DOCSLIB.ORG

A QUIET EVENING of DANCE by WILLIAM FORSYTHE Pääyhteistyökumppanit / Partners / Partners Sponsorit / Sponsors / Sponsorer Thu–Fri 22.–23.8

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A QUIET EVENING of DANCE by WILLIAM FORSYTHE Pääyhteistyökumppanit / Partners / Partners Sponsorit / Sponsors / Sponsorer Thu–Fri 22.–23.8 ©Bill Cooper #juhlaviikot #helsinkifestival The visit is produced in collaboration with Jane and Aatos Erkko Foundation and Dance House Helsinki. A Sadler´s Wells London Production JANE and AATOS ERKKO FOUNDATION A QUIET EVENING OF DANCE BY WILLIAM FORSYTHE Pääyhteistyökumppanit / Partners / Partners Sponsorit / Sponsors / Sponsorer Thu–Fri 22.–23.8. Finnish National Opera and ballet, Almi Hall PRODUCTION CREDITS Dancers: Brigel Gjoka, Jill Johnson, Christopher Roman (understudied by Brit Rodemund in Helsinki), Parvaneh Scharafali, Riley Watts, Rauf “RubberLegz“ Yasit, Ander Zabala Composer/Music: Morton Feldman, Nature Pieces from Piano No.1. From, First Recordings (1950s) – The Turfan Ensemble, Philipp Vandré © Mode (for Epilogue) A Sadler’s Wells London Production Composer/Music: Jean‐Philippe Rameau, Hippolyte et Aricie: Ritournelle, from A Quiet Evening of Dance Une Symphonie Imaginaire, Marc Minkowski & Les Musiciens du Louvre © 2005 By William Forsythe Deutsche Grammophon GmbH, Berlin (for Seventeen/Twenty One) and Lighting Design: Tanja Rühl and William Forsythe Brigel Gjoka, Jill Johnson, Christopher Roman, Parvaneh Scharafali, Riley Watts, Rauf “RubberLegz” Yasit and Ander Zabala. Costume Design: Dorothee Merg and William Forsythe Co-produced with Théâtre de la Ville, Paris; Théâtre du Châtelet, Paris; Festival d’Automne Sound Design: Niels Lanz à Paris; Festival Montpellier Danse 2019; Les Théâtres de la Ville de Luxembourg; The Shed, New York; Onassis Cultural Centre, Athens; deSingel international arts campus, Antwerp. For Sadler’s Wells Artistic Director & Chief Executive: Alistair Spalding CBE First performed at Sadler’s Wells London on 4 October 2018. Executive Producer: Suzanne Walker Head of Producing & Touring: Bia Oliveira Winner of the FEDORA - VAN CLEEF & ARPELS Prize for Ballet 2018. Senior Producer: Ghislaine Granger Producing & Touring Coordinator: Florent Trioux Marketing Manager: Daniel King Senior Press Manager: Caroline Ansdell Wardrobe Supervisor: Miwa Mitsuhashi Technical Team Production Manager: Adam Carrée Touring Production Manager: Bob Bagley & Zeynep Kepekli Production Electrician/Relighter: Gerald McDermott Head of sound: Simon Lambert © Dominik Mentzos William Forsythe RUNNING ORDER William Forsythe has been active in the field of Forsythe has been commissioned to produce archi- choreography for over 45 years. His work is acknow- tectural and performance installations. These Choreo- ACT 1 ledged for reorienting the practice of ballet from its graphic Objects, as he likes to call these works, have Duration: 45 minutes identification with classical repertoire to a dynamic been presented in numerous museums and exhibitions, 21st century art form. Forsythe’s deep interest in the including the Whitney Biennial (New York, 1997), the Prologue Dancers: fundamental principles of organisation has led him to Louvre Museum (2006), the Wexner Center for the Arts Parvaneh Scharafali & Ander Zabala produce a wide range of projects including installations, (Columbus, 2009), Tate Modern (London, 2009), MoMA films, and web based knowledge creation. (New York 2010) and the Venice Biennale (2005, 2009, Catalogue Dancers: Raised in New York and initially trained in Florida with 2012, 2014), the Biennale of Sydney (2016) and ICA Jill Johnson & Brit Rodemund Nolan Dingman and Christa Long, Forsythe danced with Boston (2018). the Joffrey Ballet and later the Stuttgart Ballet, where In collaboration with media specialists and educa- Epilogue Dancers: he was appointed resident choreographer in 1976. Over tors, Forsythe has developed new approaches to dance Jill Johnson, Parvaneh Scharafali, the next seven years, he created new works for the documentation, research, and education. His 1994 com- Rauf “RubberLegz” Yasit, Ander Zabala Stuttgart ensemble and other ballet companies world- puter application Improvisation Technologies: A Tool wide. In 1984, he began a 20-year tenure as director for the Analytical Dance Eye, developed with the ZKM Dialogue (DUO2015) Dancers: of the Ballet Frankfurt., where he created works such / Zentrum für Kunst und Medientechnologie Karlsruhe, Brigel Gjoka & Riley Watts as Artifact (1984), Impressing the Czar (1988), Limb’s is used as a teaching tool by professional companies, Theorem (1990), The Loss of Small Detail (1991), dance conservatories, universities, postgraduate archi- Interval Eidos:Telos (1995), Kammer/Kammer (2000) and tecture programs, and secondary schools worldwide. Decreation (2003). In 2002, Forsythe was chosen as one the founding After the closure of the Ballet Frankfurt in 2004, dance mentor for The Rolex Mentor and Protégé Arts ACT 2 Forsythe established a new, more independent Initiative. Forsythe is an honorary fellow at the Trinity Duration: 35 minutes ensemble, The Forsythe Company, which he directed Laban Conservatoire of Music and Dance in London and from 2005 to 2015. Works produced by this ensemble holds an honorary doctorate from The Juilliard School Seventeen / Twenty One Dancers: include Three Atmospheric Studies (2005), Human in New York. Forsythe is a current professor of dance Brigel Gjoka, Jill Johnson, Brit Rodemund, Parvaneh Scharafali, Writes (2005), Heterotopia (2006), I don’t believe in and artistic advisor for the Choreographic Institute at Riley Watts, Rauf “RubberLegz” Yasit, Ander Zabala outer space (2008) and Sider (2011). Forsythe’s most the University of Southern California Glorya Kaufman recent works were developed and performed exclusive- School of Dance. ly by The Forsythe Company, while his earlier pieces are prominently featured in the repertoire of virtually every major ballet company in the world. © ? Brigel Gjoka Jill Johnson ©Armand Habazaj Dancer Dancer Brigel Gjoka, choreographer teacher and professional He has choreographed Evo-Revolution for the Director of Dance, Founder/Artistic Director of the She is committed to the continued aims of artistic, stage dancer. Cannes Jeune Ballet (2009), the installation Front to Harvard Dance Project, Senior Lecturer in Theater, Dance academic and civic leadership at the Dance Center, Since January 2014 he has been Artistic Director of Confront with Leggere Strutture Company, supported by & Media, at Harvard University. Honors graduate of and engaging transdisciplinary research and collabo- the Art Factory International Bologna. Tonino Lamborghini (2012), SWTH for Maggio Danza Canada’s National Ballet School; a 34-year veteran ration that connects dance learning to wide-ranging His artistic work engagements have taken him Italy and RECRECiT for Kwang Tung Dance Company of the dance field Johnson choreographs for film, fields across campus. Johnson is a co-researcher around the world to more than 31 countries. Malaysia (2013). SYNC with Hector Solari for Staats- television and the stage; has danced in over 50 tours on the Mind/Brain/Behavior inter-faculty initiative, Brigel was born in Albania and trained in Tirana theater Passau and BMW (2013), Eksod with Leggere on 5 continents; was a soloist with the National Ballet Language of Large-scale Neural Networks in Experts with Ballet School 1997-2004. He was a member of Cannes Strutture Italy (2014) and Among Fog for National of Canada and a principal dancer in William Forsythe’s Professors Gigi Luk and Karl Szpunar, at Harvard. Jeune Ballet during his studies 2004- 06 at the Ecole Academy of Performing Arts Karachi (2015), where Frankfurt Ballet. Stages Forsythe’s work worldwide, Recent collaborations include those with the Harvard Superieure de Danse de Cannes-Mougins. he participated in the International Dance & Theater including for Paris Opera Ballet, La Scala, Batsheva Choruses, Boston Ballet, San Francisco Ballet, Nation- In 2006 he was engaged by the Ballet De L’opera Festival Karachi, and DELEGATET for the Theater Dance Company, Netherlands Dance Theater, and al Ballet School of Canada, Dries Van Noten and the National Du Rhin, where he had the opportunity to Vorpommern Germany (2016). American Ballet Theater; is a founding collaborator of Louvre Musee des Arts Decoratif, Eve Ensler, Ameri- perform different roles and work with choreographers September 2016 at the Philadelphia Museum of The Movement Invention Project in New York, and has can Repertory Theater, and Sadler’s Wells Theater in from the international dance scene. Wanting to expand Art, Museum as Score he performed DUO2015 from taught dance for two decades. She has served on the London. his vision, he joined Staatstheater Mainz in 2009 for W. Forsythe at the Eighth Annual Anne d’Harnoncourt faculty and choreographed work for Princeton Univer- one season, then joined the Nederlands Dans Theater Symposium. sity, Columbia University, The New School, the Juilliard in 2010. Since 2015 he is Artistic Curator of Albanian Institute School and NYU. She has created 13 new dance instal- In January 2011 he became a member of The New York and correspondent of the Institute in Berlin, lations and stage works at Harvard. Forsythe Company, where he participated in new Germany. creations by William Forsythe and also performed a As a lecturer and teacher, Gjoka has worked in Italy, wide range of Forsythe’s repertory until the closure of Switzerland, France, China, Denmark, Greece, Albania, the company in 2015. As a unique experience also in Germany, Malaysia, China, Singapore, Australia, and 2015, he was part of “Life in Progress,” the farewell Japan. He teaches dance and choreography work- world tour of Sylvie Guillem, travelling and performing shops based on his own work and inspired
Load more

Recommended publications
  • Gunter E. Grimm
    GUNTER E. GRIMM Faust-Opern Eine Skizze Vorblatt Publikation Erstpublikation Autor Prof. Dr. Gunter E. Grimm Universität Duisburg-Essen Fachbereich Geisteswissenschaften, Germanistik Lotharstr. 65 47057 Duisburg Emailadresse: [email protected] Homepage: <http://www.uni-duisburg-essen.de/germanistik/mitarbeiterdaten.php?pid=799> Empfohlene Zitierweise Beim Zitieren empfehlen wir hinter den Titel das Datum der Einstellung oder des letzten Updates und nach der URL-Angabe das Datum Ihres letzten Besuchs die- ser Online-Adresse anzugeben: Gunter E. Grimm: Faust Opern. Eine Skizze. In: Goethezeitportal. URL: http://www.goethezeitportal.de/fileadmin/PDF/db/wiss/goethe/faust-musikalisch_grimm.pdf GUNTER E. GRIMM: Faust-Opern. Eine Skizze. S. 2 von 20 Gunter E. Grimm Faust-Opern Eine Skizze Das Faust-Thema stellt ein hervorragendes Beispiel dar, wie ein Stoff, der den dominanten Normen seines Entstehungszeitalters entspricht, bei seiner Wande- rung durch verschiedene Epochen sich den jeweils herrschenden mentalen Para- digmen anpasst. Dabei verändert der ursprüngliche Stoff sowohl seinen Charakter als auch seine Aussage. Schaubild der Faust-Opern Die „Historia von Dr. Faust“ von 1587 entspricht ganz dem christlichen Geist der Epoche. Doktor Faust gilt als Inbegriff eines hybriden Gelehrten, der über das dem Menschen zugestandene Maß an Gelehrsamkeit und Erkenntnis hinausstrebt und zu diesem Zweck einen Pakt mit dem Teufel abschließt. Er wollte, wie es im Volksbuch heißt, „alle Gründ am Himmel vnd Erden erforschen / dann sein Für- GUNTER E. GRIMM: Faust-Opern. Eine Skizze. S. 3 von 20 witz / Freyheit vnd Leichtfertigkeit stache vnnd reitzte jhn also / daß er auff eine zeit etliche zäuberische vocabula / figuras / characteres vnd coniurationes / damit er den Teufel vor sich möchte fordern / ins Werck zusetzen / vnd zu probiern jm fürname.”1 Die „Historia“ mit ihrem schrecklichen Ende stellte eine dezidierte Warnung an diejenigen dar, die sich frevelhaft über die Religion erhoben.
    [Show full text]
  • "With His Blood He Wrote"
    :LWK+LV%ORRG+H:URWH )XQFWLRQVRIWKH3DFW0RWLILQ)DXVWLDQ/LWHUDWXUH 2OH-RKDQ+ROJHUQHV Thesis for the degree of philosophiae doctor (PhD) at the University of Bergen 'DWHRIGHIHQFH0D\ © Copyright Ole Johan Holgernes The material in this publication is protected by copyright law. Year: 2017 Title: “With his Blood he Wrote”. Functions of the Pact Motif in Faustian Literature. Author: Ole Johan Holgernes Print: AiT Bjerch AS / University of Bergen 3 Acknowledgements I would like to thank the following for their respective roles in the creation of this doctoral dissertation: Professor Anders Kristian Strand, my supervisor, who has guided this study from its initial stages to final product with a combination of encouraging friendliness, uncompromising severity and dedicated thoroughness. Professor Emeritus Frank Baron from the University of Kansas, who encouraged me and engaged in inspiring discussion regarding his own extensive Faustbook research. Eve Rosenhaft and Helga Muellneritsch from the University of Liverpool, who have provided erudite insights on recent theories of materiality of writing, sign and indexicality. Doctor Julian Reidy from the Mann archives in Zürich, with apologies for my criticism of some of his work, for sharing his insights into the overall structure of Thomas Mann’s Doktor Faustus, and for providing me with some sources that have been valuable to my work. Professor Erik Bjerck Hagen for help with updated Ibsen research, and for organizing the research group “History, Reception, Rhetoric”, which has provided a platform for presentations of works in progress. Professor Lars Sætre for his role in organizing the research school TBLR, for arranging a master class during the final phase of my work, and for friendly words of encouragement.
    [Show full text]
  • Faust: Ein Bildungsdrama Florian Breitkopf Washington University in St
    Washington University in St. Louis Washington University Open Scholarship All Theses and Dissertations (ETDs) 1-1-2011 Faust: Ein Bildungsdrama Florian Breitkopf Washington University in St. Louis Follow this and additional works at: https://openscholarship.wustl.edu/etd Recommended Citation Breitkopf, Florian, "Faust: Ein Bildungsdrama" (2011). All Theses and Dissertations (ETDs). 460. https://openscholarship.wustl.edu/etd/460 This Thesis is brought to you for free and open access by Washington University Open Scholarship. It has been accepted for inclusion in All Theses and Dissertations (ETDs) by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. WASHINGTON UNIVERSITY Department of Germanic Languages & Literatures FAUST: EIN BILDUNGSDRAMA DER BILDUNGSDISKURS DER GOETHEZEIT UND SEINE LITERARISCHE REFLEKTION IN JOHANN WOLFGANG GOETHES FAUST by Florian Dominik Breitkopf A thesis presented to the Graduate School of Arts and Sciences of Washington University in partial fulfillment of the requirements for the degree of Master of Arts May 2011 Saint Louis, Missouri copyright by Florian Dominik Breitkopf 2011 Meinem Vater, Helmut Anton Breitkopf. Gliederung 1. Einleitung und Zielsetzung............................................................................................1 2. Der Bildungsbegriff .....................................................................................................10 2.1. Einführung. Das Bildungsprojekt der Goethezeit .................................................10
    [Show full text]
  • Programmheft Nr
    FAUST 1 WERD ICH ZUM AUGENBLICKE SAGEN: VERWEILE DOCH! DU BIST SO SCHON! DANN MAGST DU MICH IN FESSELN SCHLAGEN, DANN WILL ICH GERN ZUGRUNDE GEHN! FAUST Der Tragödie erster Teil von Johann Wolfgang Goethe Faust JANNEK PETRI Mephistopheles HEISAM ABBAS Margarete KIM SCHNITZER Marthe Schwerdtlein LISA SCHLEGEL Valentin LUIS QUINTANA Wagner / Gretchens Mutter SVEN DANIEL BÜHLER Der Herr / Die Hexe / Lieschen MEIK VAN SEVEREN Faust 2-6 / Erdgeist / Bürger / Gesellen in ENSEMBLE Auerbachs Keller / Meerkatzen / Hexen in Walpurgisnacht Regie MICHAEL TALKE Bühne BARBARA STEINER Kostüme INGE MEDERT Musik JOHANNES MITTL Licht CHRISTOPH PÖSCHKO Dramaturgie ROLAND MARZINOWSKI Theaterpädagogik BENEDICT KÖMPF PREMIERE 28.9.17 KLEINES HAUS Aufführungsdauer 2 Stunden, keine Pause Regieassistenz SARAH STEINFELDER Bühnenbildassistenz ANNE HORNY Kostümas- sistenz ADÈLE LAVILLAUROY Soufflage HANS-PETER SCHENCK Inspizienz JULIKA VAN DEN BUSCH Regiehospitanz SANDER LYBEER, PAULINA ROSALIE MÜLLER Bühnenbild- hospitanz LEILA HASSAN POUR ALMANI Technische Direktion HARALD FASSLRINNER, RALF HASLINGER Bühne Kleines Haus HENDRIK BRÜGGEMANN, MORITZ HAUPTVOGEL, EDGAR LUGMAIR Leiter der Be- leuchtungsabteilung STEFAN WOINKE Leiter der Tonabteilung STEFAN RAEBEL Ton JAN FUCHS, DIETER SCHMIDT Leiterin der Requisite MEGAN ROLLER Requisite CLEMENS WIDMANN Werkstättenleiter GUIDO SCHNEITZ Konstrukteur EDUARD MOSER Malsaal- vorstand GIUSEPPE VIVA Leiter der Theaterplastiker LADISLAUS ZABAN Schreinerei ROUVEN BITSCH Schlosserei MARIO WEIMAR Polster- und Dekoabteilung UTE WIEN-
    [Show full text]
  • Reviewed Scott Dissertation Final
    MURDEROUS MOTHERS: FEMINIST VIOLENCE IN GERMAN LITERATURE AND FILM (1970-2000) Claire E. Scott A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill and Duke University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Carolina-Duke Graduate Program in German Studies. Chapel Hill 2017 Approved by: Kata Gellen Stefani Engelstein Richard Langston Priscilla Layne Inga Pollmann ©2017 Claire E. Scott ALL RIGHTS RESERVED ii ABSTRACT Claire E. Scott: Murderous Mothers: Feminist Violence in German Literature and Film (1970-2000) (Under the direction of Kata Gellen) This dissertation analyzes literary and filmic representations of violent mothers from late 20th-century Germany. It employs feminist theories of language and theories of the voice and the body in film to enhance close readings of texts in which female protagonists defy gendered expectations by perpetrating acts of aggression. Through an interplay between thematic violence and the transgression of aesthetic conventions, these works generate an imaginary of feminist violence that advances feminist politics. Highlighting this dynamic reveals female bodies and voices as important sites for working through both past and contemporary violence in the German context. In addition, this work has broader theoretical significance as an intermediary between feminist theories of language and materialist feminist theories. Instead of strategies for emancipation, these texts generate female subjectivities that are engaged, not in assertions of individuality, but in collective and collaborative storytelling practices. The first chapter considers Dea Loher’s Manhattan Medea (1999) and Christa Wolf’s Medea. Stimmen (1996). Both of these texts use the story of Medea to come to terms with a historical context in which the voices of outsiders are excluded.
    [Show full text]
  • HELLERAU Magazin #2 – 2019
    HELLERAU Magazin #2 – 2019 1 Editorial Liebe Besucher*innen und Freund*innen schichte zurückreicht: der Fall der Ber- von HELLERAU, liner Mauer 1989 und das Ende des Sozia- 2 Festival Appia Stage Reloaded lismus. Auch hier geht es immer wieder Texte und Interviews: Claudia Märzendorfer, HELLERAU startet mit dem Festival „Appia um einen neuen Blick auf die Ereignisse Ursula Sax, subject to_change Stage Reloaded“ in die Saison 2019/20. Die vor und nach 1989, die in den künstleri- Rekonstruktion der berühmten Experimen- schen Formaten insbesondere biografi- 10 Kreatur talbühne des Bühnenbildners Adolphe sche Geschichten ins Zentrum rücken. Sasha Waltz & Guests Appia und des Lichtkünstlers Alexander von HELLERAU arbeitet mit vielen freien Ensem- Salzmann bezieht sich auf eine Zeitenwende bles der Genre Musik, Theater, Tanz, Perfor- 11 Caída Del Cielo vor mehr als 100 Jahren, auf die Entstehung mance sowie in interdisziplinären Formen Rocío Molina der Moderne. HELLERAU hat in dieser Zeit zusammen. Jede der Künstler*innen und maßgeblich mitgespielt – als Gartenstadt, Companys entwickeln regional und interna- 12 Powerhouse mit den Deutschen Werkstätten Hellerau, tional Projekte, in denen das Publikum ganz Planningtorock mit seinem Festspielhaus, das die europäi- unterschiedlich beteiligt wird. Wir erleben sche Avantgarde anlockte, aber auch als immer wieder, wie neugierig Künstler*innen 13 Porträtkonzert kulturelle Bildungsanstalt mit dem selbstge- und Besucher*innen aufeinander zugehen. Aribert Reimann steckten Ziel, eine neue musikalisch-rhyth- Viele Kunstformate können sich heutzutage mische Schule zu entwickeln. ohne die aktive Beteiligung des Publikums 14 Festival 89/19 – Vorher/Nachher Wie weit zurück geht zeitgenössische gar nicht entwickeln – eine neue Qualität, die Texte und Interviews: Carsten „Erobique“ Meyer, Kunst, wie relevant ist sie für die Gegen- auf der künstlerischen Ebene einen Zustand Paul Pötsch, Lea Connert, wart und welche Impulse kann sie für die der Gesellschaft spiegelt.
    [Show full text]
  • EINE COMIC-ADAPTION VON GOETHES DRAMA Ilaria MELONI
    BAIG VII, febbraio 2014 FAUST DER TAXIFAHRER: EINE COMIC-ADAPTION VON GOETHES DRAMA Ilaria MELONI (Cagliari) 1. Einleitung Der Faust-Mythos, der seinen Ursprung in der historischen Figur des Zauberers Georg (Johann) Faust hat,1 ist weiterhin »unerschöpflich«, wie Hans Blumenberg in seiner Arbeit am Mythos betont.2 Dies zeigt sich über die Jahrhunderte hinweg nicht nur in den bereits berühmten literarischen Bearbeitungen, in den zahlreichen Bühnendarstellungen (von Marlowe und Goethe bis Thomas Mann, von Gounod bis Murnau, Sokurov und Strehler), sondern auch in den gegenwärtigen einzigartigen Auslegungen, wie jene von Ste- fano Ricci und Giovanni Forte (Serie: Wunderkammer Soap #2_faust, 2011), in der Faust in unsere multimediale Epoche versetzt ist und mit dem Teuflischen durch Fernsehen, Com- puter und Internet in Berührung kommt.3 Darüber hinaus bietet das legendäre Teufelsbündnis und vor allem Goethes Faust starken Anreiz für Comicautoren, wie Monika Schmitz-Emans in ihrem Buch Literatur- Comics. Adaptationen und Transformationen der Weltliteratur (2012, 296ff.) zeigt. Hier geht sie un- ter anderem auf die verschiedenen Transpositionen des Zeichners Osamu Tezuka ein, der der Tradition und dem Zeichenstil des Mangas entsprechend den populären Faust-Stoff »auf inhaltlich wie stilistisch sehr unterschiedliche Weisen«4 nacherzählt. Überdies befasst sich Schmitz-Emans mit der Faust-Bearbeitung von Christian Schieckel (1991), einer ge- zeichneten Theateraufführung von Goethes-Drama, die zeichnerisch »an Holzschnitte der Dürerzeit« erinnert,5
    [Show full text]
  • Goethe's Urfaust and the Enlightenment
    Goethe’s Urfaust and the Enlightenment: Gottsched, Welling and the “Turn to Magic” By Copyright 2014 James Michael Landes Submitted to the graduate degree program in Germanic Languages and Literatures and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Professor Leonie Marx ________________________________ Co-Chairperson Professor Frank Baron ________________________________ Professor Maria Carlson ________________________________ Professor William Keel ________________________________ Professor Per Øhrgaard Date Defended: 10 March 2014 The Dissertation Committee for James Michael Landes certifies that this is the approved version of the following dissertation: Goethe’s Urfaust and the Enlightenment: Gottsched, Welling and the “Turn to Magic” ________________________________ Chairperson Professor Leonie Marx ________________________________ Co-Chairperson Professor Frank Baron Date approved: 10 March 2014 ii Abstract The Urfaust, composed in the early 1770s, is the first draft of Johann Wolfgang von Goethe’s (1749-1832) masterpiece, Faust, Teil I (1808). While this early draft is relatively unexamined in its own right, an examination of this work in the context of its original creation offers insights into Goethe’s creative processes at the time in relation to the Enlightenment poetic debates of the eighteenth century, through which literary critics, such as J.C. Gottsched (1700-1766) attempted to define the rules by which poetic construction should operate. In examining the Urfaust, one can see how Goethe’s poetic aims transcended those of the Enlightenment debate, going far beyond the Enlightenment critics of Gottsched, such as J.J. Bodmer (1698-1783) and J.J. Breitinger (1701-1776) in making the case for additional room for the fantastic in poetic construction.
    [Show full text]
  • Goethe's Faust II 93 VII
    Goethe’s Faust COLLEGE OF ARTS AND SCIENCES ImUNCI Germanic and Slavic Languages and Literatures From 1949 to 2004, UNC Press and the UNC Department of Germanic & Slavic Languages and Literatures published the UNC Studies in the Germanic Languages and Literatures series. Monographs, anthologies, and critical editions in the series covered an array of topics including medieval and modern literature, theater, linguistics, philology, onomastics, and the history of ideas. Through the generous support of the National Endowment for the Humanities and the Andrew W. Mellon Foundation, books in the series have been reissued in new paperback and open access digital editions. For a complete list of books visit www.uncpress.org. Goethe’s Faust Seven Essays alan p. cottrell with a preface by ernst behler UNC Studies in the Germanic Languages and Literatures Number 86 Copyright © 1976 This work is licensed under a Creative Commons cc by-nc-nd license. To view a copy of the license, visit http://creativecommons. org/licenses. Suggested citation: Cottrell, Alan P.Goethe’s Faust: Seven Essays. Chap- el Hill: University of North Carolina Press, 1976. doi: https://doi. org/10.5149/9781469657226_Cottrell Library of Congress Cataloging-in-Publication Data Names: Cottrell, Alan P. Title: Goethe’s Faust : seven essays / by Alan P. Cottrell. Other titles: University of North Carolina Studies in the Germanic Languages and Literatures ; no. 86. Description: Chapel Hill : University of North Carolina Press, [1976] Series: University of North Carolina Studies in the Germanic Languages and Literatures. | Includes bibliographical references. Identifiers: lccn 75-46540 | isbn 978-1-4696-5721-9 (pbk: alk.
    [Show full text]
  • Annuß Elfriede Jelinek – Theater Des Nachlebens
    Annuß Elfriede Jelinek – Theater des Nachlebens Evelyn Annuß Elfriede Jelinek – Theater des Nachlebens Wilhelm Fink Verlag Gedruckt mit Unterstützung der Deutschen Forschungsgemeinschaft und mit Hilfe der Geschwister Boehringer Ingelheim Stiftung für Geisteswissenschaften in Ingelheim am Rhein Umschlagabbildung: „Ein Fest für Elfriede Jelinek“, Burgtheater, 10. Dezember 2004 anlässlich der Nobelpreisverleihung (Ausschnitt) Copyright: Rheinhard Werner, Wien Covergestaltung: Oliver Brentzel (dotcombinat, Berlin) und Evelyn Annuß Bibliografische Information Der Deutschen Bibliothek Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.ddb.de abrufbar. Gedruckt auf umweltfreundlichem, chlorfrei gebleichtem und alterungsbeständigem Papier ࠗ∞ ISO 9706 Alle Rechte, auch die des auszugsweisen Nachdrucks, der fotomechanischen Wiedergabe und der Übersetzung, vorbehalten. Dies betrifft auch die Vervielfältigung und Übertragung einzelner Textabschnitte, Zeichnungen oder Bilder durch alle Verfahren wie Speicherung und Übertragung auf Papier, Transparente, Filme, Bänder, Platten und andere Medien, soweit es nicht §§ 53 und 54 URG ausdrücklich gestatten. © 2005 Wilhelm Fink Verlag, München (Wilhelm Fink GmbH & Co. Verlags-KG, Jühenplatz 1, D-33098 Paderborn) www.fink.de Herstellung: Ferdinand Schöningh GmbH & Co. KG, Paderborn ISBN 3-7705-4207-X INHALT EINLEITUNG .................................................................................
    [Show full text]
  • Press Release
    PRESS RELEASE Munich dance biennale DANCE announces the festival program 2017 15th international festival of contemporary dance of the City of Munich from May 11 to 21, 2017 Munich. January 19, 2017 - The program of the international DANCE festival 2017 was presented at the press conference today in Munich by the director of the City of Munich's Department of Arts and Culture Dr. Hans-Georg Küppers and festival director Nina Hümpel. The fifteenth edition of the festival, which takes place every two years, features numerous world premieres, a focus on productions of the young art scene in Montreal, and also new works by international stars in contemporary dance such as Richard Siegal, Wim Vandekeybus, Trajal Harrell, VA Wölfl, Sharon Eyal, and Emanuel Gat. The eleven festival days are packed with around twenty productions, including six world premieres and six German premieres. Choreographers and artists from Canada to China have been invited to Munich to show their works in over 130 performances at renowned venues throughout the city of Munich. "This is the third time Nina Hümpel has organized the DANCE festival, which is dedicated to the fragile art of dance. She has succeeded once again in providing the audience with snapshots of the international state of the dance field. At the same time she shines a spotlight on lines that have emerged over the last several years. This is how I imagine an international dance festival in the city should be: that it draws our attention to what's new and unexpected, and simultaneously presents well-known artists and their developments," says Dr.
    [Show full text]
  • Workshops & Research
    WORKSHOPS & RESEARCH 19 JULY - 15 AUGUST 2015 Workshops in Contemporary Dance and Bodywork for all levels from beginners to professional dancers. Seven phases which can be attended independently from each other (each week- workshop: 1 class per day, each intensive-workshop: 2 classes per day) «impressions'15»: 19 July ! Week1: 20 - 24 July Intensive1: 25 + 26 July Week2: 27 July - 31 July ! Intensive2: 01 + 02 August! Week3: 03 - 07 August! Intensive3: 08 + 09 August! Week4: 19 - 14 August ! «expressions'15»: 15 August Index 3 Artists listed by departments 4 - 134 All workshop descriptions listed by artists 135 - 146 All Field Project descriptions listed by artists 146 - 148 Pro Series descriptions listed by artists 2 AMERICAN EUROPEAN CONTEMPORARY Conny Aitzetmueller | Kristina Alleyne | Sadé Alleyne | Amadour Btissame | Laura Arís | Iñaki Azpillaga | Susanne Bentley | Nicole Berndt-Caccivio | Andrea Boll | Bruno Caverna | Marta Coronado | Frey Faust | David Hernandez | Florentina Holzinger | Peter Jasko | German Jauregui | Kira Kirsch | Clint Lutes | Simon Mayer | Rasmus Ölme | Sabine Parzer | Francesco Scavetta | Rakesh Sukesh | Samantha Van Wissen | Angélique Willkie | Hagit Yakira | David Zambrano IMPROVISATION Eleanor Bauer | Susanne Bentley | David Bloom | Alice Chauchat | DD Dorvillier | Defne Erdur | Alix Eynaudi | Jared Gradinger | Miguel Gutierrez | Andrew de Lotbinière Harwood | David Hernandez | Keith Hennessy | Claudia Heu | Jassem Hindi | Inge Kaindlstorfer | Jennifer Lacey | Benoît Lachambre | Charmaine LeBlanc | Pia Lindy
    [Show full text]