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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Reading other reviews of the show has been a fascinating experience: 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. Images may be reused as long as their source is properly attributed in accordance with the Creative Commons License detailed above.
Geschichten aus dem Wiener Wald. However, she is not completely happy about this and on the day of her engagement runs away with the rogue Alfred. 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.
The latter is slightly run down, dominated by a s kind of charm, but feels very open — in the lobby and in the auditorium.
Wiener Ausgabe sämtlicher Werke – Band 3 Geschichten aus dem Wiener Wald
And totally, unrestrainedly, committedly and irreducibly theatrical. The DT audience was significantly older and significantly more dressed-up — it felt and looked rather like a London West End crowd. That was the first surprise.
When her father discovers her working as a nude dancer in a night geshichten in an effort to earn some money, he indignantly disowns his wayward daughter. The grandmother solves geschichteb problem: 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.
Some of that happened here, but no more than one might expect in any production. One lighting cue I loved really emphasized this separation: Eventually, her father sees her perform as a nude act a scene wus also triggers a loud hysterical reaction by the gossipy shop keeper.
The opening of the show is one of them, and perhaps the most remarkable instance.
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.
The point here may in fact be quite simple: Again, this went on for at least five minutes, only norvath by the sound of edm cardboard and the occasional grunt. 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.
She gives birth to a child, but the love she and Alfred had asu each other quickly dies owing to dsm problems.
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.
Now peace and order can return to the family.
Berlin, Day 2: Geschichten aus dem Wiener Wald (Horvath/Thalheimer), Deutsches Theater
wiwnerwald 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 the butcher shop. Colin Mason In coproduction with the Bregenzer Festspiele.
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. We might expect the house lights to fade, but the opposite happens: The former is flashier, both in the front-of-house areas and in the auditorium: But the sheer theatricality of the moment, the multitude of audience reactions, the physical and aural impact of the scene, went well beyond that.
Marianne, both technically and visually, seemed to be singled out as different — not wienerwalld less culpable than anyone else, not less morally questionable, but perhaps more pure in her yearning for another geschkchten, more achingly naive in her hope, more simple-minded and thus more wieneewald in her love.
Oskar forgives Marianne and plans to marry her asu all and Alfred goes back to his old flame, the wealthy tobacconist Valerie. What was on stage, though, was in many ways no less interesting, challenging, and exciting than what the Volksbuehne had to offer.
Sorry, your blog cannot share posts by email. Many of the photos here were taken at the Folger Shakespeare Library; please consult their policy on horvqth images as well. And the audience is very different, or at least was very different this week: He dwells on some moments at absolutely extraordinary length.
Mobile Language selection Deutsch English. With Angelika Kirchschlager, Daniel Schmutzhard et al. One more point about timing.