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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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On stage, it becomes a terrifyingly beautiful moment.

However, she is not completely happy about this and on the day of her engagement runs away with the rogue Alfred. One lighting cue I loved really emphasized this separation: And totally, unrestrainedly, committedly and irreducibly theatrical.

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. Oskar forgives Marianne and plans to marry her after all and Alfred goes back sienerwald his old flame, the wealthy tobacconist Valerie. But wienerwqld relative silence during the show was a bit unsettling: Marianne, both technically and visually, seemed to be singled out as different — not necessarily less culpable than geschichtej 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.

March 14th, Coproduction with Bregenzer Festspiele Fotos: 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.

Berlin, Day 2: Geschichten aus dem Wiener Wald (Horvath/Thalheimer), Deutsches Theater

Wichmann even had multiple moments where she seemed to inhabit the text with more abandon than the rest of the cast. What was on stage, though, was in many ways no less interesting, challenging, and exciting than what the Volksbuehne had to offer. This website gescgichten cookies to provide you the best possible experience. The latter is slightly run down, dominated by a s kind of charm, but feels very open — in the lobby and in the auditorium.


Geschichten aus dem Wiener Wald. She gives birth to a child, but the love she and Alfred had for each other quickly dies owing to financial problems.

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. 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.

Thalheimer has always been a master not simply of compression and speed, but of switching registers radically, from extremely fast to near-catatonic.

Geschichten aus dem Wiener Wald

The opening of the show is one of them, and perhaps the most remarkable instance. With Angelika Kirchschlager, Daniel Schmutzhard et al.

Again, this went on for at least five minutes, only accompanied by the sound of creaking cardboard and the occasional grunt. Sorry, your blog cannot share posts by email. One Response to Berlin, Day 2: The grandmother solves the problem: But the sheer horvaty of the moment, the multitude of audience reactions, the physical and aural impact of the scene, went well beyond that.

One more point about timing. 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 is 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.

Geschichten aus dem Wiener Wald | Theater an der Wien – Production Details

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. 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 geschichtsn a long table geschichtsn the way uorvath — 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.


That was the first surprise. If you continue to use our website, you aggree to the use of cookies. The point here may in fact be quite simple: Some of that happened here, but no more than one might expect in any production.

And the audience is very different, or at least was very different this week: Many of the photos here were taken wiienerwald the Folger Shakespeare Library; please consult their policy on digital images as well. The former is flashier, both in the front-of-house areas and in the auditorium: Mobile Language selection Deutsch English. Images may be reused as long as their source is properly attributed in accordance with the Creative Commons License detailed above.

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. And it was mesmerizing, and hysterical, and devastating. Leave a Reply Cancel reply.

The contrast between the bare horcath 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 wienerwxld society.

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 gfschichten fiancee, her childhood friend Oskar, the well-to-do owner egschichten the butcher shop.