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  • BARNETT, DAVID  (4)
  • Komparatistik - Allgemeine und Vergleichende Literaturwissenschaft  (4)
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  • BARNETT, DAVID  (4)
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  • 1
    Online-Ressource
    Online-Ressource
    Cambridge University Press (CUP) ; 2005
    In:  Theatre Research International Vol. 30, No. 2 ( 2005-07), p. 139-149
    In: Theatre Research International, Cambridge University Press (CUP), Vol. 30, No. 2 ( 2005-07), p. 139-149
    Kurzfassung: Michael Frayn's play about quantum mechanics, memory and history, Copenhagen , has taken a lot of criticism for ‘misrepresenting’ its historical characters, primarily Werner Heisenberg. This essay analyses the dramaturgy of the play and argues for a postdramatic reading in which questions of representation are dissolved by formal strategies that ally themselves with the thematics of the work. The text is viewed as a hybrid, somewhere between the dramatic and the postdramatic, set, as it is, in a fictional afterlife where conventional human categories no longer function. The postdramatic theatre, in refusing to interpret text, becomes a viable mode for performance in that the indeterminacy of meaning on stage equates with the uncertainty principle that lies at the scientific and moral heart of Copenhagen .
    Materialart: Online-Ressource
    ISSN: 0307-8833 , 1474-0672
    RVK:
    Sprache: Englisch
    Verlag: Cambridge University Press (CUP)
    Publikationsdatum: 2005
    ZDB Id: 2045177-5
    SSG: 9,3
    Bibliothek Standort Signatur Band/Heft/Jahr Verfügbarkeit
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  • 2
    Online-Ressource
    Online-Ressource
    Cambridge University Press (CUP) ; 2006
    In:  Theatre Research International Vol. 31, No. 2 ( 2006-07), p. 188-200
    In: Theatre Research International, Cambridge University Press (CUP), Vol. 31, No. 2 ( 2006-07), p. 188-200
    Kurzfassung: Heiner Müller directed Shakespeare's Hamlet together with his own The Hamletmachine as Hamlet/Machine in March 1990 at the Deutsches Theater, East Berlin. This article investigates the production's conception, its rehearsal and its execution against the backdrop of the fall of the Wall. Müller, a playwright whose dramaturgies actively resist reductive interpretation, sought to put Hamlet/Machine beyond the reach of an allegorical reading. Strategies in acting, staging and design were adopted to frustrate the ease with which Hamlet could have merely illustrated the historical changes taking place outside the theatre. On the other hand, Müller was also making theatre for his fellow GDR citizens and had to take account of their experiences, too. His political theatre relied on the combination of contradictory signs in performance that would activate the audience, forcing a confrontation with the material on stage on its own terms. Such an aspiration was, almost inevitably, revealed as utopian but was in Müller's view the only way for the theatre to challenge its immediate historical context.
    Materialart: Online-Ressource
    ISSN: 0307-8833 , 1474-0672
    RVK:
    Sprache: Englisch
    Verlag: Cambridge University Press (CUP)
    Publikationsdatum: 2006
    ZDB Id: 2045177-5
    SSG: 9,3
    Bibliothek Standort Signatur Band/Heft/Jahr Verfügbarkeit
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  • 3
    Online-Ressource
    Online-Ressource
    Cambridge University Press (CUP) ; 2016
    In:  Theatre Research International Vol. 41, No. 2 ( 2016-07), p. 106-121
    In: Theatre Research International, Cambridge University Press (CUP), Vol. 41, No. 2 ( 2016-07), p. 106-121
    Kurzfassung: Documentation is often descriptive, yet Brecht's approach to the task was to unpack as much of the process as possible in order to share his method and to make it available to other theatre-makers. This article initially examines how such documentation functioned and goes on to consider how and why it gradually declined over time. By the mid-1960s, the Berliner Ensemble had entered a period of crisis, yet the development of post-Brechtian practices in the early 1970s did not lead to a resurgence of documentation. However, at certain points, interest in manufacturing the carefully taken Notate resurfaced. The article thus investigates the relationship between documenting and transmitting Brechtian practices. Documentation becomes a yardstick by which to measure the fêted company's self-understanding as Brecht's theatre.
    Materialart: Online-Ressource
    ISSN: 0307-8833 , 1474-0672
    RVK:
    Sprache: Englisch
    Verlag: Cambridge University Press (CUP)
    Publikationsdatum: 2016
    ZDB Id: 2045177-5
    SSG: 9,3
    Bibliothek Standort Signatur Band/Heft/Jahr Verfügbarkeit
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  • 4
    Online-Ressource
    Online-Ressource
    Cambridge University Press (CUP) ; 2022
    In:  Theatre Research International Vol. 47, No. 2 ( 2022-07), p. 200-202
    In: Theatre Research International, Cambridge University Press (CUP), Vol. 47, No. 2 ( 2022-07), p. 200-202
    Kurzfassung: In 2002, I published an article in Theatre Research International called ‘Heiner Müller as the End of Brechtian Dramaturgy: Müller on Brecht in Two Lesser-Known Fragments’. I had written my doctoral dissertation on Müller, and, in the course of my studies, had come across two shorter pieces that, to my knowledge, had not been discussed by scholars. The first was Philoktet 1979 (Philoctetes 1979), a short, parodic and grotesque treatment of the Philoctetes myth, something very different from Müller's more sombre adaptation of the same material, published in 1965. I had heard Müller read the comic piece at the Berliner Ensemble in March 1995 and located the source in a copy of the German weekly newspaper Die Zeit , printed in December 1978. The second piece was also parodic and also appeared in a newspaper. Nachleben Brechts Beischlaf Auferstehung in Berlin (Brecht's Afterlife Intercourse Resurrection in Berlin) featured in the Volkszeitung in July 1990. 1 The title suggested that Müller was ironically quoting his own back catalogue, echoing his play Leben Gundlings Friedrich von Preußen Lessings Schlaf Traum Schrei (Gundling's Life Frederick of Prussia Lessings Sleep Dream Cry) (1977) and Germania Tod in Berlin (Germania Death in Berlin) (1978). Stylistically, it looked like a heightened version of the technique employed in Philoktet 1979 , in that it drew on and collided more Brechtian intertexts, and referenced Müller's own work more extensively. My doctoral supervisor had found the short playlet in the Volkszeitung . It was one of five responses to Brecht from prominent German literary figures, including Peter Handke and Martin Walser, collected under the title ‘Brecht: Stimmen der Dichter’ (Brecht: The Writers Speak). In my article's fifth footnote, I observed that while Philoktet 1979 appeared in the only extant bibliography of the playwright at the time, Nachleben Brechts did not. It would be hard to conceal an amount of smugness in my observation. But such self-satisfaction is not a quality worth airing too publicly, as will become evident soon.
    Materialart: Online-Ressource
    ISSN: 0307-8833 , 1474-0672
    RVK:
    Sprache: Englisch
    Verlag: Cambridge University Press (CUP)
    Publikationsdatum: 2022
    ZDB Id: 2045177-5
    SSG: 9,3
    Bibliothek Standort Signatur Band/Heft/Jahr Verfügbarkeit
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