Download PDF by David W. Robinson: No Man's Land: East German Drama After the Wall

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By David W. Robinson

ISBN-10: 0203986393

ISBN-13: 9780203986394

ISBN-10: 3718657864

ISBN-13: 9783718657865

A set of essays, memoirs and performs that characterize an early try and determine and reconsider the German Democratic Republic's theatre following the political occasions and turning issues of 1989 and afterwards. individuals contain Christoph Funke, Carl Weber and Jost Herand.

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Additional info for No Man's Land: East German Drama After the Wall (Contemporary Theatre Review)

Example text

Brecht asked all of his collaborators to attend and was himself watching the proceedings from the back of the conference hall. On the second day, he handed me a brief statement and asked me to read it to the assembly, which I did; the response in the hall was one of muted inscrutability. 14 His statement was not well received by the Party’s cultural experts, and Johanna Rudolph, in her “Remarks on the Faust Problem,” didn’t fail to remind Brecht that his theater practice would never equal Stanislavski’s towering achievement as long as he continued to “follow the path of negating the national cultural heritage” (Mahl, 1986:197).

Classical Heritage” was the catchword for the works by German poets, dramatists, composers, and artists who had achieved the status of classics, works the Party had deemed “progressive” and an inalienable property of the German nation. In the early 1950s, when the GDR government still pursued a politics of reunification of the two Germanies, it perceived itself as the guardian of everything that made German culture great. The purity of the cultural heritage and the protection of a German national culture from alien influences were central to every debate about contemporary art and literature.

This respite of sorts didn’t last very long. The Hungarian revolution and its suppression, in October of 1956, inititated another period of ideological suspicion and control of artists and intellectuals in the GDR. After the Berlin Wall was erected, in August of 1961, and the GDR’s borders were closed for good, pressures increased further, at least for a while. The events surrounding a staging of Heiner Müller’s play Die Umsiedlerin (The Resettled Woman), in September of 1961, look somewhat like a remake of the Lucullus affair of 1951, without the happy ending.

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No Man's Land: East German Drama After the Wall (Contemporary Theatre Review) by David W. Robinson

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