Simon Morrison
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780195181678
- eISBN:
- 9780199870806
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195181678.003.0002
- Subject:
- Music, History, Western
This chapter chronicles Prokofiev's relocation to Moscow in the spring of 1936, his reaction to the denunciation of Shostakovich in Pravda; the composition of the ballet Romeo and Juliet and the ...
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This chapter chronicles Prokofiev's relocation to Moscow in the spring of 1936, his reaction to the denunciation of Shostakovich in Pravda; the composition of the ballet Romeo and Juliet and the Cantata for the Twentieth Anniversary of October; the censorship of those two works, and Prokofiev's service as a cultural representative for the Soviet regime during his last two trips abroad. The chapter addresses his collaborations with the director Sergey Radlov (who conceived a happy ending for Romeo and Juliet) and Nataliya Sats (who commissioned Peter and the Wolf for the Moscow Children's Theater), his fraught relationship with the Chairman of the Committee on Arts Affairs Platon Kerzhentsev, and his speeches at the Union of Soviet Composers. The description of his last trip to the United States corrects inaccuracies in the historical record concerning his interest in Hollywood film composition. Prokofiev was monitored throughout the trip by Soviet officials working for the VOKS organization and the Embassies in London and Washington.Less
This chapter chronicles Prokofiev's relocation to Moscow in the spring of 1936, his reaction to the denunciation of Shostakovich in Pravda; the composition of the ballet Romeo and Juliet and the Cantata for the Twentieth Anniversary of October; the censorship of those two works, and Prokofiev's service as a cultural representative for the Soviet regime during his last two trips abroad. The chapter addresses his collaborations with the director Sergey Radlov (who conceived a happy ending for Romeo and Juliet) and Nataliya Sats (who commissioned Peter and the Wolf for the Moscow Children's Theater), his fraught relationship with the Chairman of the Committee on Arts Affairs Platon Kerzhentsev, and his speeches at the Union of Soviet Composers. The description of his last trip to the United States corrects inaccuracies in the historical record concerning his interest in Hollywood film composition. Prokofiev was monitored throughout the trip by Soviet officials working for the VOKS organization and the Embassies in London and Washington.
Arieh Bruce Saposnik
- Published in print:
- 2008
- Published Online:
- January 2009
- ISBN:
- 9780195331219
- eISBN:
- 9780199868100
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195331219.003.0005
- Subject:
- Religion, Judaism
This chapter begins with the centrality of the Hebrew language in the creation of the Yishuv's culture. Aside from the goal of establishing linguistic unity in a multilingual reality, the language ...
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This chapter begins with the centrality of the Hebrew language in the creation of the Yishuv's culture. Aside from the goal of establishing linguistic unity in a multilingual reality, the language was also deemed critical in molding the character of Palestine's “Hebrews”—the men and women who were to constitute the new nation. Accent and mannerism were considered reflections of central elements of the new culture, shaping new masculinities and femininities and placing the Hebrews in their new “Oriental” environment. Educational institutions, new popular songs, journalism, fashion, theater, and more were all enlisted in the effort to fashion a new Hebrew‐speaking person in a national Hebrew public sphere. Rooted in part in Jewish mystical tradition in which Hebrew was deemed a cosmically creative force, the Hebrew language emerges as a leading tool in the formation of the nation.Less
This chapter begins with the centrality of the Hebrew language in the creation of the Yishuv's culture. Aside from the goal of establishing linguistic unity in a multilingual reality, the language was also deemed critical in molding the character of Palestine's “Hebrews”—the men and women who were to constitute the new nation. Accent and mannerism were considered reflections of central elements of the new culture, shaping new masculinities and femininities and placing the Hebrews in their new “Oriental” environment. Educational institutions, new popular songs, journalism, fashion, theater, and more were all enlisted in the effort to fashion a new Hebrew‐speaking person in a national Hebrew public sphere. Rooted in part in Jewish mystical tradition in which Hebrew was deemed a cosmically creative force, the Hebrew language emerges as a leading tool in the formation of the nation.
Wahl Jan
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780813136189
- eISBN:
- 9780813141176
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813136189.003.0010
- Subject:
- Film, Television and Radio, Film
Wahl recounts the power of Dreyer's story-telling abilities. Dreyer shares his intentions with his work The Life of Jesus, revealing his desire to show the historical version of the figure. Wahl also ...
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Wahl recounts the power of Dreyer's story-telling abilities. Dreyer shares his intentions with his work The Life of Jesus, revealing his desire to show the historical version of the figure. Wahl also describes Dreyer's commitment to his projects and the steps the filmmaker took to assure their success. Dreyer chooses to go to Israel to survey the landscape and obtain an understanding of the setting for his Jesus film.Less
Wahl recounts the power of Dreyer's story-telling abilities. Dreyer shares his intentions with his work The Life of Jesus, revealing his desire to show the historical version of the figure. Wahl also describes Dreyer's commitment to his projects and the steps the filmmaker took to assure their success. Dreyer chooses to go to Israel to survey the landscape and obtain an understanding of the setting for his Jesus film.
Kaira M. Cabañas
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780226556284
- eISBN:
- 9780226556314
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226556314.003.0007
- Subject:
- Art, Art History
The coda offers a brief reflection on the right to be mad and what one might learn from the mad through a consideration of a theatrical production by the Cia Teatral Ueinzz (Ueinzz Theater Company).
The coda offers a brief reflection on the right to be mad and what one might learn from the mad through a consideration of a theatrical production by the Cia Teatral Ueinzz (Ueinzz Theater Company).
Charlotte Greenspan
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780195111101
- eISBN:
- 9780199865703
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195111101.003.0001
- Subject:
- Music, History, American
This chapter focuses on the show business career of Dorothy's father Lew Fields. Fields and childhood friend Joe Weber first developed was a patchwork of entertaining bits—songs, dances, and humor, ...
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This chapter focuses on the show business career of Dorothy's father Lew Fields. Fields and childhood friend Joe Weber first developed was a patchwork of entertaining bits—songs, dances, and humor, both verbal and physical. For five years, until 1889, they moved around the country as members of assorted traveling variety shows. In 1890, when they were twenty-three, Weber and Fields felt ready to produce and manage their own traveling show. By May 1896, Weber and Fields were playing at the Olympia Theater on Broadway between Forty-fourth and Forty-fifth Streets. Their success was a reaffirmation of the belief that the team could entertain audiences not only on the Lower East Side where they had spent their childhood or touring across the nation where they had spent much of their adolescence, but also on Broadway.Less
This chapter focuses on the show business career of Dorothy's father Lew Fields. Fields and childhood friend Joe Weber first developed was a patchwork of entertaining bits—songs, dances, and humor, both verbal and physical. For five years, until 1889, they moved around the country as members of assorted traveling variety shows. In 1890, when they were twenty-three, Weber and Fields felt ready to produce and manage their own traveling show. By May 1896, Weber and Fields were playing at the Olympia Theater on Broadway between Forty-fourth and Forty-fifth Streets. Their success was a reaffirmation of the belief that the team could entertain audiences not only on the Lower East Side where they had spent their childhood or touring across the nation where they had spent much of their adolescence, but also on Broadway.
Maurice Peress
- Published in print:
- 2004
- Published Online:
- May 2008
- ISBN:
- 9780195098228
- eISBN:
- 9780199869817
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195098228.003.0017
- Subject:
- Music, History, Western
This chapter describes the story of Queenie Pie, Ellington's last theater work as told by the author of this book, who worked as an assistant to Ellington when it was a yet-to-be produced one-hour ...
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This chapter describes the story of Queenie Pie, Ellington's last theater work as told by the author of this book, who worked as an assistant to Ellington when it was a yet-to-be produced one-hour “opera comique” for National Educational Television. The production was abandoned after Ellington died but re-emerged ten years later as a full evening musical with a new libretto by George Wolfe, with the author directing the Ellington orchestra in the pit of the Music Theater Festival of Philadelphia. The chapter also offers insights into Ellington's working methods.Less
This chapter describes the story of Queenie Pie, Ellington's last theater work as told by the author of this book, who worked as an assistant to Ellington when it was a yet-to-be produced one-hour “opera comique” for National Educational Television. The production was abandoned after Ellington died but re-emerged ten years later as a full evening musical with a new libretto by George Wolfe, with the author directing the Ellington orchestra in the pit of the Music Theater Festival of Philadelphia. The chapter also offers insights into Ellington's working methods.
Halina Goldberg
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780195130737
- eISBN:
- 9780199867424
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195130737.003.0008
- Subject:
- Music, History, Western
Led by Bogusƚawski, Elsner, and Kurpiński, the National Theater — the locale of major operatic productions — became the central cultural institution in Warsaw. It featured a rich repertory of French, ...
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Led by Bogusƚawski, Elsner, and Kurpiński, the National Theater — the locale of major operatic productions — became the central cultural institution in Warsaw. It featured a rich repertory of French, German, and Italian operas. The operatic genres of operas performed in Warsaw ranged from Singspiel, through opéra comique, tragedie lyrique, opera seria, and buffa, to grand opera. This chapter discusses the introduction into Warsaw of the newest foreign works, ushering in the Romantic aesthetic in opera. At the same time, the librettists and composers associated with the National Theater created vernacular operas, which often addressed subjects from Polish history, and conveyed patriotic sentiments though text and folkloristic music. The history and repertory of the national theater is presented, and Chopin's involvement with Warsaw's operatic scene is explained.Less
Led by Bogusƚawski, Elsner, and Kurpiński, the National Theater — the locale of major operatic productions — became the central cultural institution in Warsaw. It featured a rich repertory of French, German, and Italian operas. The operatic genres of operas performed in Warsaw ranged from Singspiel, through opéra comique, tragedie lyrique, opera seria, and buffa, to grand opera. This chapter discusses the introduction into Warsaw of the newest foreign works, ushering in the Romantic aesthetic in opera. At the same time, the librettists and composers associated with the National Theater created vernacular operas, which often addressed subjects from Polish history, and conveyed patriotic sentiments though text and folkloristic music. The history and repertory of the national theater is presented, and Chopin's involvement with Warsaw's operatic scene is explained.
Kristopher A. Teters
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9781469638867
- eISBN:
- 9781469638881
- Item type:
- book
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469638867.001.0001
- Subject:
- History, Military History
During the first fifteen months of the Civil War, the policies and attitudes of Union officers toward emancipation in the western theater were, at best, inconsistent and fraught with internal ...
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During the first fifteen months of the Civil War, the policies and attitudes of Union officers toward emancipation in the western theater were, at best, inconsistent and fraught with internal strains. But after Congress passed the Second Confiscation Act in 1862, army policy became mostly consistent in its support of liberating the slaves in general, in spite of Union army officers' differences of opinion. By 1863 and the final Emancipation Proclamation, the army had transformed into the key force for instituting emancipation in the West. However, Kristopher Teters argues that the guiding principles behind this development in attitudes and policy were a result of military necessity and pragmatic strategies, rather than an effort to enact racial equality. Through extensive research in the letters and diaries of western Union officers, Teters demonstrates how practical considerations drove both the attitudes and policies of Union officers regarding emancipation. Officers primarily embraced emancipation and the use of black soldiers because they believed both policies would help them win the war and save the Union, but their views on race actually changed very little. In the end, however, despite its practical bent, Teters argues, the Union army was instrumental in bringing freedom to the slaves.Less
During the first fifteen months of the Civil War, the policies and attitudes of Union officers toward emancipation in the western theater were, at best, inconsistent and fraught with internal strains. But after Congress passed the Second Confiscation Act in 1862, army policy became mostly consistent in its support of liberating the slaves in general, in spite of Union army officers' differences of opinion. By 1863 and the final Emancipation Proclamation, the army had transformed into the key force for instituting emancipation in the West. However, Kristopher Teters argues that the guiding principles behind this development in attitudes and policy were a result of military necessity and pragmatic strategies, rather than an effort to enact racial equality. Through extensive research in the letters and diaries of western Union officers, Teters demonstrates how practical considerations drove both the attitudes and policies of Union officers regarding emancipation. Officers primarily embraced emancipation and the use of black soldiers because they believed both policies would help them win the war and save the Union, but their views on race actually changed very little. In the end, however, despite its practical bent, Teters argues, the Union army was instrumental in bringing freedom to the slaves.
Maya Plisetskaya
- Published in print:
- 2001
- Published Online:
- October 2013
- ISBN:
- 9780300088571
- eISBN:
- 9780300130713
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300088571.003.0013
- Subject:
- Music, Dance
In this chapter, Maya Plisetskaya recounts her graduation from the ballet school in 1943, her admission into the Bolshoi Theater, her performances there, and her first award. Maya lived in a room of ...
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In this chapter, Maya Plisetskaya recounts her graduation from the ballet school in 1943, her admission into the Bolshoi Theater, her performances there, and her first award. Maya lived in a room of a communal apartment, located in a building owned by the Bolshoi Theater at No. 8 Shchepkinsky Passage. She lived in this apartment until 1955, when she transfered to No. 24, conductor Yuri Fyodorovich Fayer's two-room apartment, on the same staircase landing. The Bolshoi Theater was one of three theaters that comprised Theater Square in the heart of Moscow, the other two being the Maly Theater and the Central Children's Theater.Less
In this chapter, Maya Plisetskaya recounts her graduation from the ballet school in 1943, her admission into the Bolshoi Theater, her performances there, and her first award. Maya lived in a room of a communal apartment, located in a building owned by the Bolshoi Theater at No. 8 Shchepkinsky Passage. She lived in this apartment until 1955, when she transfered to No. 24, conductor Yuri Fyodorovich Fayer's two-room apartment, on the same staircase landing. The Bolshoi Theater was one of three theaters that comprised Theater Square in the heart of Moscow, the other two being the Maly Theater and the Central Children's Theater.
Jessie Graves, Katherine Ledford, and Theresa Lloyd (eds)
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9780813178790
- eISBN:
- 9780813178806
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813178790.003.0707
- Subject:
- Society and Culture, Social Groups
In Appalachian literature, the 1960s through the 1990s saw a creative explosion that is sometimes referred to as the Appalachian Renaissance. Poetry, Fiction, Creative Non-fiction, and Drama all ...
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In Appalachian literature, the 1960s through the 1990s saw a creative explosion that is sometimes referred to as the Appalachian Renaissance. Poetry, Fiction, Creative Non-fiction, and Drama all experienced growth, attention, and flourishing during this period. Appalachian Renaissance authors in all genres display a greater diversity than previously represented in the region’s literature. This section is broken into four subsections, one for each genre.Less
In Appalachian literature, the 1960s through the 1990s saw a creative explosion that is sometimes referred to as the Appalachian Renaissance. Poetry, Fiction, Creative Non-fiction, and Drama all experienced growth, attention, and flourishing during this period. Appalachian Renaissance authors in all genres display a greater diversity than previously represented in the region’s literature. This section is broken into four subsections, one for each genre.
Eric Salzman and Thomas Desi
- Published in print:
- 2008
- Published Online:
- January 2010
- ISBN:
- 9780195099362
- eISBN:
- 9780199864737
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195099362.003.0022
- Subject:
- Music, Opera
This chapter discusses Roy Hart, the Roy Hart Theater, and the roots of extended vocalism; widening of vocal range and inclusion of non-traditional vocal sounds and techniques; the American ...
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This chapter discusses Roy Hart, the Roy Hart Theater, and the roots of extended vocalism; widening of vocal range and inclusion of non-traditional vocal sounds and techniques; the American monologists; Meredith Monk, her techniques, vocal esthetic, and music-theater works; other well-known performers; and Quog Music Theater and the American Music Theater Festival.Less
This chapter discusses Roy Hart, the Roy Hart Theater, and the roots of extended vocalism; widening of vocal range and inclusion of non-traditional vocal sounds and techniques; the American monologists; Meredith Monk, her techniques, vocal esthetic, and music-theater works; other well-known performers; and Quog Music Theater and the American Music Theater Festival.
Inna Naroditskaya
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780195340587
- eISBN:
- 9780199918218
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195340587.003.0033
- Subject:
- Music, History, Western
The last quarter of the eighteenth century was marked by the collection and publication of folk and urban songs, tales, oral poems, and airs. Although several Russian intellectuals including Mikhail ...
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The last quarter of the eighteenth century was marked by the collection and publication of folk and urban songs, tales, oral poems, and airs. Although several Russian intellectuals including Mikhail Chulkov and Vasily Levshin worked in the inherently connected domains of skazka, folk songs, and theater, it was Empress Catherine II who concocted fairy-tale “comic” opera. Her venture into writing libretti and staging operas paralleled her military and political campaigns. Within about a year she wrote three libretti; during a four-year period she completed and produced four opera-skazkas, Boeslavich, Champion of Novgorod (1786), Fevei (1786), The Brave and bold knight Akhrideich] (1787), and The Woebegone-Hero Kosometovich (1789). They represent different types of Russian operatic tales that blossomed in the following century: magic opera, opera-bylina, and satirical opera. In all of her operatic tales, Catherine endorsed folk songs, old native tales, ritualistic elements, and big traditional princely weddings.Less
The last quarter of the eighteenth century was marked by the collection and publication of folk and urban songs, tales, oral poems, and airs. Although several Russian intellectuals including Mikhail Chulkov and Vasily Levshin worked in the inherently connected domains of skazka, folk songs, and theater, it was Empress Catherine II who concocted fairy-tale “comic” opera. Her venture into writing libretti and staging operas paralleled her military and political campaigns. Within about a year she wrote three libretti; during a four-year period she completed and produced four opera-skazkas, Boeslavich, Champion of Novgorod (1786), Fevei (1786), The Brave and bold knight Akhrideich] (1787), and The Woebegone-Hero Kosometovich (1789). They represent different types of Russian operatic tales that blossomed in the following century: magic opera, opera-bylina, and satirical opera. In all of her operatic tales, Catherine endorsed folk songs, old native tales, ritualistic elements, and big traditional princely weddings.
Andrew T. Snider and Elizabeth Arbaugh
- Published in print:
- 2005
- Published Online:
- March 2012
- ISBN:
- 9780520235922
- eISBN:
- 9780520929432
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520235922.003.0050
- Subject:
- Biology, Animal Biology
The history of amphibians at the Detroit Zoo dates back to 1960, when The Holden Museum of Living Reptiles opened to the public. Amphibian breeding efforts first occurred in 1970, when production and ...
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The history of amphibians at the Detroit Zoo dates back to 1960, when The Holden Museum of Living Reptiles opened to the public. Amphibian breeding efforts first occurred in 1970, when production and rearing of clutches of axolotls (Ambystoma mexicanum) commenced. In 1990, to acknowledge that amphibians were also included in the building, the facility's name was officially changed to The Holden Museum of Living Reptiles and Amphibians. Since 1994, the Detroit Zoological Institute has intensified its commitment to amphibian husbandry and conservation. In light of the global decline in amphibian populations, the need for a national conservation center for amphibians became more urgent and an idea was born: The National Amphibian Conservation Center (NACC). The NACC is the first major conservation facility dedicated entirely to conserving and exhibiting amphibians. It holds exhibits that define and describe amphibians, metamorphosis, amphibian evolution and diversity, aspects of amphibian ecology, and conservation biology. The Orientation Theater, a circular room with multimedia capabilities, is open to the public, school groups, and other organizations.Less
The history of amphibians at the Detroit Zoo dates back to 1960, when The Holden Museum of Living Reptiles opened to the public. Amphibian breeding efforts first occurred in 1970, when production and rearing of clutches of axolotls (Ambystoma mexicanum) commenced. In 1990, to acknowledge that amphibians were also included in the building, the facility's name was officially changed to The Holden Museum of Living Reptiles and Amphibians. Since 1994, the Detroit Zoological Institute has intensified its commitment to amphibian husbandry and conservation. In light of the global decline in amphibian populations, the need for a national conservation center for amphibians became more urgent and an idea was born: The National Amphibian Conservation Center (NACC). The NACC is the first major conservation facility dedicated entirely to conserving and exhibiting amphibians. It holds exhibits that define and describe amphibians, metamorphosis, amphibian evolution and diversity, aspects of amphibian ecology, and conservation biology. The Orientation Theater, a circular room with multimedia capabilities, is open to the public, school groups, and other organizations.
Steve Swayne
- Published in print:
- 2011
- Published Online:
- May 2011
- ISBN:
- 9780195388527
- eISBN:
- 9780199894345
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195388527.003.0026
- Subject:
- Music, History, American, History, Western
One of Schuman's original dreams for Lincoln Center was a summer festival that would take advantage of the Center's air-conditioned halls. In 1967, Schuman's Lincoln Center Festival became a reality. ...
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One of Schuman's original dreams for Lincoln Center was a summer festival that would take advantage of the Center's air-conditioned halls. In 1967, Schuman's Lincoln Center Festival became a reality. He also explored the possibility of composing a major work for the nation's bicentennial, but his early efforts came to naught. At the same time, two of the constituents at Lincoln Center—the ones devoted to Music Theater and Repertory Theater—indicated problems in their ability to operate. Schuman proposed the possibility of a film constituent and a chamber music constituent, much to the frustration of some of the directors of the Center. This chapter also looks at Schuman's success as a public speaker and Rockefeller's early intimations that Schuman was running the risk of being let go.Less
One of Schuman's original dreams for Lincoln Center was a summer festival that would take advantage of the Center's air-conditioned halls. In 1967, Schuman's Lincoln Center Festival became a reality. He also explored the possibility of composing a major work for the nation's bicentennial, but his early efforts came to naught. At the same time, two of the constituents at Lincoln Center—the ones devoted to Music Theater and Repertory Theater—indicated problems in their ability to operate. Schuman proposed the possibility of a film constituent and a chamber music constituent, much to the frustration of some of the directors of the Center. This chapter also looks at Schuman's success as a public speaker and Rockefeller's early intimations that Schuman was running the risk of being let go.
Laura Bradley
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199589630
- eISBN:
- 9780191595479
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199589630.003.0002
- Subject:
- Literature, Drama, European Literature
Contemporary GDR drama operated in a contested space, whose parameters were continually being redefined. This chapter focuses on the two major contemporary drama controversies of the 1960s: Peter ...
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Contemporary GDR drama operated in a contested space, whose parameters were continually being redefined. This chapter focuses on the two major contemporary drama controversies of the 1960s: Peter Hacks's Die Sorgen und die Macht at the Deutsches Theater and Moritz Tassow at the Volksbühne. The Culture Ministry backed both productions, and they were banned only after their respective premières. The chapter examines how and where the pressure for these production bans originated. It identifies significant differences of opinion within the cultural bureaucracy, showing how Berlin's regional Party authorities took a harsher line than the Ministry. This was partly because of the tensions between the Ministry's tasks; it was charged with promoting as well as controlling contemporary drama. The chapter also investigates how theatre practitioners reacted to the construction of the Berlin Wall in 1961, and how theatres dealt with the logistical challenges presented by the closure of the GDR's borders.Less
Contemporary GDR drama operated in a contested space, whose parameters were continually being redefined. This chapter focuses on the two major contemporary drama controversies of the 1960s: Peter Hacks's Die Sorgen und die Macht at the Deutsches Theater and Moritz Tassow at the Volksbühne. The Culture Ministry backed both productions, and they were banned only after their respective premières. The chapter examines how and where the pressure for these production bans originated. It identifies significant differences of opinion within the cultural bureaucracy, showing how Berlin's regional Party authorities took a harsher line than the Ministry. This was partly because of the tensions between the Ministry's tasks; it was charged with promoting as well as controlling contemporary drama. The chapter also investigates how theatre practitioners reacted to the construction of the Berlin Wall in 1961, and how theatres dealt with the logistical challenges presented by the closure of the GDR's borders.
Laura Bradley
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199589630
- eISBN:
- 9780191595479
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199589630.003.0003
- Subject:
- Literature, Drama, European Literature
After exploring reactions to the Prague Spring in the GDR's theatres, this chapter investigates stagings that were premièred after the invasion of Czechoslovakia and elicited contrasting responses ...
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After exploring reactions to the Prague Spring in the GDR's theatres, this chapter investigates stagings that were premièred after the invasion of Czechoslovakia and elicited contrasting responses from the authorities. At the Deutsches Theater, a production of Faust I by Adolf Dresen and Wolfgang Heinz evaded all pre‐performance controls, only for its iconoclasm and allusions to censorship to spark a scandal at the première. At the Berliner Ensemble, meanwhile, Manfred Karge and Matthias Langhoff were transforming Aeschylus's Sieben gegen Theben into a powerful allegory of the invasion of Prague. But as SED members at the BE alerted the authorities before the première, pre‐performance censorship averted a scandal. This chapter shows how the reliance on internal controls caused censorship practice to diverge, even in the same city.Less
After exploring reactions to the Prague Spring in the GDR's theatres, this chapter investigates stagings that were premièred after the invasion of Czechoslovakia and elicited contrasting responses from the authorities. At the Deutsches Theater, a production of Faust I by Adolf Dresen and Wolfgang Heinz evaded all pre‐performance controls, only for its iconoclasm and allusions to censorship to spark a scandal at the première. At the Berliner Ensemble, meanwhile, Manfred Karge and Matthias Langhoff were transforming Aeschylus's Sieben gegen Theben into a powerful allegory of the invasion of Prague. But as SED members at the BE alerted the authorities before the première, pre‐performance censorship averted a scandal. This chapter shows how the reliance on internal controls caused censorship practice to diverge, even in the same city.
Laura Bradley
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199589630
- eISBN:
- 9780191595479
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199589630.003.0004
- Subject:
- Literature, Drama, European Literature
Chapter 4 explores productions of nineteenth‐century texts which the SED included in the GDR's cultural heritage but still found problematic due to the enduring relevance of their sociopolitical ...
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Chapter 4 explores productions of nineteenth‐century texts which the SED included in the GDR's cultural heritage but still found problematic due to the enduring relevance of their sociopolitical criticism. It examines productions at the Deutsches Theater and the Volksbühne in the 1970s: Eberhard Esche's reading of Deutschland: Ein Wintermärchen, Adolf Dresen's production of Michael Kohlhaas, and Jürgen Gosch's staging of Leonce und Lena. The chapter considers how theatre practitioners reacted to the expatriation of Wolf Biermann in 1976, and how the political crisis affected stagings at the Deutsches Theater. Officials were well aware of the contemporary resonances of all the productions in this chapter. Their decision not to ban or alter the productions illustrates a shift away from the strong‐arm tactics of the 1970s towards less public and more differentiated strategies. These included a marked increase in Stasi surveillance of theatre.Less
Chapter 4 explores productions of nineteenth‐century texts which the SED included in the GDR's cultural heritage but still found problematic due to the enduring relevance of their sociopolitical criticism. It examines productions at the Deutsches Theater and the Volksbühne in the 1970s: Eberhard Esche's reading of Deutschland: Ein Wintermärchen, Adolf Dresen's production of Michael Kohlhaas, and Jürgen Gosch's staging of Leonce und Lena. The chapter considers how theatre practitioners reacted to the expatriation of Wolf Biermann in 1976, and how the political crisis affected stagings at the Deutsches Theater. Officials were well aware of the contemporary resonances of all the productions in this chapter. Their decision not to ban or alter the productions illustrates a shift away from the strong‐arm tactics of the 1970s towards less public and more differentiated strategies. These included a marked increase in Stasi surveillance of theatre.
Laura Bradley
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199589630
- eISBN:
- 9780191595479
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199589630.003.0006
- Subject:
- Literature, Drama, European Literature
This chapter examines synchronic differences in censorship, focusing on productions whose premières were scheduled for April 1984 in neighbouring rural regions, Schwerin and Neubrandenburg. When ...
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This chapter examines synchronic differences in censorship, focusing on productions whose premières were scheduled for April 1984 in neighbouring rural regions, Schwerin and Neubrandenburg. When Christoph Schroth staged Schiller's Demetrius and Volker Braun's Dmitri at the Mecklenburgisches Staatstheater, pre‐performance censorship functioned broadly as intended. The première and ensuing performances passed without incident, surprising some experts. In Anklam, however, Frank Castorf became embroiled in a bitter and protracted conflict with local officials, who were seeking his removal. His staging of Brecht's Trommeln in der Nacht was banned before its première, even though representatives of the Union of Theatre Practitioners had raised no objections at the run‐through. The investigation focuses on the working relationships between theatre practitioners and officials, and between the central and local authorities. It demonstrates the extent and limits of censorship powers in the localities.Less
This chapter examines synchronic differences in censorship, focusing on productions whose premières were scheduled for April 1984 in neighbouring rural regions, Schwerin and Neubrandenburg. When Christoph Schroth staged Schiller's Demetrius and Volker Braun's Dmitri at the Mecklenburgisches Staatstheater, pre‐performance censorship functioned broadly as intended. The première and ensuing performances passed without incident, surprising some experts. In Anklam, however, Frank Castorf became embroiled in a bitter and protracted conflict with local officials, who were seeking his removal. His staging of Brecht's Trommeln in der Nacht was banned before its première, even though representatives of the Union of Theatre Practitioners had raised no objections at the run‐through. The investigation focuses on the working relationships between theatre practitioners and officials, and between the central and local authorities. It demonstrates the extent and limits of censorship powers in the localities.
Gian Maria Annovi
- Published in print:
- 2017
- Published Online:
- January 2019
- ISBN:
- 9780231180306
- eISBN:
- 9780231542708
- Item type:
- book
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231180306.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
Before his mysterious murder in 1975, Pier Paolo Pasolini had become famous—and infamous—not only for his groundbreaking films and literary works but also for his homosexuality and criticism of ...
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Before his mysterious murder in 1975, Pier Paolo Pasolini had become famous—and infamous—not only for his groundbreaking films and literary works but also for his homosexuality and criticism of capitalism, colonialism, and Western materialism. In Pier Paolo Pasolini: Performing Authorship, Gian Maria Annovi revisits Pasolini's oeuvre to examine the author's performance as a way of assuming an antagonistic stance toward forms of artistic, social, and cultural oppression. Annovi connects Pasolini's notion of authorship to contemporary radical artistic practices and today's multimedia authorship. Annovi considers the entire range of Pasolini's work, including his poetry, narrative and documentary film, dramatic writings, and painting, as well as his often scandalous essays on politics, art, literature, and theory. He interprets Pasolini's multimedia authorial performance as a masochistic act to elicit rejection, generate hostility, and highlight the contradictions that structure a repressive society. Annovi shows how questions of authorial self-representation and self-projection relate to the artist's effort to undermine the assumptions of his audience and criticize the conformist practices that the culture industry and mass society impose on the author. Pasolini reveals the critical potential of his spectacular celebrity by using the author's corporeal or vocal presence to address issues of sexuality and identity, and through his strategic self-fashioning in films, paintings, and photographic portraits he destabilizes the audience's assumptions about the author.Less
Before his mysterious murder in 1975, Pier Paolo Pasolini had become famous—and infamous—not only for his groundbreaking films and literary works but also for his homosexuality and criticism of capitalism, colonialism, and Western materialism. In Pier Paolo Pasolini: Performing Authorship, Gian Maria Annovi revisits Pasolini's oeuvre to examine the author's performance as a way of assuming an antagonistic stance toward forms of artistic, social, and cultural oppression. Annovi connects Pasolini's notion of authorship to contemporary radical artistic practices and today's multimedia authorship. Annovi considers the entire range of Pasolini's work, including his poetry, narrative and documentary film, dramatic writings, and painting, as well as his often scandalous essays on politics, art, literature, and theory. He interprets Pasolini's multimedia authorial performance as a masochistic act to elicit rejection, generate hostility, and highlight the contradictions that structure a repressive society. Annovi shows how questions of authorial self-representation and self-projection relate to the artist's effort to undermine the assumptions of his audience and criticize the conformist practices that the culture industry and mass society impose on the author. Pasolini reveals the critical potential of his spectacular celebrity by using the author's corporeal or vocal presence to address issues of sexuality and identity, and through his strategic self-fashioning in films, paintings, and photographic portraits he destabilizes the audience's assumptions about the author.
Naïma Hachad
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781789620221
- eISBN:
- 9781789623710
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781789620221.001.0001
- Subject:
- Literature, Women's Literature
Revisionary Narratives examines the historical and formal evolutions of Moroccan women’s auto/biography in the last four decades, particularly its conflation with testimony and its expansion beyond ...
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Revisionary Narratives examines the historical and formal evolutions of Moroccan women’s auto/biography in the last four decades, particularly its conflation with testimony and its expansion beyond literary texts. It analyzes auto/biographical and testimonial acts in Arabic, colloquial Moroccan Darija, French, and English in the fields of prison narratives, visual arts, theater performance, and digital media, situating them within specific sociopolitical and cultural contexts of production and consumption. Part One begins by tracing the rise of a feminist consciousness in prison narratives produced and/or published in the late 1970s through the 2000s. Part Two moves to analyzing the ubiquity of auto/biography and testimony in the arts as well as contemporary sociopolitical activism. The focus throughout the various case studies is women’s engagement with patriarchal and (neo)imperial norms and practices as they relate to their experiences of political violence, activism, migration, and displacement. To understand why and how women collapse the boundaries between autobiography, biography, testimony, and sociopolitical commentary, the book employs a broad, transdisciplinary, montage approach that combines theories on gender and autobiography and takes into account postcolonial, postmodern, transnational, transglobal and translocal perspectives.Less
Revisionary Narratives examines the historical and formal evolutions of Moroccan women’s auto/biography in the last four decades, particularly its conflation with testimony and its expansion beyond literary texts. It analyzes auto/biographical and testimonial acts in Arabic, colloquial Moroccan Darija, French, and English in the fields of prison narratives, visual arts, theater performance, and digital media, situating them within specific sociopolitical and cultural contexts of production and consumption. Part One begins by tracing the rise of a feminist consciousness in prison narratives produced and/or published in the late 1970s through the 2000s. Part Two moves to analyzing the ubiquity of auto/biography and testimony in the arts as well as contemporary sociopolitical activism. The focus throughout the various case studies is women’s engagement with patriarchal and (neo)imperial norms and practices as they relate to their experiences of political violence, activism, migration, and displacement. To understand why and how women collapse the boundaries between autobiography, biography, testimony, and sociopolitical commentary, the book employs a broad, transdisciplinary, montage approach that combines theories on gender and autobiography and takes into account postcolonial, postmodern, transnational, transglobal and translocal perspectives.
