German Expressionist Theatre considers the powerfully stylized, antirealistic styles of symbolic acting on the German Expressionist stage from 1916 to 1921. It relates this striking departure from the dominant European acting tradition of realism to the specific cultural crises that enveloped the German nation during the course of its involvement in World War I. The examination of portions of previously untranslated Expressionist scripts and actor memoirs allows for an unprecedented focus on description and analysis of the acting itself.
German Expressionist Theatre: The Actor and the Stage
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Editorial Reviews
Review
"...fresh insights into German expressionism and its significance.... His research is thorough.... ...Kuhns provides informative descriptions of the settings, lighting, theater architecture, and costumes. Most useful to graduate students, researchers, and professionals." Choice
"I can recommend this volume for the library of anyone interested in German Expressionism and theater history generally." Monatshefte
"...prsents theroetical concepts clearly and back them up with detailed examples. It is based on a firm foundation of research, using such primary sources as reviews, memoirs,manifestoes and scripts, analyzed in light of pertinent theorical material." Pamela S. Saur, Germanic Notes and Reviews
"I can recommend this volume for the library of anyone interested in German Expressionism and theater history generally." Monatshefte
"...prsents theroetical concepts clearly and back them up with detailed examples. It is based on a firm foundation of research, using such primary sources as reviews, memoirs,manifestoes and scripts, analyzed in light of pertinent theorical material." Pamela S. Saur, Germanic Notes and Reviews
Book Description
German Expressionist Theatre and Performance in Weimar considers the powerfully stylised, anti-realistic styles of symbolic acting on the German Expressionist stage from 1916 to 1921. It relates this striking departure from the dominant European acting tradition of realism to the specific cultural crises that enveloped the German nation during the course of its involvement in World War I. The examination of previously untranslated portions of Expressionist script and actor memoirs allows for an unprecedented focus on description and analysis of the acting itself.
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1 of 1 people found the following review helpful:
5.0 out of 5 stars
A thoroughly researched and informative book,
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This review is from: German Expressionist Theatre: The Actor and the Stage (Hardcover)
Prof. Kuhns is evidently a brilliant scholar, and he has done an especially fine job of describing the actual practices of the directors and actors of the early 20th-century theatrical movement called Expressionism. And I admired his final observations on what the movement bequeathed to Brecht -- so much so that I hope he will go forward and give us the as-yet unwritten, in-depth study of Brecht's actual stage practice. There are times when this author succumbs to fashionable scholarly jargon and others when he neglects to sketch adequately the social and historical moment. But I found plenty to absorb in this meaty study.
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Inside This Book
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First Sentence:
The two most distinctive characteristics of the Expressionist movement in literature and drama were its theme of cultural regeneration and the self-conscious artificiality of its creative methods. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
choral actors, ecstatic acting, emblematic acting, morgens bis mitternachts, expressionist stylization, staircase setting, emblematic performance, variety cabaret, ecstatic performance, holy theatre, theatrical modernism, cabaret stage, fundamental sound, performance theorists, theatrical frame, provincial theatres, theatre artists Key Phrases - Capitalized Phrases (CAPs): (learn more)
Der Sohn, Die Verführung, Der Bettler, Die Wandlung, Wilhelm Tell, Der Sturm, Ernst Deutsch, Deutsches Theater, New Man, Sancta Susanna, Fritz Kortner, Gunther Rühle, Max Reinhardt, The Yellow Sound, Herwarth Walden, Leopold Jessner, Werner Krauss, Alfred Kerr, Emil Faktor, Herbert Ihering, Julius Bab, August Stramm, Ghost Sonata, Hugo Ball, Josef Kainz New!
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Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
The two most distinctive characteristics of the Expressionist movement in literature and drama were its theme of cultural regeneration and the self-conscious artificiality of its creative methods. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
choral actors, ecstatic acting, emblematic acting, morgens bis mitternachts, expressionist stylization, staircase setting, emblematic performance, variety cabaret, ecstatic performance, holy theatre, theatrical modernism, cabaret stage, fundamental sound, performance theorists, theatrical frame, provincial theatres, theatre artists Key Phrases - Capitalized Phrases (CAPs): (learn more)
Der Sohn, Die Verführung, Der Bettler, Die Wandlung, Wilhelm Tell, Der Sturm, Ernst Deutsch, Deutsches Theater, New Man, Sancta Susanna, Fritz Kortner, Gunther Rühle, Max Reinhardt, The Yellow Sound, Herwarth Walden, Leopold Jessner, Werner Krauss, Alfred Kerr, Emil Faktor, Herbert Ihering, Julius Bab, August Stramm, Ghost Sonata, Hugo Ball, Josef Kainz New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 64
books:
See all 64 books this book cites
3
books
cite this book:
- New York (Land of Liberty) by Ellen Sturm on 10 pages
- The Theatre of the Weimar Republic by John Willett on 6 pages
- Wilhelm Tell by Johann Christoph Friedrich Von Schiller on 5 pages
- Concerning the Spiritual in Art by Wassily Kandinsky on 5 pages
- Blaue Reiter Almanac, The by Klaus Lankheit on 5 pages
See all 64 books this book cites
- The Routledge Companion to Theatre and Performance (Routledge Companions) by Paul Allain on page 153, and Back Matter
- The Visual Arts in Germany, 1890-1937: Utopia and Despair by Shearer West in Back Matter
- Movement for Actors by Nicole Potter on page 35
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