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A classic of the German stage adapted as a monologue. Though written in 1837 Woyzeck is widely regarded as the first Expressionist play due to its splintered and fragmentary nature. Here it is presented in a new form.
'Everyone's an abyss. You get dizzy if you look down.' -- Woyzeck Georg Büchner’s Woyzeck was left unfinished at the time of its author’s death in 1837, but the play is now widely recognised as the first ‘modern’ drama in the history of European theatre. Its fragmentary form and critical socio-political content have had a lasting influence on artists, readers and audiences to this day. The abuse, exploitation, and disenfranchisement that Woyzeck’s titular protagonist endures find their mirror in his own murderous outburst. But beyond that, they also echo in the flux and confusion of the various drafts and versions in which the play has been presented since its emergence. In this fresh engagement with a modern classic, Gritzner examines the revolutionary dimensions of Büchner’s political and creative practice, as well as modern approaches to the play in performance.
This is the first extensive survey and analysis of the criticism of Woyzeck from the nineteenth century to the present."--BOOK JACKET.
Collected in this volume are dramas and psychological fiction by the nineteenth-century iconoclast. Also included are selections from Buchner's letters and philosophical writings.
This is your rhetoric translated. These wretches, these executioners, the guillotine are your speeches come to life. You have built your doctrines out of human heads... Why should an event that transforms the whole of humanity not advance through blood? 1794: the French Revolution reaches its climax. After a series of bloody purges the life-loving, volatile Danton is tormented by his part in the killing. His political rival, the driven, ascetic Robespierre, decides Danton's fate. A titanic struggle begins. Once friends who wanted to change the world, now one stands for compromise the other for ideological purity as the guillotine awaits. A revolutionary himself, George Büchner was 21 when he wrote the play in 1835, while hiding from the police. With its hair-raising on-rush of scenes and vivid dramatisation of complex, visionary characters, Danton's Death has a claim to be the greatest political tragedy ever written. In his newly-revised translation, Howard Brenton captures Büchner's exhilarating energy as Danton struggles to avoid his inexorable fall.
Dramatist Georg Buchner was a qualified medical doctor, primarily a neurologist, fascinated by psychiatry, then in its infancy. This study evaluates Buchner's portrayal of insanity in relation to the medical opinion of his time, and to contemporaneous literary treatments of the same subject in German. It provides a wide range of documentary evidence unfamiliar to literary scholars to reveal the full originality and accuracy of Buchner's insights.
Georg Büchner: Contemporary Perspectives examines the continuing relevance of Büchner in the early twenty-first century in terms of politics, science, philosophy, aesthetics, cultural studies and performance studies. It situates Büchner’s interdisciplinary work in relation to the philosophical, scientific and religious discourses of his time, while also investigating the ways in which Büchner’s intersectional writings anticipated – sometimes uncannily – questions and problems which were to become central concerns in modernism and after. The nineteen essays in the book, some in English and some in German, uniquely combine close readings of individual passages and images with wide-ranging intertextual comparisons, linking Büchner to more than twenty-five writers, thinkers and theoreticians from his time and ours. Der Band Georg Büchner: Contemporary Perspectives beschäftigt sich mit Büchners anhaltender Aktualität in den Bereichen Politik, Naturwissenschaft, Philosophie, Ästhetik, Kulturwissenschaft und Theater. Er setzt Büchners interdisziplinäres Werk in Beziehung zu den philosophischen, naturwissenschaftlichen und religiösen Themen seiner Zeit, untersucht aber auch wie sein Schreiben auf manchmal verblüffende Weise Fragen und Probleme vorwegnimmt, die für die Moderne und die Nachmoderne bis zum heutigen Tag zentral werden sollten. Die neunzehn, teils auf Englisch, teils auf Deutsch verfassten Beiträge zeichnen sich dadurch aus, dass sie eingehende Einzelinterpretationen bestimmter Werkstellen mit weitreichenden intertextuellen Bezügen zu mehr als 25 SchriftstellerInnen, KünstlerInnen, DenkerInnen, und TheoretikerInnen verbinden.
Blijspel over twee koningskinderen die het hun opgelegde huwelijk ontvluchten.
"When Dora's parents release her from her tranquillisers, they're not prepared for her potent sexual awakening." "The Sexual Neuroses of Our Parents is a provocative story of a modern family consumed by fear and hope. An exploration of politics and social restrictions, it is the breakthrough work of Swiss-born Lukas Barfuss." "This English translation by Neil Blackadder premiered at the Gate Theatre, London, in 2007, directed by Carrie Cracknell."--BOOK JACKET.
Hugo Ball (1886-1927), poet, musician, dancer, impresario, philosopher, was one of the brilliant literary figures of the early twentieth century. Working with some of the great artists of his time, including Kandinsky, von Laban, Tzara, and Hans Arp, he was at the cutting edge of modern thought as theatre director, Dada agitator and leading member of the luminous Berne circle. This study takes a new look at Ball, providing above all a close reading of his texts, and focussing on works which are seen as open-ended or given to inventing their own form, including Tenderenda der Phantast, his abstract poem cycle 'Gadji beri bimba', and Simultan Krippenspiel, a 'noise concert' or opera, which enthralled his audience the night of May 31, 1916. The book deals first with Ball's education as an artist and with the important figures in his life, notably Max Reinhardt, Frank Wedekind, and Vassily Kandinsky, whose theoretical stance he came in part to adopt. Subsequent chapters examine his theatre work as actor, playwright, critic and dramaturge, comprising his years of apprenticeship in Berlin, Plauen and Munich.