By William Grange
Greater than mere leisure, German theater used to be a very important section of culture—often influencing society and politics in German-speaking countries—whose impact steadily reached a lot additional with the emergence of remarkable playwrights like Goethe, Schiller, Hauptmann, and Brecht, in addition to remarkable dramas corresponding to Faust and The Threepenny Opera.
The old Dictionary of German Theater covers the sphere of theater functionality within the German language, focusing on German-speaking Europe, via a chronology, an inventory of acronyms and abbreviations, an introductory essay, a bibliography, and a number of other hundred cross-referenced dictionary entries on major playwrights, administrators, manufacturers, designers, actors, performs, theaters, towns, dramatic genres, and hobbies similar to the Sturm und Drang, Naturalism, and Expressionism.
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Additional info for Historical Dictionary of German Theater (Historical Dictionaries of Literature and the Arts)
Sample text
Jürgen Fehling was the director most closely associated with Barlach, largely because both men shared what they perceived to be a North German sensibility; Fehling directed most Barlach premieres, usually at the Berlin State Theater. Joseph Goebbels admired Barlach’s sculptures and had a substantial collection until Hitler condemned them. The Nazi regime did not ban Barlach’s plays outright, but they were not produced during the Third Reich. A “Barlach revival” took place in Berlin during the late 1950s, with several productions staged at the Schiller Theater.
Angely’s comedies enjoyed singular popularity in Berlin during the 1820s and 1830s. They were essentially transformations from their French vaudeville prototypes into treatments situated within the distinctive linguistic, social, and geographical milieu of Berlin. In addition to writing more than 100 plays, Angely was also a well-known Berlin restaurateur, often premiering his plays at his culinary establishments. They included Sieben Mädchen in Uniform (Seven Girls in Uniform, 1825), Das Fest der Handwerker (The Workmens’ Festival, 1828), and Die Reise auf gemeinschaftlichen Kosten (The Trip on Shared Expenses, 1834).
Peymann’s production of Kaspar and Palitzsch’s premiere of Dorst’s Toller are invited to Theatertreffen. 1970 Stein, Peymann, and Dieter Sturm agree to reorganize Berlin’s Schaubühne am Halleschen Ufer, with Botho Strauss as dramaturg and Ganz, Jutta Lampe, and Michael König as core of acting company. East German regime bans Achim Freyer’s production of Goethe’s Clavigo. Peymann premieres Handke’s The Anxiety of the Goalie at the Penalty Kick. Müller granted position of dramaturg at Berliner Ensemble.