HORVATH GESCHICHTEN AUS DEM WIENERWALD PDF
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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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 wienerwaald and a very wide skirt wanders until she reaches centre stage, where she signs a popular song and strips down to her waist.
Oskar forgives Marianne and plans to marry her after all and Alfred goes back to his old flame, horgath wealthy tobacconist Valerie. Reading other reviews of the show has geschichtenn a fascinating experience: Sorry, your blog cannot share posts by email. Michael Thalheimer, the director, is well known for his extremely compressed versions of old plays, for textual work that aims to boil down the text to an essence of sorts.
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 de butcher shop.
Again, this went on for at least five minutes, only accompanied by the sound of creaking cardboard and the occasional grunt. The DT audience was significantly older and significantly more dressed-up — it felt and looked rather like a London West End crowd.
When her father discovers her working as a asu dancer in a night club in an effort to earn some money, he indignantly disowns his wayward daughter.
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 wienereald naive in her hope, more simple-minded and thus more moving in her love. She gives birth to a child, but the love she and Alfred had for each other quickly dies owing to financial problems.
Some of that happened here, but no more than one might expect in any production. What was on stage, though, wuenerwald in many ways no less interesting, challenging, and exciting than what the Volksbuehne had to offer.
Berlin, Day 2: Geschichten aus dem Wiener Wald (Horvath/Thalheimer), Deutsches Theater
But the sheer theatricality of the moment, the multitude of audience reactions, the physical and aural impact of the scene, went well beyond that. 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.
On stage, it becomes a terrifyingly beautiful moment. One Horvatu to Berlin, Day 2: March 14th, Coproduction with Bregenzer Festspiele Fotos: 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 wirnerwald after thisand for which she will be swiftly punished with marriage to Oskar and a reintegration into her place in society.
The latter is slightly run down, dominated by a s kind of charm, but feels very open — in the lobby and in the auditorium.
Eventually, her father sees her perform as a nude act a scene that also triggers a loud hysterical reaction by the gossipy shop keeper. Wichmann even had multiple moments where she seemed to inhabit the text with more abandon than the rest of the cast.
The opening of the show is one of them, and perhaps the most remarkable instance. And totally, unrestrainedly, committedly and irreducibly theatrical.
But whereas in the other Thalheimer shows I know, lines are delivered mostly at breakneck pace and physical actions are often separated sharply from speechhere the pace was rather more relaxed. The former is flashier, both in the front-of-house areas and in the auditorium: One lighting cue I loved really emphasized this separation: 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.
Geschichten aus dem Wienerwald (TV Movie ) – IMDb