Focusing on the financial aspects of theatre production in the United States, this research guide explores the intricate relationship between money and the art of theatre. It provides an accessible resource for those interested in understanding how funding influences both the creation and sustainability of theatrical works and artists.
Exploring productions and theories from ancient Greece to the Spanish Golden Age, this book presents well-researched content in an engaging and humorous manner, making it accessible to all readers. It incorporates film descriptions to enhance discussions of theatre, providing valuable insights for analyzing performances. The blend of historical context and innovative ideas offers a unique perspective on theatrical evolution.
The history of this period in German literature is told through a detailed chronology, an introductory essay, a comprehensive bibliography, and over 200 cross-referenced dictionary entries on poetry, novels, historical narrative, philosophical musings, drama, and the exceptional writers who emerged and shaped German literature over the centuries.
Historical Dictionary of Postwar German Literature is devoted to one of the most intriguing bodies of modern literature, that produced in the German language, whether from Germany, Austria, Switzerland or writers using German in other countries. The linguistic consanguinity of these locales notwithstanding, there are considerable variations in literary tenor and approach within each of them. This volume covers an extensive period of time, beginning in 1945 at what was called "zero hour" for German literature and proceeds through the remainder of the 20th century, concluding in 2008.
More than mere entertainment, German theater was a crucial component of culture―often influencing society and politics in German-speaking countries―whose influence gradually reached much further with the emergence of outstanding playwrights like Goethe, Schiller, Hauptmann, and Brecht, as well as exceptional dramas such as Faust and The Threepenny Opera .The Historical Dictionary of German Theater covers the field of theater performance in the German language, concentrating on German-speaking Europe, through a chronology, a list of acronyms and abbreviations, an introductory essay, a bibliography, and several hundred cross-referenced dictionary entries on significant playwrights, directors, producers, designers, actors, plays, theaters, cities, dramatic genres, and movements such as the Sturm und Drang , Naturalism, and Expressionism.
When the National Socialist German Workers' party (Nazis) assumed power they vowed to cleanse the German theater of all things "un-German," which ostensibly included comedy. During the Third Reich nearly all German theaters, supported by enormous state funding, presented thousands of comedy productions. Perhaps it was a propaganda tool, however only a tiny fraction of these productions were outright propagandist efforts. French playwright and filmmaker, Marcel Pagnol described laughter as a "song of triumph. . .[that] expresses the laugher's sudden discovery of his own momentary superiority over the person at whom he is laughing. That explains burst of laughter in all times in all countries." Hitler and his followers gladly embraced this triumphal expression. Yet, what did this laughter mean to the Nazi agenda and in what ways did it undermine its goals? Hitler Laughing offers insight into the world of comedy during the Third Reich and its role in the Nazi cultural agenda.
Theatre was one of many German institutions experiencing profound change in the aftermath of World War I. Grange contends that had comedy not prevailed throughout the turbulent years of the ill-fated Weimar experiment in democracy, much of theatre would have died along with the republic itself. Audiences attended performances of comedies in numbers far surpassing those of any other form of theatre.Theatre was one of many German institutions experiencing profound change in the aftermath of World War I. Grange contends that had comedy not prevailed throughout the turbulent years of the ill-fated Weimar experiment in democracy, much of theatre would have died along with the republic itself. Audiences attended performances of comedies in numbers far surpassing those of any other form of theatre. Industrial comedy describes the most important and most predominant form of comedy on German stages from 1919 to 1933. Discoveries, reversals, mistaken identities, and abrupt plot twists were its stock-in-trade. Scholars and students of theatre as well as modern German history will find this a fascinating look at why Germans were laughing, and what they were laughing at, as their society crumbled around them.