Suchergebnisse

In this article, the authors refer to the play "Kein Schiff wird kommen" ("No ship will come"), 2010, by a young German playwright Nisa-Momme Stockmann, in which "historical events are refracted in the context of personal events of the characters". In the center of the play is a young man, a writer, who was commissioned by the theater to write about the fall of the Berlin Wall. The protagonist of the play is a representative of an indifferent generation, far from politics and history. In 1989, he himself was a child, and the reunification of Germany, at first glance, had no effect on him. However, upon closer inspection, it turns out that the fall of the wall turned out to be an important event for him and his family. Only an appeal to the history of the country and the family helps the character to resolve the internal conflict. This shows the relationship with the tradition of German literature after World War II: German writers often refer to historical facts in their works. The key topic is of guilt and responsibility, which has been rethought in the literature over the past 60 years. Analysing the drama allows us to conclude that modern young people reject their past, which causes the character's personality crisis, and it also leads to failure in communication. In addition, alongside with ousting the past, the problem of German identity arises.

In this article, the authors refer to the play "Kein Schiff wird kommen" ("No ship will come"), 2010, by a young German playwright Nisa-Momme Stockmann, in which "historical events are refracted in the context of personal events of the characters". In the center of the play is a young man, a writer, who was commissioned by the theater to write about the fall of the Berlin Wall. The protagonist of the play is a representative of an indifferent generation, far from politics and history. In 1989, he himself was a child, and the reunification of Germany, at first glance, had no effect on him. However, upon closer inspection, it turns out that the fall of the wall turned out to be an important event for him and his family. Only an appeal to the history of the country and the family helps the character to resolve the internal conflict. This shows the relationship with the tradition of German literature after World War II: German writers often refer to historical facts in their works. The key topic is of guilt and responsibility, which has been rethought in the literature over the past 60 years. Analysing the drama allows us to conclude that modern young people reject their past, which causes the character's personality crisis, and it also leads to failure in communication. In addition, alongside with ousting the past, the problem of German identity arises.

"Einleitung und kapitel 1-3 sind 1917 als Münchener dissertation gedruckt."--Vorbemerkung. ; "Hauptsächlichste literatur": p. [412]-415. ; Mode of access: Internet.

Expressionist Drama has been an important phenomenon of Modernist Theatre. In China, however, not enough attention has been paid to it in the academic field. In the present article different trends in the reception of German expressionist drama in China from the Chinese May Fourth period to the 1940s will be discussed. Broadly, there have been two basic tendencies in the reception of German expressionist drama in Chinese drama. A part of Chinese authors mainly focused on the class struggle for political and revolutionary purposes, but did not absorb deeper features of the genre. Other Chinese playwrights interested in (German) Expressionist Drama discussed in their work problems of social reality touching on spiritual aspects of people's individual lives. At the same time the Chinese reception of expressionist drama can also serve as an introduction to Chinese contemporary drama as a whole.

It is the contention of this thesis that religion plays a major role in a number of significant examples of contemporary German-language theatre and drama, but that it has largely been neglected by the secondary literature, which has instead been devoted mainly to the questions of postmodemity, politics, gender, ethnicity or postdramatic performance which appeared to be dominating the German- language stage over the last thirty years. The following study seeks to redress the imbalance by examining the place and significance of religion in selected works by Botho Strau?, George Tabori and Wemer Fritsch. The study investigates how, why and to what effect religion is invoked in these works. It also aims to contextualise the selected works? treatments of religion by analysing the extent to which they are rooted in the traditions of modern theatre, and the extent to which they reflect broader socio-cultural attitudes towards religion. ; TARA (Trinity?s Access to Research Archive) has a robust takedown policy. Please contact us if you have any concerns: rssadmin@tcd.ie