Open Access. Powered by Scholars. Published by Universities.®
Theatre and Performance Studies
Johnny Carson School of Theatre and Film: Faculty Publications and Creative Activity
- Keyword
-
- Third Reich (3)
- Comedy (2)
- German theatre (2)
- Actresses (1)
- Alexander Moissi (1)
-
- Augmented Reality (1)
- Collaborative and Social Computing (1)
- Computer Science Educational Technology (1)
- Deutsches Theater (East) Berlin (1)
- Documentary drama (1)
- East German Theatre (1)
- Embodiment (1)
- Essays (1)
- Friedrich Schiller (1)
- Gerhart Hauptmann (1)
- German actors and actresses (1)
- German-language theatre (1)
- German-language theatre in America (1)
- Interaction Design (1)
- Joseph Goebbels (1)
- K-12 Computer Science Education (1)
- Milwaukee Repertory Theater (1)
- Peter Stein (1)
- Reich Ministry of Propaganda and Popular Enlightenment (1)
- Virtual Reality (1)
- Visual Programming. (1)
- Visualization (1)
- West Berlin theatre (1)
Articles 1 - 25 of 25
Full-Text Articles in Arts and Humanities
Need Finding For An Embodied Coding Platform: Educators’ Practices And Perspectives, Tommy Sharkey, Robert Twomey, Amy Eguchi, Monica Sweet, Ying Chun Wu
Need Finding For An Embodied Coding Platform: Educators’ Practices And Perspectives, Tommy Sharkey, Robert Twomey, Amy Eguchi, Monica Sweet, Ying Chun Wu
Johnny Carson School of Theatre and Film: Faculty Publications and Creative Activity
Eight middle- and high-school Computer Science (CS) teachers in San Diego County were interviewed about the major challenges their students commonly encounter in learning computer programming. We identified strategic design opportunities -- that is, challenges and needs that can be addressed in innovative ways through the affordances of Augmented and Virtual Reality (AR/VR). Thematic Analysis of the interviews yielded six thematic clusters: Tools for Learning, Visualization and Representation, Pedagogical Approaches, Classroom Culture, Motivation, and Community Connections. Within the theme of visualization, focal clusters centered on visualizing problem spaces and using metaphors to explain computational concepts, indicating that an AR/VR coding …
“The Astonishing Career Of Heinrich Conried”, William Grange
“The Astonishing Career Of Heinrich Conried”, William Grange
Johnny Carson School of Theatre and Film: Faculty Publications and Creative Activity
Heinrich Conried was the most significant actor-director-manager the German theatre in the United States ever produced. In a career that spanned over three decades in theatres from the Bowery to the Metropolitan Opera Company, few individuals–regardless of the language in which they worked–matched his remarkable achievements. Beginning as an actor and Oberspielleiter in 1878, Conried worked in various professional New York venues continuously until his untimely death in 1909, and during that time there were only five years in which he did not work exclusively in the German language–and those five years were the ones he ran the Metropolitan Opera.
Rev. Of "The Wallenstein Trilogy," Directed By Peter Stein And Starring Klaus Maria Brandauer., William Grange
Rev. Of "The Wallenstein Trilogy," Directed By Peter Stein And Starring Klaus Maria Brandauer., William Grange
Johnny Carson School of Theatre and Film: Faculty Publications and Creative Activity
The refurbished main fermentation hall and cold storage warehouse of the defunct Kindl brewery Berlin’s working-class borough of Neukölln is an improbable venue for a production of a German classic that attracted film and television celebrities, major government officials, sports stars, and serious theatre-goers from all over the country.
The Blackfriars Gladiators: Masters Of Fence, Playing A Prize, And The Elizabethan And Stuart Theater, Ian Borden
The Blackfriars Gladiators: Masters Of Fence, Playing A Prize, And The Elizabethan And Stuart Theater, Ian Borden
Johnny Carson School of Theatre and Film: Faculty Publications and Creative Activity
Attempting to determine the nature of staged combat during the Elizabethan and Stuart periods is a difficult venture, for very few descriptions of stage fighting exist. Most plays from these periods, even when a moment of combat is central to the plot, simply describe swordplay as "They fight." Yet dueling was common to the theatrical venues of the day, not just in period drama, but also in contests between skilled professional fencers and instructors called Masters of Fence or Masters of Defence. Known as "playing a prize," or "prize fighting," competitions between these masters attracted substantial crowds. Beginning as amateur, …
The Theatrical Concession System In Prussia, 1811-1869, William Grange
The Theatrical Concession System In Prussia, 1811-1869, William Grange
Johnny Carson School of Theatre and Film: Faculty Publications and Creative Activity
In 1869, the Prussian House of Deputies passed a law that transformed theatre practice in Berlin and other Prussian cities. When the newly unified Germany came into being two years later, the 1869 law became the legal order of business for all theatres within the new Reich. That law, called the Gewerbefreiheit Gesetz (Freedom to Engage in Business Act), put an end to the way theatre had formerly been produced, dissolving the concession system that had been in operation for decades previous; it also terminated a tradition that had functioned for centuries, both in Prussia and in nearly all other …
"Oskar Blumenthal And The Lessing Theater In Berlin, 1888-1904", William Grange Prof. Dr.
"Oskar Blumenthal And The Lessing Theater In Berlin, 1888-1904", William Grange Prof. Dr.
Johnny Carson School of Theatre and Film: Faculty Publications and Creative Activity
Oskar Blumenthal (1852-1917) was Berlin’s most feared theatre critic in the early years of the new German Reich. He had the audacity of referring to Goethe as “an egghead” who had no understanding of what made plays effective for audiences, and in other critiques he ridiculed Kleist, Hebbel, and other “important” playwrights—prompting an adversary publicly to call him a “one-man lynch mob.” In the 1880s Blumenthal himself began writing plays, and he was so successful that many self-appointed cultural guardians accused him of damaging the German theatre beyond repair. His became the most frequently performed plays on any German stage …
"Rules, Regulations, And The Reich: Comedy Under The Auspices Of The Propaganda Ministry", William Grange Prof. Dr.
"Rules, Regulations, And The Reich: Comedy Under The Auspices Of The Propaganda Ministry", William Grange Prof. Dr.
Johnny Carson School of Theatre and Film: Faculty Publications and Creative Activity
On September 22, 1933 the National Socialist cabinet, under Chancellor Adolf Hitler, passed the Reich Cultural Chamber Law (the Reichskulturkammergesetz), giving Propaganda Minister Joseph Goebbels charge of an organization the new Law created, the Reich Cultural Chamber. Theatre Chamber reserved the right to license productions for any theatre performance; but like most bureaucracies, it expanded its domain of authority, increased its budgetary needs, and consolidated its power. The Reich Theater Act (Reichstheatergesetz) in 1934 sustained those efforts. On September 15, 1935 the Theatrical Trade Guild (Fachschaft Bühne) was founded in accordance with the so-called Nuremberg …
“Promise Me Nothing On Heroes’ Square: Marianne Hoppe’S Twentieth Century", William Grange Prof. Dr.
“Promise Me Nothing On Heroes’ Square: Marianne Hoppe’S Twentieth Century", William Grange Prof. Dr.
Johnny Carson School of Theatre and Film: Faculty Publications and Creative Activity
On the occasion of Marianne Hoppe=s death in Siegsdorf, Bavaria on October 23, 2002, obituaries in several German newspapers recalled her as one of the great stars of the Third Reich. Most recalled her rise under the Nazis, and some inferred that she attained stardom largely for the wrong reasons. Her marriage to Hermann Goering's favorite actor and director, Gustaf Gründgens (1899-1963), was a political cloud that hovered over her until her death. Her frank admission that she was aware of the regime=s persecution, terror, and concentration camps did little to dispel persistent misgivings about her, even as she continued …
Foreign-Language Comedy Production In The Third Reich, William Grange
Foreign-Language Comedy Production In The Third Reich, William Grange
Johnny Carson School of Theatre and Film: Faculty Publications and Creative Activity
The two most frequently performed non-German comic playwrights on German-language stages from 1933 to 1944 were Carlo Goldoni (1707-1793) and Oscar Wilde (1854-1900), whose plays served the purposes of cultural transmission both by the theatre establishment and the political regime in power at the time. Goethe had seen Goldoni productions in Venice during his "Italian Journeys" between 1786 and 1788, and he reported that never in his life had he heard such "laughter and bellowing at a theatre." It remains unclear whether he meant laughing and bellowing on the part of audiences or the actors, but since his other remarks …
Rev. Of Theatre Under The Nazis, Ed. John London., William Grange
Rev. Of Theatre Under The Nazis, Ed. John London., William Grange
Johnny Carson School of Theatre and Film: Faculty Publications and Creative Activity
John London’s edition of six essays attempts no comprehensive estimation of theatre under the Nazis as one might assume from the title, but rather provides six valuable windows through which one may glimpse sometimes startling illustrations of how political forces can easily overcome and subdue artistic expression, exploit idealism for totalitarian purposes, and give the sheen of political correctness to cultural perversion.
“The Popular Repertory And The German-American Audience: The Pabst Theater In Milwaukee, 1885-1909”, William Grange
“The Popular Repertory And The German-American Audience: The Pabst Theater In Milwaukee, 1885-1909”, William Grange
Johnny Carson School of Theatre and Film: Faculty Publications and Creative Activity
German-language theatre in Milwaukee reached its pinnacle in 1895 with the construction of the Pabst Theater, and there it flourished until 1909. The first theatre performances in Milwaukee, however, had taken place at mid-point in the nineteenth century.
Rev. Of Moissi: Triest, Berlin, New York: Eine Schauspielerlegende By Rüdiger Schaper. A Biography Of The Legendary Actor Alexander Moissi., William Grange
Rev. Of Moissi: Triest, Berlin, New York: Eine Schauspielerlegende By Rüdiger Schaper. A Biography Of The Legendary Actor Alexander Moissi., William Grange
Johnny Carson School of Theatre and Film: Faculty Publications and Creative Activity
Unlike most of the great German actors before him, Alexander Moissi was not a native German speaker. He was born in Albania and grew up speaking Greek and Italian--yet he had a forty-year career in German that earned him millions of dollars in performances all over the world. In none of those performances did Moissi lose the Mediterranean inflections in the language of Goethe and Schiller. But that did not diminish his stature; it enhanced it.
Theodor Lebrun And Industrial Comedy Space In Nineteenth Century Berlin, William Grange
Theodor Lebrun And Industrial Comedy Space In Nineteenth Century Berlin, William Grange
Johnny Carson School of Theatre and Film: Faculty Publications and Creative Activity
The formation of the German Reich in 1871 was an occasion of unprecedented economic growth, accompanied by an equally conspicuous increase of both theatre construction and audience growth. One important aesthetic result, to paraphrase Hélène Cixous by way of Jacques Lacan, was "re-locating and un-making" the comic self in an alternative space of the Wilhelminian “Imaginary.” The victorious conclusion of the Franco-Prussian War in 1871 and the collection of billions in war reparations from the vanquished French allowed the German economy between 1871 and 1890 to surpass that of France and soon thereafter that of Great Britain. The erstwhile Prussian …
"Ersatz Comedy In The Third Reich", William Grange Prof. Dr.
"Ersatz Comedy In The Third Reich", William Grange Prof. Dr.
Johnny Carson School of Theatre and Film: Faculty Publications and Creative Activity
The idea performing comedy, and performing a lot of comedy, during one the most systematic reigns of terror the world has ever known may at first blush seem somewhat degraded. The perception of most people, especially in the English-speaking world, is that “German comedy” in the first place is an oxymoron. The fact is, however, that 42,000 productions were staged between 1933 and 1944 in the Third Reich, and the majority of them were comedies. The most frequently performed were plays by the now forgotten likes of August Hinrichs, Maximilian Böttcher, and Fritz Peter Buch, Jochen Huth, and Charlotte Rissmann. …
Hitler's "Whiff Of Champagne": Curt Goetz And Celebrity In The Third Reich, William Grange
Hitler's "Whiff Of Champagne": Curt Goetz And Celebrity In The Third Reich, William Grange
Johnny Carson School of Theatre and Film: Faculty Publications and Creative Activity
Adolf Hitler and his National Socialist German Workers' Party were obsessed with keeping the German theatre tradition vital and maintaining Berlin as a "cultural metropolis" after Hitler's appointment as Reich Chancellor on 30 January 1933. Upholding a dynamic and energetic cultural life for the nation was a task for which National Socialism, as a political movement embodying the "will of the people," felt itself eminently well qualified. The Nazis, therefore, began almost as soon as they took over the reins of government in Germany to support theatre as an art form and theatres as institutions to an extent unprecedented in …
Choices Of Evil: Brecht's Modernism In The Work With Eisler And Dessau, William Grange
Choices Of Evil: Brecht's Modernism In The Work With Eisler And Dessau, William Grange
Johnny Carson School of Theatre and Film: Faculty Publications and Creative Activity
Brecht wanted composers of music for his mature work who were capable of creating an idiom complementary to his own modernist ideas of theatrical performance. That idiom he called "gestic" music, the kind capable of "conveying particular attitudes adopted by the speaker towards other men" [bestimmte Haltungen des Sprechenden anzeigt, die dieser anderen Menschen gegenüber einnimmt]. When playing a fascist, for example, the actor was not merely to present the character's pompousness; he or she was to illustrate a political stance toward that pompousness. Nor was the actor to reveal layers of the character's motivation, like girls in Broadway burlesque …
"The Blondest Of The Blondes", William Grange Prof. Dr.
"The Blondest Of The Blondes", William Grange Prof. Dr.
Johnny Carson School of Theatre and Film: Faculty Publications and Creative Activity
The German theatre underwent a revolution of shattering magnitude in 1933 when the National Socialists assumed power. The Nazis had an avid interest in theatre as an expression of “the peoples’ will,” even as they viewed the theatre of the Weimar Republic as a Babylon of “hyper-modern, bolshevistic, mollusk-like, and neurasthenic aesthetics.”
Review Of "Glaube Liebe Hoffnung" By Ödön Von Horváth At Staatsschaupiel Dresden., William Grange
Review Of "Glaube Liebe Hoffnung" By Ödön Von Horváth At Staatsschaupiel Dresden., William Grange
Johnny Carson School of Theatre and Film: Faculty Publications and Creative Activity
Glaube Liebe Hoffnung marks the first time a Horváth play has ever been performed in Dresden, a fact remarkable in view of the city’s importance as a theatre center. In the 1920s Dresden was home to at least seven theatres, though none of them were particularly noted for premiering new plays. That Horváth has never been performed here is a reflection of the repressive cultural policy of the old German Democratic Republic; productions of Geschichten aus dem Wienerwald and of Kasimir und Karoline took place in East Germany after the “Horváth revival” in the late 1960s, but those productions did …
"Tweaked Roman" In The Menaechmus Twins By Plautus, William Grange
"Tweaked Roman" In The Menaechmus Twins By Plautus, William Grange
Johnny Carson School of Theatre and Film: Faculty Publications and Creative Activity
Why do a production of The Menaechmus Twins by Plautus at Marquette University in Milwaukee? Most people think of Milwaukee as the city of Laverne and Shirley, where a large percentage of the population is employed in one of numerous breweries, and citizens spend their non-working hours in bowling alleys or at fish fries. True, Milwaukee boasts more bowling alleys per capita than any other city in the country, but Milwaukee has more Equity theatres than breweries, one of which is an outstanding LORT A repertory theatre with an international reputation. The University itself features a major in classics, and …
Rev. Of "Mccarthy," Play By Jeff Goldsmith With James Pickering As Sen. Joseph Mccarthy, William Grange
Rev. Of "Mccarthy," Play By Jeff Goldsmith With James Pickering As Sen. Joseph Mccarthy, William Grange
Johnny Carson School of Theatre and Film: Faculty Publications and Creative Activity
Review of McCarthy by Jeff Goldsmith, directed by Frank Condon, with James Pickering as Sen. Joseph McCarthy.
Heinz Hilpert: The Revitalization Of German Theatre After World War Ii, William Grange
Heinz Hilpert: The Revitalization Of German Theatre After World War Ii, William Grange
Johnny Carson School of Theatre and Film: Faculty Publications and Creative Activity
When Heinz Hilpert died in Gottingen on 25 November 1967 at the age of seventy-seven, obituary notices throughout the German-speaking world hailed him as the last of the great theatre directors, a group that had included Otto Brahm, Max Reinhardt, Leopold Jessner, Jurgen Fehling, Erich Engel, and Gustaf Griindgens. As early as 1931, numerous critics considered him perhaps the best director in Berlin, second only to Reinhardt himself. Hilpert had indeed succeeded Reinhardt as Intendant of the Deutsches Theater in Berlin in 1933; when he did so he pledged himself to the task of preserving the Deutsches Theater as an …
Shakespeare In The Weimar Republic, William Grange
Shakespeare In The Weimar Republic, William Grange
Johnny Carson School of Theatre and Film: Faculty Publications and Creative Activity
The Weimar Republic occupies a period in German history that has long fascinated students of theatre and drama. It was a period of profound change in German social, political, and cultural experience, and rarely has the confluence of those experiences figured so influentially upon the performance of William Shakespeare's plays. In decades previous to Weimar, German Shakespeare productions manifested the awed reverence in which the playwright was held, since most German actors, directors, and designers regarded Shakespeare in the same light as they did Goethe and Schiller. In 1864, for example, Germany celebrated the three-hundredth anniversary of the playwright's birth …
Channing Pollock: The American Theatre's Forgotten Polemicist, William Grange
Channing Pollock: The American Theatre's Forgotten Polemicist, William Grange
Johnny Carson School of Theatre and Film: Faculty Publications and Creative Activity
Channing Pollock (1880-1946) is an obscure figure in the American theatre, whose well-structured plays reflected the quixotic idealism of their creator, his firm belief in traditional values, and his sense of moral urgency. His obscurity is unwarranted, for he was the foremost theatrical polemicist of his day, and the quality of his work far surpasses that of other, more well known polemicists such as John Howard Lawson or George Sklar. Moreoever, he was associated in the performance of his plays with some of the most talented and noteworthy production personnel the theatre in New York City has ever seen.
Rev. Of Wallensteins Tod By Friedrich Schiller, Staged At The Deutsches Theater Berlin (German Democratic Republic) 1979., William Grange
Rev. Of Wallensteins Tod By Friedrich Schiller, Staged At The Deutsches Theater Berlin (German Democratic Republic) 1979., William Grange
Johnny Carson School of Theatre and Film: Faculty Publications and Creative Activity
Friedo Solter's production of Wallenstein's Death by Friedrich Schiller, with Eberhard Esche in the title role.
Rev. Of Der Rote Hahn By Gerhart Hauptmann, Staged At The Schiller Theater In West Berlin In 1979., William Grange
Rev. Of Der Rote Hahn By Gerhart Hauptmann, Staged At The Schiller Theater In West Berlin In 1979., William Grange
Johnny Carson School of Theatre and Film: Faculty Publications and Creative Activity
Boleslaw Barlog's production of The Red Rooster by Gerhart Hauptmann, featuring well known actor Carl Raddatz.