsverzeichnis 1. Einleitung ……………………………………………………………………. 7 2. Begriffsklärungen ........................................................................................................ 10 2.1. Geschichtliche Entwicklung des Theaters und -
Building New Audiences at the Berliner Ensemble, 1949-1956
Edinburgh Research Explorer Building new audiences at the Berliner Ensemble, 1949-1956 Citation for published version: Bradley, L 2018, 'Building new audiences at the Berliner Ensemble, 1949-1956', Oxford German Studies, vol. 47, no. 2, pp. 211-229. https://doi.org/10.1080/00787191.2018.1452731 Digital Object Identifier (DOI): 10.1080/00787191.2018.1452731 Link: Link to publication record in Edinburgh Research Explorer Document Version: Peer reviewed version Published In: Oxford German Studies Publisher Rights Statement: This is an Accepted Manuscript of an article published by Taylor & Francis in Oxford German Studies on 22/05/2018, available online: https://doi.org/10.1080/00787191.2018.1452731 General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 28. Sep. 2021 Building New Audiences at the Berliner Ensemble, 1949-1956 Laura Bradley University of Edinburgh School of Literatures, Languages & Cultures 50 George Square Edinburgh EH8 9LH [email protected] ‘Wir setzen in die Logen Arbeiter.’1 (Brecht) When Berlin’s theatres re-opened in 1945, most of the city’s theatre practitioners and spectators had not heard of the plays that are now widely regarded as Brecht’s greatest: Mutter Courage und ihre Kinder, Das Leben des Galilei, Der kaukasische Kreidekreis, and Der gute Mensch von Sezuan. -
Tag Des Barrierefreien Tourismus PROGRAMM
Tag des barrierefreien Tourismus Accessible Tourism Day PROGRAMM SCHEDULE 12.03.2021 10:15 – ca. 15:30 Online per Die Anmeldung zu dieser ZOOM Fachveranstaltung erfolgt unter: To register for this professional event, please visit: www.germany.travel/tdbt Supported by © DZT/Jens Wegener © DZT/Jens Anzeige•Advertisement Anzeige GRUSSWORT | A MESSAGE Leichter Reisen Barrierefreie Urlaubsziele in Deutschland Urlaub für Alle in zehn deutschen Regionen: Liebe Leserinnen Eifel und Leser, Erfurt Fränkisches Seenland Barrierefreiheit ist für etwa 10 Prozent der Bevölkerung unentbehrlich, aber für 100 Lausitzer Seenland Prozent der Reisenden komfortabel. Die Magdeburg Teilhabe aller Menschen am Tourismus ist Ostfriesland ein Element von Lebensqualität. „Reisen für Alle“ besitzt damit durchaus ökonomisches Rostock Potenzial für das Reiseland Deutschland. In Ruppiner Seenland den Eckpunkten für eine nationale Touris- musstrategie hat die Bundesregierung be- Sächsische Schweiz schlossen, dass Barrierefreiheit zu den stra- Südliche Weinstraße tegischen Zielen gehört, die wir weiterhin engagiert voranbringen wollen. Wir engagieren uns rund um Ihren Aufenthalt, damit Sie unsere Regionen genießen können. Nutzen Sie unsere barrierefreien Angebote. „Die Teilhabe aller Menschen www.leichter-reisen.info am Tourismus ist ein Element Urlaub für Alle von Lebensqualität.“ in zehn deutschen Regionen “Quality of life is enhanced if tourism is made accessible.” • • EIFEL ERFURT FRÄNKISCHES SEENLAND ROSTOCK THOMAS BAREIß MdB LAUSITZER SEENLAND • MAGDEBURG Dear reader, Parlamentarischer Staatssekretär • beim Bundesminister für Wirtschaft OSTFRIESLAND ROSTOCK OSTFRIESLAND und Energie und Beauftragter der RUPPINER SEENLAND • SÄCHSISCHE SCHWEIZ Accessibility is essential for around 10 per Bundesregierung für Tourismus und SÜDLICHE WEINSTRASSE RUPPINER SEENLAND cent of the population, but can make life für Mittelstand easier for every visitor. -
Demarcating Dramaturgy
Demarcating Dramaturgy Mapping Theory onto Practice Jacqueline Louise Bolton Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds Workshop Theatre, School of English August 2011 The candidate confirms that the work submitted is his/her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. 11 Acknowledgements This PhD research into Dramaturgy and Literary Management has been conducted under the aegis of an Arts and Humanities Research Council Collaborative Doctoral Award; a collaboration between the University of Leeds and West Yorkshire Playhouse which commenced in September 2005. I am extremely grateful to Alex Chisholm, Associate Director (Literary) at West Yorkshire Playhouse, and Professor Stephen Bottoms and Dr. Kara McKechnie at the University of Leeds for their intellectual and emotional support. Special thanks to Professor Bottoms for his continued commitment over the last eighteen months, for the time and care he has dedicated to reading and responding to my work. I would like to take this opportunity to thank everybody who agreed to be interviewed as part of this research. Thanks in particular to Dr. Peter Boenisch, Gudula Kienemund, Birgit Rasch and Anke Roeder for their insights into German theatre and for making me so welcome in Germany. Special thanks also to Dr. Gilli Bush-Bailey (a.k.a the delightful Miss. Fanny Kelly), Jack Bradley, Sarah Dickenson and Professor Dan Rebellato, for their faith and continued encouragement. -
Heiner Müller Bertolt Brecht
HEINER MÜLLER BERTOLT BRECHT La Résistible Ascension d’Arturo Ui BC – BD SEPTEMBRE B@AB La Résistible Ascension d’Arturo Ui de Bertolt Brecht mise en scène Heiner Müller Le gang d’Arturo Ui : Le trust du chou-fleur : La ville de Cicero : Arturo Ui, chef de gang Clark Mr. Ignatius Dullfeet Martin Wuttke Veit Schubert Roman Kaminski Ernesto Roma, son lieutenant Butcher Mrs. Betty Dullfeet Martin Schneider Michael Rothmann Margarita Broich Emanuele Giri, gangster Flake Tedd Ragg, journaliste au Star Volker Spengler Uli Pleßmann Axel Werner Giuseppe Givola, fleuriste et gangster Scheet, armateur Le commissaire O’Casey Martin Seifert Axel Werner Detlef Lutz Dockdaisy, une des femmes de Givola Mabel Sheet, sa femme L’accusé Fish Margarita Broich Larissa Fuchs Thomas Wendrich Inna, confident de Roma Bowl, comptable chez Sheet L’avocat de l’accusation Thomas Wendrich Thomas Wendrich Detlef Lutz Gardes du corps Les marchands de légumes : Chœur (le juge, l’avocat de la défense) Uwe Steinbruch Heinrich Buttchereit Stephan Schäfer, Jörg Thieme Uwe Preuss Michael Kinkel Le spectre de la femme ensanglantée Victor Deiß Ruth Glöss L’acteur Le bonimenteur Jürgen Holtz La ville de Chicago : Uli Pleßmann L’orateur au balcon Le vieux Dogsborough, maire Stephan Schäfer Stefan Lisewski Le jeune Dogsborough, son fils Uwe Preuss Gaffles, employé municipal Jörg Thieme Goodwill, employé municipal Stephan Schäfer 2 pour la maison. Lorsqu’il commença sa mise en scène pratiquement sans préparation, il se trouvait face à une compagnie de comé - diens minée par les crises des directoires, qui ne se montrait pas nécessairement conci - liants à l’égard du principal interprète, Martin Wuttke, d’autant plus que dans la version élaguée leurs propres rôles étaient coupés à l’extrême. -
Kurt Hübner- Der Intendant
Kurt Hübner- Der Intendant Seine Stationen: Ulm- 1959-1962 Bremen- 1962-1973 Berlin- 1973-1986 1 ANHANG 1959-1986: DIE AUFFÜHRUNGEN DER INTENDANTENZEIT KURT HUBNERS I. ULM 1959-1962 Das Ensemble Schauspiel (Herren) Schauspiel (Damen) Oper I Operette Oper I Operette Peter Böhlke Elisabeth Botz (Herren) (Damen) Kar! Heinz Bürkel Käthe Druba Lambertus Bijnen Lisa Anders Will Court Angela Gotthardt Kari-Heinz von Eicken Helen Borbjerg Josef Gessler Friede! Heizmann Helmuth Erfurth Anita Butler Joachim Giese Hannelore Hoger George Fortune RuthConway Günter Hanke Alke Hoßfeld Jan Gabrielis Irmgard Dressler Hans-H. Hassenstein Elisabeth Karg Josef Gessler Josette Genet-Bollinger Valentin Jeker Maria-Christina Müller Peter Haage Marjorie Hall Rolf Johanning Elisabeth Orth Kar! Hauer Rita Hermann Norbert Kappen Helga Riede! J osef Kayrooz Marian Krajewska Jon Laxdall Ursula Siebert Bernd Küpper Liane Lehrer Georg von Manikowski Katharina Tüschen Bill Lucas Christine Mainka Dieter Möbius Erika Wackernagel Fritz Neugebauer Gertrud Probst Siegfried Munz Sabine Werner Richard Owens Gertrud Romvary Walther Fr. Peters Fritz Peter Ursula Schade Rudolf Peschke Heinrich Reckler Ingeborg Steiner Hans Jakob Poiesz Herbert Reiter Patricia Hyde Thomas Friedhelm Ftok Heinz Röthig Eva-Maria Wolff Willi Ress Hermann Runge Hermann Schlögl Fred Straub Hermann Schober Walter Voges Alois Strempel Heinz Weigand Peter Striebeck Kar! Schurr Rainald Walter RolfWiest 2 SPIELZEIT 1959/60 das zu überwinden, was gegen die Figur des Posa, die naive Leichtgläubigkeit des Carlos Carl Maria von Weber: und gegen andere alogische Entwicklungen Der Freischütz (29. 8. 59) gesagt werden kann. Schillers Feuerodem, ML: Harald von Goertz; 1: JosefWitt; hier zum erstenmal in reine, gehämmerte B: Hansheinrich Palitzsch Verse gebändigt, überall diese Bedenklich keiten siegen zu Jassen, fast möchte man Friedrich Schiller: Don Carlos (3. -
Spaces Between Beginning and End.Indd
Spaces between Beginning and End: Thoughts on Peter Voigt’s Film Essay Dusk: 1950s East Berlin Bohemia BY CLAUS LÖSER Oh, joyful time of beginnings! The page white and the pencil sketches the overall plan! First line in nothingness, boldly rising through the void into everything! Excavate the ground and depth: the building will be tall. Seeing what has never been seen! Testing the new! —Bertolt Brecht, “Ach, wie doch einst ich sie sah!“1 When Peter Voigt’s documentary Dämmerung – Ostberliner Bohème der 50er Jahre (Dusk: 1950s East Berlin Bohemia) celebrated its premiere in the Grüne Salon of Berlin’s Volksbühne, only those in the know and especially interested • A 2018 DVD Release by the DEFA Film Library • A 2018 DVD Release by the DEFA viewers came to the screening. There were very few reviews. A regular theatrical release did not occur afterwards. In a certain sense, the film arrived both too early and too late. Five years earlier, it would have been a sensation. At the time of its premiere, however, the systematic—and still continuing—examination of phenomena of GDR cultural history had not yet begun. Besides, in the early 1990s, many potentially interested viewers were preoccupied with the reorganization of their daily lives that accompanied the fundamental paradigm change of 1989-90. In view of an uncertain future, affected contemporaries had no relevant interest in tracing the peculiarities of a 1950s East Berlin Bohemia, as Voigt’s title promised. The film did not fit the political mainstream either. Because, back then, the history of the GDR was, “above all, interpreted Dusk: 1950s East Berlin Bohemia in light of its inglorious end,” as film historian Ralf Schenk noted in relation to this film, in particular.2 Public discourse focused primarily on clear victim-perpetrator scenarios; perspectives that dealt with differentiated formations located between opportunism and resistance during the SED dictatorship were not in demand. -
German Videos - (Last Update December 5, 2019) Use the Find Function to Search This List
German Videos - (last update December 5, 2019) Use the Find function to search this list Aguirre, The Wrath of God Director: Werner Herzog with Klaus Kinski. 1972, 94 minutes, German with English subtitles. A band of Spanish conquistadors travels into the Amazon jungle searching for the legendary city of El Dorado, but their leader’s obsessions soon turn to madness.LLC Library CALL NO. GR 009 Aimée and Jaguar DVD CALL NO. GR 132 Ali: Fear Eats the Soul Director: Rainer Werner Fassbinder. with Brigitte Mira, El Edi Ben Salem. 1974, 94 minutes, German with English subtitles. A widowed German cleaning lady in her 60s, over the objections of her friends and family, marries an Arab mechanic half her age in this engrossing drama. LLC Library CALL NO. GR 077 All Quiet on the Western Front DVD CALL NO. GR 134 A/B Alles Gute (chapters 1 – 4) CALL NO. GR 034-1 Alles Gute (chapters 13 – 16) CALL NO. GR 034-4 Alles Gute (chapters 17 – 20) CALL NO. GR 034-5 Alles Gute (chapters 21 – 24) CALL NO. GR 034-6 Alles Gute (chapters 25 – 26) CALL NO. GR 034-7 Alles Gute (chapters 9 – 12) CALL NO. GR 034-3 Alpen – see Berlin see Berlin Deutsche Welle – Schauplatz Deutschland, 10-08-91. [ Opening missing ], German with English subtitles. LLC Library Alpine Austria – The Power of Tradition LLC Library CALL NO. GR 044 Amerikaner, Ein – see Was heißt heir Deutsch? LLC Library Annette von Droste-Hülshoff CALL NO. GR 120 Art of the Middle Ages 1992 Studio Quart, about 30 minutes. -
HANNS EISLER EDITION Liner Notes
HANNS EISLER EDITION Liner notes Orchestral music (CD1 & 2) passacaglia consists of the first six notes of a “series”), the second Hanns Eisler's political awareness intensified in the Twenties, the and third movements are characterized by a succinct, refined time of the Weimar Republic in Germany. The determining factors simplicity. Particularly in the third movement, Hanns Eisler strove causing this were his bitter experiences during the First World War, to create a new kind of “light music” for proletarian ears, taking up the new perspectives with which the October Revolution had a number of songs which were very popular in the labour imbued him –and many other important twentieth century artists‐ movement around 1930: Bells of Novgorod, Ivan, Dubinushka, In and finally, his growing indignation over the way in which the Vegetable Patch, Song of the Taiga. After introducing motifs musicians were failing to react to the ever‐worsening class conflicts suggesting the workers' hymn Immortal Victims, Hanns Eisler ends and the march of fascism. His radical censure of modern music led the movement with an orchestral version of Warszawjanka and a in 1926 to a rift with Arnold Schoenberg, who disapproved of the quotation of the refrain from the Internationale (“Nations hark to political leanings of his highly talented but refractory pupil (1919 to the signals”). The fourth movement bears the title Hörfleissübung 1922/23), maintaining that his altered philosophy was “not (Study in aural diligence). The twelve‐note theme now appears perceptible in his works”. distinctly in more sophisticated orchestral garb. All in all, the pervasion of the most sophisticated with the simplest is decisive This was true, Hanns Eisler having up to that point exclusively for the formation of structures and patterning. -
Music in Concentration Camps 1933 Music In
Music in Concentration Camps 19331933––––19451945 GUIDO FACKLER Translated from the German by Peter Logan (Würzburg) It would be wrong to reduce the “Music of the Shoah” (Holocaust/ churbn ) to the Yiddish songs from the ghetto camps of Eastern Europe or to the multiple activities in the realm of classical or Jewish music found in the ghetto camp at Theresienstadt (Terezín), which of course enjoyed a special status as a model camp. It would be equally wrong to restrict our view of music in concentration camps to the “Moorsoldatenlied” (“The Peat Bog Soldiers”), the “Buchenwald Song,” the “Dachau Song,” or the so-called “Girls’ Orchestra in Auschwitz,” described by Fania Fénelon – also the subject of the Hollywood film entitled “Playing for Time”. 1 Instead of this, I wish to address the topic of musical activities in general in the concentration camps. 2 Thus this chapter is about those camps that the Nazi regime started to erect just a few weeks after Hitler’s assumption of power; these camps formed the seed from which the entire system of Nazi camps grew, and which eventually consisted of over 10,000 camps of various kinds. 3 In fact music was an integral part of camp life in almost all the Nazi-run camps. The questions covered by my research include: how was it possible to play music in these camps? What musical forms developed there? What, under these circumstances was the function, the effect and the significance of music for both the suffering inmates and the guards who inflicted the suffering? And how was the extent of musical activities affected by the development of the concentration camp system? My research is based on extensive archive work, the study of memoirs and literature, and interviews with witnesses. -
Information Issued by the Association of Jewish Refugees in Great Britain 8, Fairfax Mansions, Finchley Road ( Fai^&Xtoad ) London
Vol. IV. No. 3 MARCH 1949 INFORMATION ISSUED BY THE ASSOCIATION OF JEWISH REFUGEES IN GREAT BRITAIN 8, FAIRFAX MANSIONS, FINCHLEY ROAD ( FAI^&XTOAD ) LONDON. N.W.3 dfict one ConMltint Hours: 10 ».in.—I p.m.. 3—6 p.m.. Sunday ID i.i».—i p.m. Ultfitnnt: MAIdi V>l« «0*« has been occupied by immigrants from xxerbert Ereedeti : Rumania, with a sprinkling of refugees from North Africa. Those who expected to find a village of the European pattem will be looking THE GREAT TRANSFORMATION in vain for gardens and fields. Ain Karem, like many other Arab villages, is an accumula Two years ago, some of the Jewish villages, I have seen the " Bulgaria " in Haifa Harbour tion of houses built on rocky slopes, and a sparingly spread throughout Palestine, were coming from Varna with 4,500 immigrants grove of olive trees is all that reminds of agri like islands within an Arab sea. Today, when aboard, 600 of them inmates of old age homes. culture. Occupational problems are tackled journeying through Israel, one has the im There was not a single suitcase in their pos by outside work and auxiliary farming. pression of the countryside being empty. session, they came literally with bundles in Orient Without Orientals True, the towns are crowded and humming their arms. The ambulances were waiting for Walking from Tel Aviv into Jaffa, one has with activity, but as soon as one leaves the the ailing; goods trains and buses for the associations of blitzed Berlin. There is suburbs and the dense settlement areas of the others to take them to the overcrowded Batei large scale destruction, whole areas are laid coastal plain and the Emek, the face of land Olim in the towns where they are to shelter flat and many a solitary house standing has changed. -
Bertolt Brecht's Furcht Und Elend Des Dritten Reiches
BERTOLT BRECHT’S BRECHT’S BERTOLT Brecht’s Furcht und Elend des Dritten Reiches (Fear and Misery of the Third Reich) gives a compelling documentary picture of life in Nazi Germany. Close readings of individual scenes are accompanied by a detailed analysis of their role within the play’s overall structure. Contrary to the assumption that it is a work of Aristotelian realism, Brecht is shown to employ covert alienation devices that are an integral part of his literary campaign against Third Reich Germany. This first study in English on the subject of Brecht and fascism offers a corrective to the over-concentration on the play’s artistic aspects. It FURCHT UND ELEND DES DRITTEN REICHES considers Brecht’s relationship to the Popular Front’s campaign against the National Socialist regime. Attention is paid to the play’s genesis, and, A German Exile Drama in the Struggle against Fascism in the case of The Private Life of the Master Race, to the partial shift from the Third Reich of 1933-38 to the war period predicted in the original Furcht und Elend cycle. The play’s central theme of resistance, its propaganda value, and its political and artistic reception are addressed within their historical and ideological framework. The result is a challenging assessment of the play’s strengths and limitations as a response to German totalitarianism. JOHN J. WHITE is Emeritus Professor of German and Comparative Literature at King’s College London, and ANN WHITE is Senior Lecturer in German at Royal Holloway, University of London. CAMDEN HOUSE Camden House 668 Mt.