"List of contemporary plays produced by Piscator between 1919 and 1930": p. 368-369.
Author: Erwin Piscator
Publisher: Methuen Publishing
'The Political Theatre' is among the most important documents of the modern stage. It tells of the foundation and flowering in Weimar Germany of a new form of theatre - epic theatre - designed to bring on to the stage the real political issues of the time, and to do so with all the aids that modern technology could supply.
This 1977 text was the first full study of Erwin Piscator, the German theatrical producer who was prominent in the 1920s and worked after 1945 with the writers Hochhuth, Kipphardt and Weiss.
Author: C. D. Innes
Publisher: CUP Archive
This 1977 text was the first full study of Erwin Piscator, the German theatrical producer who was prominent in the 1920s and worked after 1945 with the writers Hochhuth, Kipphardt and Weiss. Professor Innes sketches the background of Dadaism and Expressionism from which Piscator came, and points out the differences between Piscator and the other experimenters of his time. He also gives a vivid description of Piscator's technical innovations, the modern means of communication such as film, the illumination of the stage from below and 'the treadmill', a flat moving band along which the characters walked. These turned drama into a multi-media event. Professor Innes uses Piscator's career as a focus to describe theatrical developments in the twentieth century and to discuss the role of the author, the director, and the actor in drama, the purpose of the theatre, and the involvement of the audience.
As the centennial of his birth approaches, a revaluation of Erwin Piscator's influence on the theatre of the western world seems due.
Author: Gerhard F. Probst
Publisher: Peter Lang Pub Incorporated
As the centennial of his birth approaches, a revaluation of Erwin Piscator's influence on the theatre of the western world seems due. Although he was the first to do political qua epic theatre, it was his pupil Brecht who received all the attention. During the Hitler years Piscator spent almost 13 years (1939-1951) in the United States where he founded and directed the Dramatic Workshop at the New School for Social Research and had among his students Beatrice Arthur, Harry Belafonte, Marlon Brando, Tony Curtis, Judith Malina, Walther Matthau, Tony Randall, to name only a few. The question is raised whether his alleged influence can be felt in contemporary American theatre, particularly with regard to playwrights such as A. Miller, R.P. Warren, Th. Wilder, and Tennessee Williams.
The purpose of this thesis is to investigate the interconnection between the Berlin Dada movement and Erwin Piscator's political theatre.
Author: Allison Courtney Maderia
Abstract: The purpose of this thesis is to investigate the interconnection between the Berlin Dada movement and Erwin Piscator's political theatre. In the aftermath of the First World War, Berlin Dada sought to transform the purpose of art and previous artistic traditions to comment on contemporary issues. During this period, Piscator also felt that the art of theatre needed to reflect current social and political problems. In 1919, Piscator was introduced to the inner circle of Berlin Dada, including John Heartfield and George Grosz who later became designers in Piscator's political theatre. Piscator's political commitment has been the main focus of scholarship about his theatre, but his personal involvement in Berlin Dada has remained largely unexplored. Since previous scholarship has merely focused on the influence of politics, this study focuses on Berlin Dada's influence on Piscator's theatre with the aim of proving a deeper influence than previously indicated. From a study of Piscator's collaborations with Heartfield and Grosz, it is clear that these Berlin Dadaists were influential in introducing new modes of technical innovation and artistic expression in Piscator's theatre.
Piscator founded the Workshop after emigrating to New York, having collaborated with Brecht to create "epic theatre" in Germany. The Piscator Notebook documents the author Malina's intensive and idiosyncratic training at Piscator's school.
Author: Judith Malina
Category: Performing Arts
'Theater legend Malina has written one of the most interesting studies of the avant-garde theatrical movement published in the last several years.' – CHOICE Judith Malina and The Living Theatre have been icons of political theatre for over six decades. What few realise is that she originally studied under one of the giants of twentieth century culture, Erwin Piscator, in his Dramatic Workshop at The New School in New York. Piscator founded the Workshop after emigrating to New York, having collaborated with Brecht to create "epic theatre" in Germany. The Piscator Notebook documents Malina's intensive and idiosyncratic training at Piscator's school. Part diary, part theatrical treatise, this unique and inspiring volume combines: complete transcriptions of Malina's diaries from her time as a student at the Dramatic Workshop, as well as reproductions of various of Piscator's syllabi and teaching materials; notes on Malina's teachers, fellow students – including Marlon Brando and Tennessee Williams – and New School productions; studies of Piscator's process and influence, along with a new essay on the relationship between his teaching, Malina's work with the Living Theatre and "The Ongoing Epic"; an introduction by performance pioneer, Richard Schechner. The Piscator Notebook is a compelling record of the genealogy of political theatre practice in the early 20th Century, from Europe to the US. But it is also a stunningly personal reflection on the pleasures and challenges of learning about theatre, charged with essential insights for the student and teacher, actor and director. 'Piscator is the greatest theatre man of our time.' – Bertolt Brecht
An English version appears under the title “ An Account of our Work 1929 , ” in Erwin Piscator : Political Theatre , 1920 – 1966 ( London : London Arts Council ,
1971 ) . ° Piscator , Das politische Theater , 188 . ( The Political Theatre , 254 ) .
Author: Sarah Bryant-Bertail
Publisher: Boydell & Brewer
Category: Performing Arts
The development of epic theater before, during, and after Brecht's time, and analysis of epic productions, showing the form's continued relevance.
Theatrical Discourse and Politics Sue-Ellen Case, Janelle G. Reinelt. ity”: “The ...
In English under the title “An Account of Our Work 1929,” in Erwin Piscator: Political Theatre, 1920—1966 (London: London Arts Council, 1971). 8. Piscator,
Author: Sue-Ellen Case
Publisher: University of Iowa Press
Category: Performing Arts
Recently in the field of theatre studies there has been an increasing amount of debate and dissonance regarding the borders of its territory, its methodologies, subject matter, and scholarly perspectives. The nature of this debate could be termed "political" and, in fact, concerns "the performance of power"—the struggle over power relations embedded in texts, methodologies, and the academy itself. This striking new collection of nineteen divergent essays represents this performance of power and the way in which the recent convergence of new critical theories with historical studies has politicized the study of the theatre. Neither play text, performance, nor scholarship and teaching can safely reside any longer in the "free," politically neutral, self-signifying realm of the aesthetic. Politicizing theatrical discourse means that both the hermeneutics and the histories of theatre reveal the role of ideology and power dynamics. New strategies and concepts—and a vital new phase of awareness—appear in these illuminating essays. A variety of historical periods, from the Renaissance through the Victorian and up to the most contemporary work of the Wooster group, illustrate the ways in which contemporary strategies do not require contemporary texts and performances but can combine with historical methods and subjects to produce new theatrical discourse.
John Willett , The Theatre of Erwin Piscator : Half a Century of Politics in the Theatre ( New York : Holmes & Meier Publishers , Inc. , 1979 ) , 184 . 15. Paget , "
Documentary Theatre in the UK , " 15 . 16. John Fuegi , Brecht and Company :
Author: Gary Fisher Dawson
Publisher: Greenwood Publishing Group
An historical and analytical survey of the development of documentary theatre in the United States.
Erwin Piscator, “Über Grundlagen und Aufgaben des proletarischen Theaters,” in
Deutsches Arbeitertheater 1918–1933, ... Erwin Piscator in Rote Fahne, 1
January 1928; quoted in Innes, Erwin Piscator's Political Theatre: The
Development of ...
Author: Stefan Jonsson
Publisher: Columbia University Press
Between 1918 and 1933, the masses became a decisive preoccupation of European culture, fueling modernist movements in art, literature, architecture, theater, and cinema, as well as the rise of communism and fascism and experiments in radical democracy. Spanning aesthetics, cultural studies, intellectual history, and political theory, this volume unpacks the significance of the shadow agent known as "the mass" during a critical period in European history. It follows its evolution into the preferred conceptual tool for social scientists, the ideal slogan for politicians, and the chosen image for artists and writers trying to capture a society in flux and a people in upheaval. This volume is the second installment in Stefan Jonsson's epic study of the crowd and the mass in modern Europe, building on his work in A Brief History of the Masses, which focused on monumental artworks produced in 1789, 1889, and 1989.
Christopher Innes, Maria Shevtsova. At the same time Reinhardt can be seen as
the progenitor of epic theatre. ... Erwin Piscator2 Erwin Piscator's political theatre
The theatrical flashpoint of the 19205 was Berlin. War, left-wing revolution and ...
Author: Christopher Innes
Publisher: Cambridge University Press
This Introduction is an exciting journey through the different styles of theatre that twentieth-century and contemporary directors have created. It discusses artistic and political values, rehearsal methods and the diverging relationships with actors, designers, other collaborators and audiences, and treatment of dramatic material. Offering a compelling analysis of theatrical practice, Christopher Innes and Maria Shevtsova explore the different rehearsal and staging principles and methods of such earlier groundbreaking figures as Stanislavsky, Meyerhold and Brecht, revising standard perspectives on their work. The authors analyse, as well, a diverse range of innovative contemporary directors, including Ariane Mnouchkine, Elizabeth LeCompte, Peter Sellars, Robert Wilson, Thomas Ostermeier and Oskaras Koršunovas, among many others. While tracing the different roots of directorial practices across time and space, and discussing their artistic, cultural and political significance, the authors provide key examples of the major directorial approaches and reveal comprehensive patterns in the craft of directing and the influence and collaborative relationships of directors.