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Dyrektor teatru. Perspektywa niemiecka

100%

Prykowska-Michalak K.

Didaskalia. Gazeta Teatralna

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2020

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issue 155

1-25

EN

The phenomenon of the German theatre manager – the so-called intendant – is becoming a subject discussed at many levels, from typical academic discourse to media-catchy news about the scandals and abuses committed by this or that manager of a German theatre. These discourses propose a common diagnosis that the nearly century-old model of theatre management is no longer accepted now. My article presents the historical status of the theatre manager going back to the times of Goethe, contemporary studies and one of the most publicized cases in recent years, which involved Berlin’s Volksbühne. I also address the present situation of the Volksbühne in the context of the city’s cultural policy, audience surveys and the current problem of rising nationalist sentiment and its direct relation to theatre.

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Lothar Schreyer a sztuka sceniczna ekspresjonizmu

100%

Berghaus G., Lukas K.

Pamiętnik Teatralny

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2019

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issue 1(269)

22-37

EN

Expressionism as art movement was a primarily German phenomenon. The expressionist theatre begun and flourished in the Weimar Republic where the style lasted until about 1924, contributing to the rise of a truly modern form of dramatic art in Germany. The first example of expressionist drama was the play Mörder, Hoffnung der Frauen by the painter Oskar Kokoschka, who staged its Vienna première on 4 July 1909. Lothar Schreyer (1886–1966) chose another path of expressionism, grounded in mysticism and spirituality. While Kokoschka’s Viennese production was the work of an absolute theatrical outsider, Schreyer had a thorough professional education in this field. In 1916–1921, he devoted himself to the creation of a completely new form of scenic art and founded two theatre companies in which he could consistently pursue his utopian goals. Schreyer saw the theatre as a metaphysical institution that could give an insight into the harmony and magic of the cosmos, which would enable to distance oneself from “a past man”.

3

The Hamlet Project in Goethe’s Wilhelm Meister’s Years of Apprenticeship

58%

Kullmann T.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2017

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vol. 15

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issue 30

147-159

EN

Goethe’s novel Wilhelm Meister’s Apprenticeship, published in 1795, provides a fictional account of a theatrical production of Shakespeare’s Hamlet. Its initiator is young Wilhelm, whose experiences with this project, in the context of the novel, mark a decisive stage in his education and personal development; as well as, on another level, in the formation of a German national theatre, the mapping out of a theatrical space peculiar to the German national character. To realize his project Wilhelm has to negotiate with his manager and his fellow-actors; these negotiations can be considered reflections of the cultural aspirations and constraints prevalent late 18th-century Germany: – The project itself, as represented by Wilhelm, appears to be informed by a cultural movement towards emancipation from French culture: The character of Hamlet was interpreted as representing a role model for young Germans. – Informed by a theatrical practice based on French conventions, the manager objects to the lack of dramaturgical coherence of the Shakespeare play. As a compromise, Wilhelm composes an adapted version in which references to Wittenberg, Poland, France and England as well as several minor characters are cut, but the Hamlet scenes and speeches are retained. – Wilhelm and his friends also take account of German audiences’ preferences and capacities.The Hamlet project in Wilhelm Meister can be considered a case study of cultural appropriation. Shakespeare becomes a cultural import, used to define and map a cultural space for the German middle class, which in the nineteenth century set store by the quality of its educational make-up.

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1 Didaskalia. Gazeta Teatralna

1 Multicultural Shakespeare: Translation, Appropriation and Performance

1 Pamiętnik Teatralny

1 Berghaus G.

1 Kullmann T.

1 Lukas K.

1 Prykowska-Michalak K.

1 2020

1 2019

1 2017

Dyrektor teatru. Perspektywa niemiecka

Lothar Schreyer a sztuka sceniczna ekspresjonizmu

The Hamlet Project in Goethe’s Wilhelm Meister’s Years of Apprenticeship