Horváth, Ödön von: Wiener Ausgabe sämtlicher Werke. Band 3. Horváth, Ödön von. Geschichten aus dem Wiener Wald. [Tales from the Vienna Woods]. Band 3. Horváth, Ödön von. Geschichten aus dem Wiener Wald. [Tales from the Vienna Woods]. Ed. by Gartner, Erwin / Streitler-Kastberger, Nicole. “KITSCH” ELEMENTS IN HORVATH’S GESCHICHTEN. AUS DEM WIENER WALD. CHARLES N. GENNO. The present Horvaith renaissance in Germany.
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One Response to Berlin, Day 2: Many of the photos here were taken at the Folger Shakespeare Library; please consult their policy on digital images as well.
gwschichten He dwells on some moments at absolutely extraordinary length. Geschichten aus dem Wiener Wald. However, she is not completely happy about this and on the day of her engagement runs away with the rogue Alfred.
She gives birth to a child, but the love she and Alfred had for each other quickly dies owing to financial problems. But even before the masks first start to appear there is a striking tonal difference between Wichmann and the other actors, a division between the speakers gesvhichten lines and the one voice trying to break free of those lines. Now peace and order can return to the family.
Berlin, Day 2: Geschichten aus dem Wiener Wald (Horvath/Thalheimer), Deutsches Theater
But when Marianne appears on the nightclub stage, a dense confetti rain starts falling, turning the scene into a bizarre colourful and shiny snowstorm through which her figure, wearing only a bra and a very wide skirt wanders until she reaches centre stage, where she signs a popular song and strips down to her waist. Wichmann even had multiple moments where she seemed to inhabit the text with more abandon than the rest of the cast.
Oskar forgives Marianne and plans to marry her after all and Alfred goes back to his old flame, the wealthy tobacconist Valerie. March 14th, Coproduction with Bregenzer Festspiele Fotos: One lighting cue I loved really emphasized this separation: We might expect the house lights to fade, but the opposite happens: The grandmother solves the problem: Colin Mason In coproduction with the Bregenzer Festspiele.
Marianne is confessing, alone, with the stage in darkness except for a circle of light just in front of her; she finishes her list of sins and an imperfectly delivered Our Father; and the lights come up on the rest of the cast assembled on and around a long table all the way upstage — the space, which just now had been quite flat, quite two-dimensional suddenly appears almost immeasurably deep, with a gulf of darkness between Marianne and the rest.
With Angelika Kirchschlager, Daniel Schmutzhard et al. And totally, unrestrainedly, committedly and irreducibly theatrical. Leave a Reply Cancel reply. As a take on the play, this makes sense, as Marianne is trying to abandon the path her father has plotted for her, is trying to get away from her neighbourhood of maliciously gossiping store owners, inane retirees, and menacing butchers — and from her fiancee, her childhood friend Oskar, the well-to-do owner of the butcher shop.
Thalheimer has always been a master not simply of compression and speed, but of switching registers radically, from extremely fast to near-catatonic. Sorry, your blog cannot share posts by email. The opening of the show is one of them, and perhaps the most remarkable instance.
The contrast between the bare stage before and the beauty of the nightclub scene almost seemed to suggest that in her very destitution and despair, even as she has to sell her body to feed herself, Marianne has achieved a kind of autonomy to which she can only hold on for a few moments longer she winds up in jail on false charges right after thisand for which she will be swiftly punished with marriage to Oskar and a reintegration into her place in society.
When her father discovers her working as a nude dancer in a night club in an effort to earn some money, he indignantly disowns his wayward daughter.
Wiener Ausgabe sämtlicher Werke – Band 3 Geschichten aus dem Wiener Wald
And it was mesmerizing, and hysterical, and devastating. Reading other reviews of the show has been a fascinating experience: Marianne, both technically and visually, seemed to be singled out as different — not necessarily less culpable than anyone else, not less morally questionable, but perhaps more pure in her yearning for another life, more achingly naive in her hope, more simple-minded and thus more moving in her love.
Again, this went on for at least five minutes, only accompanied by the sound of creaking cardboard and the occasional grunt. And the audience is very different, or at least was very different this week: That was the first surprise. But the sheer theatricality of the moment, the multitude of audience reactions, the physical and aural impact of the scene, went well beyond that.
The DT audience was significantly older and significantly more dressed-up — it felt and looked rather like a London West End crowd. On stage, it becomes a terrifyingly beautiful moment. Images may be reused as long as their source is properly attributed in accordance with the Creative Commons License detailed above. Some of that happened here, but no more than one might expect in any production. One more point about timing. What was on stage, though, was in many ways no less interesting, challenging, and exciting than what the Volksbuehne had to offer.
Geschichten aus dem Wiener Wald | Theater an der Wien – Production Details
The former is flashier, both in the front-of-house areas and in the auditorium: The point here may in fact be quite simple: But the relative silence wienerawld the show was a bit unsettling: The latter is slightly run down, dominated by a s kind of charm, but feels very open — in the lobby and in the auditorium. Characters like this did not only exist in Vienna in the early s, however; pompous members of the middle class whose stupidity makes them dangerous can be found everywhere and in every era.
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