Theater and Nation in Eighteenth-Century Germany PDF Download
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Author: Michael J. Sosulski
Publisher: Routledge
ISBN: 1351880152
Category : Literary Criticism
Languages : en
Pages : 194
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Book Description
In 1767, more than a century before Germany was incorporated as a modern nation-state, the city of Hamburg chartered the first Deutsches Nationaltheater. What can it have meant for a German playhouse to have been a national theater, and what did that imply about the way these theaters operated? Michael Sosulski contends that the idea of German nationhood not only existed prior to the Napoleonic Wars but was decisive in shaping cultural production in the last third of the eighteenth century, operating not on the level of popular consciousness but instead within representational practices and institutions. Grounding his study in a Foucauldian understanding of emergent technologies of the self, Sosulski connects the increasing performance of body discipline by professional actors, soldiers, and schoolchildren to the growing interest in German national identity. The idea of a German cultural nation gradually emerged as a conceptual force through the work of an influential series of literary intellectuals and advocates of a national theater, including G. E. Lessing and Friedrich Schiller. Sosulski combines fresh readings of canonical and lesser-known dramas, with analysis of eighteenth-century theories of nationhood and evolving acting theories, to show that the very lack of a strong national consciousness in the late eighteenth century actually spurred the emergence of the German Nationaltheater, which were conceived in the spirit of the Enlightenment as educational institutions. Since for Germans, nationality was a performed identity, theater emerged as an ideal space in which to imagine that nation.
Author: Michael J. Sosulski
Publisher: Routledge
ISBN: 1351880152
Category : Literary Criticism
Languages : en
Pages : 194
Get Book Here
Book Description
In 1767, more than a century before Germany was incorporated as a modern nation-state, the city of Hamburg chartered the first Deutsches Nationaltheater. What can it have meant for a German playhouse to have been a national theater, and what did that imply about the way these theaters operated? Michael Sosulski contends that the idea of German nationhood not only existed prior to the Napoleonic Wars but was decisive in shaping cultural production in the last third of the eighteenth century, operating not on the level of popular consciousness but instead within representational practices and institutions. Grounding his study in a Foucauldian understanding of emergent technologies of the self, Sosulski connects the increasing performance of body discipline by professional actors, soldiers, and schoolchildren to the growing interest in German national identity. The idea of a German cultural nation gradually emerged as a conceptual force through the work of an influential series of literary intellectuals and advocates of a national theater, including G. E. Lessing and Friedrich Schiller. Sosulski combines fresh readings of canonical and lesser-known dramas, with analysis of eighteenth-century theories of nationhood and evolving acting theories, to show that the very lack of a strong national consciousness in the late eighteenth century actually spurred the emergence of the German Nationaltheater, which were conceived in the spirit of the Enlightenment as educational institutions. Since for Germans, nationality was a performed identity, theater emerged as an ideal space in which to imagine that nation.
Author: Wendy Sutherland
Publisher: Taylor & Francis
ISBN: 131705086X
Category : Literary Criticism
Languages : en
Pages : 277
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Book Description
Focusing on eighteenth-century cultural productions, Wendy Sutherland examines how representations of race in philosophy, anthropology, aesthetics, drama, and court painting influenced the construction of a white bourgeois German self. Sutherland positions her work within the framework of the transatlantic slave trade, showing that slavery, colonialism, and the triangular trade between Europe, West Africa, and the Caribbean function as the global stage on which German bourgeois dramas by Friedrich Wilhelm Ziegler, Ernst Lorenz Rathlef, and Theodor Körner (and a novella by Heinrich von Kleist on which Körner's play was based) were performed against a backdrop of philosophical and anthropological influences. Plays had an important role in educating the rising bourgeois class in morality, Sutherland argues, with fathers and daughters offered as exemplary moral figures in contrast to the depraved aristocracy. At the same time, black female protagonists in nontraditional dramas represent the boundaries of physical beauty and marriage eligibility while also complicating ideas of moral beauty embodied in the concept of the beautiful soul. Her book offers convincing evidence that the eighteenth-century German stage grappled with the representation of blackness during the Age of Goethe, even though the German states were neither colonial powers nor direct participants in the slave trade.
Author: Austin Glatthorn
Publisher: Cambridge University Press
ISBN: 1009079948
Category : Music
Languages : en
Pages : 391
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Book Description
Packed full of new archival evidence that reveals the interconnected world of music theatre during the 'Classical era', this interdisciplinary study investigates key locations, genres, music, and musicians. Austin Glatthorn explores the extent to which the Holy Roman Empire delineated and networked a cultural entity that found expression through music for the German stage. He maps an extensive network of Central European theatres; reconstructs the repertoire they shared; and explores how print media, personal correspondence, and their dissemination shaped and regulated this music. He then investigates the development of German melodrama and examines how articulations of the Holy Roman Empire on the musical stage expressed imperial belonging. Glatthorn engages with the most recent historical interpretations of the Holy Roman Empire and offers quantitative, empirical analysis of repertoire supported by conventional close readings to illustrate a shared culture of music theatre that transcended traditional boundaries in music scholarship.
Author: Martin Nedbal
Publisher: Routledge
ISBN: 1317094085
Category : Music
Languages : en
Pages : 285
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Book Description
This book explores how the Enlightenment aesthetics of theater as a moral institution influenced cultural politics and operatic developments in Vienna between the mid-eighteenth and early nineteenth centuries. Moralistic viewpoints were particularly important in eighteenth-century debates about German national theater. In Vienna, the idea that vernacular theater should cultivate the moral sensibilities of its German-speaking audiences became prominent during the reign of Empress Maria Theresa, when advocates of German plays and operas attempted to deflect the imperial government from supporting exclusively French and Italian theatrical performances. Morality continued to be a dominant aspect of Viennese operatic culture in the following decades, as critics, state officials, librettists, and composers (including Gluck, Mozart, and Beethoven) attempted to establish and define German national opera. Viennese concepts of operatic didacticism and national identity in theater further transformed in response to the crisis of Emperor Joseph II’s reform movement, the revolutionary ideas spreading from France, and the war efforts in facing Napoleonic aggression. The imperial government promoted good morals in theatrical performances through the institution of theater censorship, and German-opera authors cultivated intensely didactic works (such as Die Zauberflöte and Fidelio) that eventually became the cornerstones for later developments of German culture.
Author: L. James
Publisher: Springer
ISBN: 1137313730
Category : History
Languages : en
Pages : 375
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Book Description
Drawing on a wide range of primary sources, this volume argues that although the Revolutionary and Napoleonic Wars are often understood as laying the foundations for total war, many eyewitnesses continued to draw upon older interpretative frameworks to make sense of the armed struggle and attendant political and social upheaval.
Author: Margaret Eleanor Menninger
Publisher: BRILL
ISBN: 9004507809
Category : History
Languages : en
Pages : 396
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Book Description
We tend to accept that German cities and states run their own cultural institutions (concert halls, theatres, museums). This book shows how this now “self-evident” fact became a reality in the course of the long nineteenth century.
Author: Anselm Heinrich
Publisher: Routledge
ISBN: 1317628861
Category : History
Languages : en
Pages : 300
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Book Description
The Second World War went beyond previous military conflicts. It was not only about specific geographical gains or economic goals, but also about the brutal and lasting reshaping of Europe as a whole. Theatre in Europe Under German Occupation explores the part that theatre played in the Nazi war effort. Using a case-study approach, it illustrates the crucial and heavily subsidised role of theatre as a cultural extension of the military machine, key to Nazi Germany’s total war doctrine. Covering theatres in Oslo, Riga, Lille, Lodz, Krakau, Warsaw, Prague, The Hague and Kiev, Anselm Heinrich looks at the history and context of their operation; the wider political, cultural and propagandistic implications in view of their function in wartime; and their legacies. Theatre in Europe Under German Occupation focuses for the first time on Nazi Germany’s attempts to control and shape the cultural sector in occupied territories, shedding new light on the importance of theatre for the regime’s military and political goals.
Author: James Phillips
Publisher: Springer Nature
ISBN: 3030750280
Category : Social Science
Languages : en
Pages : 223
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Book Description
This book, the first of its kind, surveys the career of the renowned Australian-German theatre and opera director Barrie Kosky. Its nine chapters provide multidisciplinary analyses of Barrie Kosky’s working practices and stage productions, from the beginning of his career in Melbourne to his current roles as Head of the Komische Oper Berlin and as a guest director in international demand. Specialists in theatre studies, opera studies, musical theatre studies, aesthetics, and arts administration offer in-depth accounts of Kosky’s unusually wide-ranging engagements with the performing arts – as a director of spoken theatre, operas, musicals, operettas, as an adaptor, a performer, a writer, and an arts manager. Further, this book includes contributions from theatre practitioners with first-hand experience of collaborating with Kosky in the 1990s, who draw on interviews with members of Gilgul, Australia’s first Jewish theatre company, to document this formative period in Kosky’s career. The book investigates the ways in which Kosky has created transnational theatres, through introducing European themes and theatre techniques to his Australian work or through bringing fresh voices to the national dialogue in Germany’s theatre landscape. An appendix contains a timeline and guide to Kosky’s productions to date.
Author: Martin Nedbal
Publisher: Cambridge University Press
ISBN: 1009257595
Category : Music
Languages : en
Pages : 307
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Book Description
This wide-ranging study explores how Czech and German nationalism influenced the reception of Mozart's operas in Prague over the centuries. It demonstrates the role of politics in the construction of the Western musical canon, revealing how both Czech and German factions in Prague used Mozart's legacy to promote their political interests.
Author: Francien Markx
Publisher: BRILL
ISBN: 9004309578
Category : Literary Criticism
Languages : en
Pages : 496
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Book Description
In this first monograph on E. T. A. Hoffmann and opera, Francien Markx examines Hoffmann’s writings on opera and the challenges they pose to established narratives of aesthetic autonomy, the search for a national opera, and Hoffmann’s biography. Markx discusses Hoffmann’s lifelong fascination with opera against the backdrop of eighteenth-century theater reform, the creation of national identity, contemporary performance practices and musical and aesthetic discourses as voiced by C. M. von Weber, A. W. Schlegel, Heine, and Wagner, among others. The book reconsiders the traditional view that German opera followed a deterministic trajectory toward Wagner’s Gesamtkunstwerk and reveals a cosmopolitan spirit in Hoffmann’s operatic vision, most notably exemplified by his controversial advocacy for Spontini in Berlin.
