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.
|Published (Last):||10 July 2010|
|PDF File Size:||4.24 Mb|
|ePub File Size:||10.92 Mb|
|Price:||Free* [*Free Regsitration Required]|
She gives birth to a child, but the love she and Alfred had for each other quickly dies owing to financial problems. Mobile Language selection Deutsch English. Geschichten aus dem Wiener Wald.
Geschichten aus dem Wiener Wald | Theater an der Wien – Production Details
The DT audience was significantly older and significantly more dressed-up — it felt and looked rather like a London West End crowd. And totally, unrestrainedly, committedly and irreducibly theatrical. Colin Mason In coproduction with the Bregenzer Festspiele. The former is flashier, both in the front-of-house areas 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.
One Response to Berlin, Day 2: 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.
Berlin, Day 2: Geschichten aus dem Wiener Wald (Horvath/Thalheimer), Deutsches Theater | dispositio
But when Marianne appears on the nightclub stage, a de, confetti rain starts falling, turning the scene into a bizarre colourful and shiny wienerwapd 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. Sorry, ggeschichten blog cannot share posts by email.
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 of lines and the one voice trying to break free of those lines. Many of the photos here were taken at the Folger Shakespeare Library; please consult their policy on digital images as well.
He dwells on some moments at absolutely extraordinary length. On stage, it becomes a terrifyingly beautiful moment. Was just thinking about this production again today and yours is one of the few English reviews of it… You missed my favourite part of the scene where Marianne is discovered in the nightclub — which wieenrwald that her father, who has been carrying around balloons the entire play, lets them go as he is shocked out of his grief for his dead wife by the sight of his 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, hirvath achingly naive in her hope, more simple-minded and thus more moving in her love. 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.
One lighting cue I loved really emphasized this separation: And the audience is very different, or at least was very different this week: Leave a Reply Cancel reply.
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. What was on stage, though, was in many ways no less interesting, challenging, and exciting than what the Volksbuehne had to offer.
And it was mesmerizing, and hysterical, and devastating. However, she is not completely happy about this and on the day of her engagement runs away with the rogue Alfred. 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. Now peace and order can return to the family. We might expect the house lights to fade, but the opposite happens: But the sheer theatricality of the moment, the multitude of audience reactions, the physical and aural impact of the scene, went well beyond that.