In Ternational Fe Uchtwanger So Ciety
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Egon Friedell Danken
Danksagung Da es ohne ihn diese Arbeit in der Form nicht gegeben hätte, möchte ich posthum dem herausragenden Feuilletonisten Egon Friedell danken. Er sah in allem Philosophie und Kultur und verstand es, das Leben dadurch reicher zu machen. Dank gilt auch lebendigen Kulturmenschen wie meinen Betreuern Hansjürgen Rosenbauer und Manfred Eichel, die selbst einen großen Beitrag zu gutem Journalismus geleistet haben. Vielen Dank an Tom Lamberty von Merve, Nils Minkmar von der FAZ und dem Kulturzeit-Team mit ihrem Chef Armin Conrad für ihre Einschätzungen zum Feuilleton von heute. Ich danke Gunter Reus für seine Feuilleton-Expertise und Robert Eberhard für sein Bestreben, mit seinem Salon mehr Kultur in unser Leben zu bringen. Besonders sei auch die 3-Sat-Cutterin Heike Müller hervorgehoben, die sich freiwillig die Nächte mit mir um die Ohren geschlagen hat, um meine Vorstellungen umzusetzen. Besonders danke ich meinem Vater, meiner Mutter und meiner Großmutter dafür, dass sie mir das Masterstudium ermöglicht haben. Der FAZ-Stiftung FAZIT danke ich dafür, dass sie mich während der ganzen Zeit mit einem Stipendium unterstützt hat. Eidesstattliche Erklärung Ich versichere, dass ich die Masterarbeit und das zugehörige Werkstück selbstständig verfasst, keine anderen als die angegebenen Quellen und Hilfsmittel benutzt und mich auch sonst keiner unerlaubten Hilfe bedient habe. Ich habe diese Arbeit und dieses Masterthema bisher weder im In-, noch im Ausland zur Begutachtung in irgendeiner Form vorgelegt. ____________________ _____________________ Datum, Ort Unterschrift Gliederung Hinführung zum Thema: Das Feuilleton 1. Einführung .................................................................................. 1 1.1 Zur Lage des Feuilletons ................................................................ 1 1.2 Begrenzung des Themengebietes, Vorgehensweise und Methodik .............. 3 2. Was ist das Feuilleton? ................................................................. -
German Operetta on Broadway and in the West End, 1900–1940
Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 26 Sep 2021 at 08:28:39, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/2CC6B5497775D1B3DC60C36C9801E6B4 German Operetta on Broadway and in the West End, 1900–1940 Academic attention has focused on America’sinfluence on European stage works, and yet dozens of operettas from Austria and Germany were produced on Broadway and in the West End, and their impact on the musical life of the early twentieth century is undeniable. In this ground-breaking book, Derek B. Scott examines the cultural transfer of operetta from the German stage to Britain and the USA and offers a historical and critical survey of these operettas and their music. In the period 1900–1940, over sixty operettas were produced in the West End, and over seventy on Broadway. A study of these stage works is important for the light they shine on a variety of social topics of the period – from modernity and gender relations to new technology and new media – and these are investigated in the individual chapters. This book is also available as Open Access on Cambridge Core at doi.org/10.1017/9781108614306. derek b. scott is Professor of Critical Musicology at the University of Leeds. -
Oscar Straus Beiträge Zur Annäherung an Einen Zu Unrecht Vergessenen
Fedora Wesseler, Stefan Schmidl (Hg.), Oscar Straus Beiträge zur Annäherung an einen zu Unrecht Vergessenen Amsterdam 2017 © 2017 die Autorinnen und Autoren Diese Publikation ist unter der DOI-Nummer 10.13140/RG.2.2.29695.00168 verzeichnet Inhalt Vorwort Fedora Wesseler (Paris), Stefan Schmidl (Wien) ......................................................................5 Avant-propos Fedora Wesseler (Paris), Stefan Schmidl (Wien) ......................................................................7 Wien-Berlin-Paris-Hollywood-Bad Ischl Urbane Kontexte 1900-1950 Susana Zapke (Wien) ................................................................................................................ 9 Von den Nibelungen bis zu Cleopatra Oscar Straus – ein deutscher Offenbach? Peter P. Pachl (Berlin) ............................................................................................................. 13 Oscar Straus, das „Überbrettl“ und Arnold Schönberg Margareta Saary (Wien) .......................................................................................................... 27 Burlesk, ideologiekritisch, destruktiv Die lustigen Nibelungen von Oscar Straus und Fritz Oliven (Rideamus) Erich Wolfgang Partsch† (Wien) ............................................................................................ 48 Oscar Straus – Walzerträume Fritz Schweiger (Salzburg) ..................................................................................................... 54 „Vm. bei Oscar Straus. Er spielte mir den tapferen Cassian vor; -
The Plays in Translation
The Plays in Translation Almost all the Hauptmann plays discussed in this book exist in more or less acceptable English translations, though some are more easily available than others. Most of his plays up to 1925 are contained in Ludwig Lewisohn's 'authorized edition' of the Dramatic Works, in translations by different hands: its nine volumes appeared between 1912 and 1929 (New York: B.W. Huebsch; and London: M. Secker). Some of the translations in the Dramatic Works had been published separately beforehand or have been reprinted since: examples are Mary Morison's fine renderings of Lonely Lives (1898) and The Weavers (1899), and Charles Henry Meltzer's dated attempts at Hannele (1908) and The Sunken Bell (1899). More recent collections are Five Plays, translated by Theodore H. Lustig with an introduction by John Gassner (New York: Bantam, 1961), which includes The Beaver Coat, Drayman Henschel, Hannele, Rose Bernd and The Weavers; and Gerhart Hauptmann: Three Plays, translated by Horst Frenz and Miles Waggoner (New York: Ungar, 1951, 1980), which contains 150 The Plays in Translation renderings into not very idiomatic English of The Weavers, Hannele and The Beaver Coat. Recent translations are Peter Bauland's Be/ore Daybreak (Chapel HilI: University of North Carolina Press, 1978), which tends to 'improve' on the original, and Frank Marcus's The Weavers (London: Methuen, 1980, 1983), a straightforward rendering with little or no attempt to convey the linguistic range of the original. Wedekind's Spring Awakening can be read in two lively modem translations, one made by Tom Osbom for the Royal Court Theatre in 1963 (London: Calder and Boyars, 1969, 1977), the other by Edward Bond (London: Methuen, 1980). -
INFORMATION Id ISSUED by the ASSOCIATION of JEWISH REFUGEES in GREAT BRITAIN S 8
.953 VoL VIII No. 2 FEBRUARY, 1953 INFORMATION Id ISSUED BY THE ASSOCIATION OF JEWISH REFUGEES IN GREAT BRITAIN s 8. FAIRFAX MANSIONS, FINCHLEY ROAD ( fAiRpAx^'loAo ) LONDON, N.W.3 It Otpee end Cantulting Hourt : 10 a.m.—I p.m.. Ip.m. Sunday 10 a.ni.— I p.m. Te'eehone . MAIda ViU 9396/7 (General OWce) MAIda V.l» «*4° lEmplovm.nt Afency) Q WTien, in 1941, I was in the Soviet Hard Labour Camp, Onega, near Archangel, I met POISON FROM MOSCOW a 70-year-old Jew from the Bukovina who (.'V January 13, Moscow Radio broad- position to murder sick men under their care. had been sentenced to 10 5^ears' hard labour (.„ ^" 24 languages a surprising official And they are said to have committed these by the Soviet Occupation Authorities only ^niunique of the So\-iet TASS agency. shameful deeds on the orders of " the because he had been the chairman of the pL ^^."^ording to the statement, nine Soviet ' Joint ' —• the international bourgeois Zionist Keren Hayesod in pre-war Rumania. kin '^^' ^^ "^^ them professors, have been nationalist organisation," as the Soviet com ih^^ °r trying to poison the highest person- munique put it. In another part of the Soviet The Bolshevik Doctrine ^^s among the Sovdet ruling class. They statement the " Joint " is described as " a In their pre-revolution times the Bol gedly succeeded in killing two mighty terrorist-espionage organisation which gave sheviks, including Lenin and Stalin person Star '^^ ^^^ Kremlin : Andrei Zhdanov, the directive to exterminate the leading ally, had been engaged in a bitter struggle kov''^^ closest collaborator, and A. -
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Volkswirtschaft und Theater: Ernst und Spiel, Brotarbeit und Zirkus, planmäßige Geschäftigkeit und Geschäftlichkeit und auf der anderen Seite Unterhaltung und Vergnügen! Und doch hat eine jahrhundertelange Entwicklung ein Band, beinahe eine Kette zwischen beiden geschaffen, gehämmert und geschmiedet. Max Epstein1 The public has for so long seen theatrical amusements carried on as an industry, instead of as an art, that the disadvantage of apply- ing commercialism to creative work escapes comment, as it were, by right of custom. William Poel2 4. Theatergeschäft Theater als Geschäft – das scheint heute zumindest in Deutschland, wo fast alle Theater vom Staat subventioniert werden, ein Widerspruch zu sein. Doch schon um 1900 waren für die meisten deutschen Intellektuellen Geschäft und Theater, Kunst und Kommerz unvereinbare Gegensätze. Selbst für jemanden, der so inten- siv und über lange Jahre hinweg als Unternehmer, Anwalt und Journalist mit dem Geschäftstheater verbunden war wie Max Epstein, schlossen sie einander letztlich aus. Obwohl er lange gut am Theater verdient hatte, kam er kurz vor dem Ersten Weltkrieg zu dem Schluss: „Das Theatergeschäft hat die Bühnenkunst ruiniert“.3 In Großbritannien hingegen, wo Theater seit der Zeit Shakespeares als private, kommerzielle Unternehmen geführt wurden, war es völlig selbstverständlich, im Theater eine Industrie zu sehen. Der Schauspieler, Direktor und Dramatiker Wil- liam Poel bezeugte diese Haltung und war zugleich einer der ganz wenigen, der sie kritisierte. Wie auch immer man den Prozess bewertete, Tatsache war, dass Theater in der Zeit der langen Jahrhundertwende in London wie in Berlin überwiegend kom- merziell angeboten wurde. Zwar gilt dies teilweise bereits für die frühe Neuzeit, erst im Laufe des 19. -
Walt Whitman
CONSTRUCTING THE GERMAN WALT WHITMAN CONSTRUCTING THE GERMAN Walt Whitman BY WALTER GRUNZWEIG UNIVERSITY OF IOWA PRESS 1!11 IOWA CITY University oflowa Press, Iowa City 52242 Copyright © 1995 by the University of Iowa Press All rights reserved Printed in the United States of America Design by Richard Hendel No part of this book may be reproduced or used in any form or by any means, electronic or mechanical, including photocopying and recording, without permission in writing from the publisher. Printed on acid-free paper Library of Congress Cataloging-in-Publication Data Gri.inzweig, Walter. Constructing the German Walt Whitman I by Walter Gri.inzweig. p. em. Includes bibliographical references (p. ) and index. ISBN 0-87745-481-7 (cloth), ISBN 0-87745-482-5 (paper) 1. Whitman, Walt, 1819-1892-Appreciation-Europe, German-speaking. 2. Whitman, Walt, 1819-1892- Criticism and interpretation-History. 3. Criticism Europe, German-speaking-History. I. Title. PS3238.G78 1994 94-30024 8n' .3-dc2o CIP 01 00 99 98 97 96 95 c 5 4 3 2 1 01 00 99 98 97 96 95 p 5 4 3 2 1 To my brother WERNER, another Whitmanite CONTENTS Acknowledgments, ix Abbreviations, xi Introduction, 1 TRANSLATIONS 1. Ferdinand Freiligrath, Adolf Strodtmann, and Ernst Otto Hopp, 11 2. Karl Knortz and Thomas William Rolleston, 20 3· Johannes Schlaf, 32 4· Karl Federn and Wilhelm Scholermann, 43 5· Franz Blei, 50 6. Gustav Landauer, 52 7· Max Hayek, 57 8. Hans Reisiger, 63 9. Translations after World War II, 69 CREATIVE RECEPTION 10. Whitman in German Literature, 77 11. -
Theodor-Wolff-Preis
Umschlag_TWP_2018.qxp_2016 14.06.18 10:29 Seite 1 Theodor-Wolff-Preis Journalistenpreis der deutschen Zeitungen Die nominierten Beiträge 2018 Haben Sie ein #Meisterstück gelesen oder sogar geschrieben? Posten oder twittern Sie besonders gute Zeitungsartikel unter #Meisterstück und setzen Sie damit ein Zeichen für herausragenden Journalismus! #Meisterstück ist eine gemeinsame Initiative von BDZV und dem Journalistenpreis der deutschen Zeitungen – Theodor-Wolff-Preis. www.bdzv.de/meisterstueck Theodor-Wolff-Preis 2018 Journalistenpreis der deutschen Zeitungen Preisträger 2018 Berlin 2018 Vorwort Gleichsam nackt lagen die für den Theodor-Wolff-Preis eingereichten Texte in hohen Stapeln vor unseren neun Juroren: Ohne die Bilder, ohne das Layout, ohne jeden typographischen optischen Schmuck, der sie einst beim Erscheinen auf den Seiten und Webseiten der deutschen Tageszeitungen geziert hatte. Nur noch Text waren sie, aus Gründen der Neutralität und Vergleichbarkeit rückver- wandelt in die Urform, die sie vor ihrem Erscheinen in den Redaktionen hatten. Nur noch Text? Nur? Wieder und wieder spürten die Juroren des nach Theodor Wolff (1868-1943), dem Chefredakteur des legendären Berliner Tageblatts, be- nannten wichtigsten Journalistenpreises der deutschen Tagespresse die Kraft, ja die Magie, die einen wirklich guten Texte auszeichnet. Wir lesen Buchstaben, erschließen uns Worte – und diese erreichen schon in den ersten Zeilen unseren Kopf und unser Herz gleichermaßen. Sie saugen uns in ihr Thema, erschließen uns, wo immer wir auch sind, ein neues Terrain, führen uns in eine andere, oft auch neue Welt. Wenn Texte gut sind, vergessen wir Zeit und Raum. Wir lesen nur noch, sind Reisende, Genießende, Lernende. Unsere Juroren sind allesamt hauptberufliche Text-Experten, haben täglich mit bemerkenswerten Texten zu tun. -
INTERDISCIPLINARY JOURNAL of DECADENCE STUDIES Volume 2
INTERDISCIPLINARY JOURNAL OF DECADENCE STUDIES Volume 2, Issue 1 Spring 2019 Gertrud Eysoldt and the Persistence of Decadence on the German Avant-Garde Stage Yvonne Ivory ISSN: 2515-0073 Date of Acceptance: 30 May 2019 Date of Publication: 21 June 2019 Citation: Yvonne Ivory, ‘Gertrud Eysoldt and the Persistence of Decadence on the German Avant-Garde Stage’, Volupté: Interdisciplinary Journal of Decadence Studies, 2.1 (2019), 16-38. volupte.gold.ac.uk This work is licensed under a Creative Commons Attribution- ShareAlike 4.0 International License. Gertrud Eysoldt and the Persistence of Decadence on the German Avant-Garde Stage Yvonne Ivory University of South Carolina In October 1901, Max Reinhardt’s avant-garde Berlin cabaret ‘Schall und Rauch’ [‘Sound and Smoke’] added to its line-up a new skit entitled ‘Die Dekadenten’ [‘The Decadents’].1 The piece was based on a parody of Decadent and Aestheticist sensibilities that had appeared in 1898 in the magazine Jugend [see Fig. 1]. In it, two young men lounge in a fin-de-siècle café, smoking, drinking absinthe ‘the way Verlaine used to’, and discussing the effects of specific colours on their nerves. After basking in the notion of a blue house with a green roof lit from within by a cadmium- yellow flickering light, the two barely escape dying of ‘an excess of bliss’ by getting up and leaving the café, carrying on their shoulders ‘the great weariness of the declining century’.2 The clichéd, overwrought Decadence of this 1898 vignette clearly still has traction in October 1901, as can be seen in a magazine illustration of Reinhardt’s ‘Schall und Rauch’ version [see Fig. -
INFORMATION ISSUED Br the ASSOCIATION of JEWISH REFUGEES in GREAT BRITAIN 8
Vol. IV. No. 2 FEBRUARY 1949 INFORMATION ISSUED Br THE ASSOCIATION OF JEWISH REFUGEES IN GREAT BRITAIN 8. FAIRFAX MANSIONS, LONDON. N.W.S OtPce tni CmnWnf Hmrt: 10 e.ni.—I p.m., 3—( p.ili., Sundigr 10 e.m.—I p.m. Teie^lMne: MAId* Vel* Mti FAREWELL TO A FRIEND EWISH lil'e in this country will be poorer by the ASSETS AND LIABILITIES Jdeparture for Israel of Mr. S. .\dler-Rudel. The .\JR has added reason to regret his emigration. In the first month of the Civil Year it is of full employment. Whenever, for one He belonged to the small circle of those who initiated customary to check one's assets and to draw reason or another, political tension should the foundation of this organisation, to which he the conclusions from the results of stocktaking. grow, we, being foreigners and Jews at the served as an Executive Member and, since 1945, as As far as the administration of the .\JR is same time, would be amongst the most suit the Vice-Chairman. When he Uved in Germany—he concerned, it has been gratifying to find out able scapegoats. No Trade Union would wind likes to describe this period of his life as the first that the strength of the organisation is prac phase of his refugeedom—he belonged to that up its activities when it has achieved a generation of Jewish social workers who laid the tically unchanged. Where there were losses, favourable labour agreement—each of its foundations for a wider and stronger basis of con mainly by death or re-emigration, they were members knows that, at any moment, the structive Jewish social work. -
THE STRANGE and the FAMILIAR SHAKESPEARE AS a POINT of ANGLO-GERMANIC CULTURAL EXCHANGE a Thesis Presented to Th
THE STRANGE AND THE FAMILIAR SHAKESPEARE AS A POINT OF ANGLO-GERMANIC CULTURAL EXCHANGE _______________ A Thesis Presented to The Faculty of the Department of the School of Theatre and Dance University of Houston _______________ In Partial Fulfillment Of the Requirements for the Degree of Master of Arts _______________ By Elizabeth Tyrrell Woolbert May, 2015 THE STRANGE AND THE FAMILIAR SHAKESPEARE AS A POINT OF ANGLO-GERMANIC CULTURAL EXCHANGE _______________ An Abstract of a Thesis Presented to The Faculty of the Department of the School of Theatre and Dance University of Houston _______________ In Partial Fulfillment Of the Requirements for the Degree of Master of Arts _______________ By Elizabeth Tyrrell Woolbert May, 2015 ABSTRACT One way of approaching an argumentative, academic essay is to conceive of two parts: a site, or subject of examination, and a lens, the context or paradigm in which the scholar examines that subject. This thesis illustrates the process by which the works of William Shakespeare have functioned as both, specifically in England and Germany over a period of two hundred years, from the late eighteenth century to the late twentieth. After a difficult initiation into the German-speaking world and heavy resistance from proponents of French Neoclassicism, Shakespeare became an indispensable part of the German literary and theatrical worlds. This was due in part to German writers’ construction of Shakespeare in terms more palatable to their countrymen, terms that grew to represent not just an aesthetic sensibility but part of the German character itself. A century later, Shakespeare was an unshakable pillar of the German canon and a favored resource for the experimental producer-director Max Reinhardt. -
"Oskar Blumenthal and the Lessing Theater in Berlin, 1888-1904" William Grange Prof
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications and Creative Activity, School Theatre and Film, Johnny Carson School of of Theatre and Film 2004 "Oskar Blumenthal and the Lessing Theater in Berlin, 1888-1904" William Grange Prof. Dr. University of Nebraska, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/theatrefacpub Part of the German Language and Literature Commons, and the Theatre History Commons Grange, William Prof. Dr., ""Oskar Blumenthal and the Lessing Theater in Berlin, 1888-1904"" (2004). Faculty Publications and Creative Activity, School of Theatre and Film. 11. http://digitalcommons.unl.edu/theatrefacpub/11 This Article is brought to you for free and open access by the Theatre and Film, Johnny Carson School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications and Creative Activity, School of Theatre and Film by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Oskar Blumenthal and the Lessing Theater in Berlin, 1888-1904 William Grange University of Nebraska Lincoln, Nebraska USA 2 Abstract Oskar Blumenthal (1852-1917) was Berlin’s most feared theatre critic in the early years of the new German Reich. He had the audacity of referring to Goethe as “an egghead” who had no understanding of what made plays effective for audiences, and in other critiques he ridiculed Kleist, Hebbel, and other “important” playwrights—prompting an adversary publicly to call him a “one-man lynch mob.” In the 1880s Blumenthal himself began writing plays, and he was so successful that many self-appointed cultural guardians accused him of damaging the German theatre beyond repair.