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Josef Szeiler
Josef Szeiler (7 August 1948 in Sankt Michael im Burgenland) is an Austrian theatre director. As co-founder of the group Theater Angelus Novus he is first of all known for his experimental approach to texts by Heiner Müller, Bertolt Brecht, Homer and Greek dramas. Overview Josef Szeiler was born in Sankt Michael im Burgenland. At the end of the 1970s he worked as guest assistant for Benno Besson at the Volksbühne Berlin where he met the playwright Heiner Müller, who became a lifelong friend. Josef Szeiler's first theatre project in Vienna was Die Schlacht by Heiner Müller. Out of this project arose the group TheaterAngelusNovus which focused on a continuous reflection of theatrical aspects (“Selbstverständigung”) rather than producing small packages of ready made performances that could be consumed in a traditional setting. Still there were regular projects that were also publicly accessible, like the reading of the Iliad in its entire length which was held 1986 at t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sankt Michael Im Burgenland
Sankt Michael im Burgenland () is a town in the district of Güssing in the Austrian state of Burgenland Burgenland (; ; ; Bavarian language, Austro-Bavarian: ''Burgnland''; Slovene language, Slovene: ''Gradiščanska''; ) is the easternmost and least populous Bundesland (Austria), state of Austria. It consists of two statutory city (Austria), statut .... Population References Cities and towns in Güssing District {{Burgenland-geo-stub ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Berliner Ensemble
The Berliner Ensemble () is a German theatre company established by actress Helene Weigel and her husband, playwright Bertolt Brecht, in January 1949 in East Berlin. In the time after Brecht's exile, the company first worked at Wolfgang Langhoff's Deutsches Theater and in 1954 moved to the Theater am Schiffbauerdamm, built in 1892, that was open for the 1928 premiere of ''The Threepenny Opera'' (''Die Dreigroschenoper''). Bertolt Brecht's Berliner Ensemble Brecht's students Benno Besson, Egon Monk, Peter Palitzsch, and Manfred Wekwerth were given the opportunity to direct plays by Brecht that had not yet been staged. The stage designers Caspar Neher and Karl von Appen, the composers Paul Dessau and Hanns Eisler, as well as the dramaturge Elisabeth Hauptmann, were among Brecht's closest collaborators. After her husband died in 1956, Weigel continued managing the Berliner Ensemble until her death in 1971. The Berliner Ensemble achieved success through long and meticulo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Greek Chorus
A Greek chorus () in the context of ancient Greek tragedy, comedy, satyr plays, is a homogeneous group of performers, who comment with a collective voice on the action of the scene they appear in, or provide necessary insight into action which has taken place offstage. Historically, the chorus consisted of between 12 and 50 players, who variously danced, sang or spoke their lines in unison, and sometimes wore masks. The players used masks to change their emotions while they were performing. History A common theory for the origin of the Greek chorus stems from the ancient Greek poet Arion's invention of the tragedy, the stationary chorus, and satyrs' verses. In Aristotle's ''Poetics,'' he writes that " ragedy'sbeginnings, certainly, were in improvisation utoschediastikês as were also those for comedy, tragedy originating in impromptus by the leaders of dithyrambic choruses, and comedy in those of the leaders of the phallic performances which still remain customary in many ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Viennese Actionism
Viennese Actionism was a short-lived art movement in the late 20th-century that spanned the 1960s into the 1970s. It is regarded as part of the independent efforts made during the 1960s to develop the issues of performance art, Fluxus, happening, action painting, and body art. Its main participants were Günter Brus, Otto Mühl, Hermann Nitsch, and Rudolf Schwarzkogler. Others involved in the movement include Anni Brus, Heinz Cibulka and Valie Export. Many of the Actionists have continued their artistic work independently of Viennese Actionism movement. Art and the politics of transgression The work of the Actionists developed concurrently with—but largely independently from—other '' avant garde'' movements of the era that shared an interest in rejecting object-based or otherwise commodifiable art practices. The practice of staging precisely scored "Actions" in controlled environments or before audiences bears similarities to the Fluxus concept of enacting an "event scor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
La Fura Dels Baus
La Fura dels Baus () is a Spanish theatrical group founded in 1979 in Moià, Barcelona (Spain), known for their urban theatre, use of unusual settings and blurring of the boundaries between audience and actor. "La Fura dels Baus" in Catalan means "The ferret from Els Baus" (Els Baus is a toponym from the birthplace of two of the founders, Moià). According to a 1985 review of their London performance, published in ''NME'', the group "create a kind of adult adventure playground of fun, danger, slapstick and fantasy". History La Fura dels Baus was founded in 1979. Since the early 1990s, it has diversified its creative efforts, moving into the fields of written drama, digital theatre and street theatre, performing contemporary theatre and opera, and producing major corporate events. La Fura performed a section of the opening ceremony of the 1992 Summer Olympics in Barcelona, which was broadcast and watched live by more than 3.5 billion viewers. Since this first large show, co ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Frank Castorf
Frank Castorf (born 17 July 1951 in East Berlin) is a German theater director and was the artistic director of the ''Volksbühne am Rosa-Luxemburg-Platz'' from 1992 to 2015. His work is often associated with postdramatic theatre. Biography Early years Castorf's father was an ironmonger. Frank Castorf successfully completed his schooling in 1969/70, entering training for railway work. Between 1970 and 1972 he undertook military service with the army's National Border Force. Then, between 1971 and 1976, he attended the Humboldt University of Berlin, studying theatrology. His teachers included Ernst Schumacher, Rudolf Münz and Joachim Fiebach. His diploma dissertation, which was formally commended, was entitled "Ground Rules for the 'Development' of Ionesco's Global Ideological Perspective and Artistic-Aesthetic Position". He made numerous culturally focused visits to Poland during this period. In 1989, Klaus Pierwoß brought Castorf with a production of ''H ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Robert Lepage
Robert Lepage (born December 12, 1957) is a Canadian playwright, actor, film director, and stage director. Early life Lepage was raised in Quebec City. At age five, he was diagnosed with a rare form of alopecia, which caused complete hair loss over his whole body."History meets personal history for Robert Lepage" ''Toronto Star'', November 12, 2010. He also struggled with clinical depression in his teens as he came to terms with being gay. Between 1975 and 1978, he studied theatre at Quebec City's Conservatoire d'Art Dramatique. He subsequently participated in workshops at Alain Knapp's theatre school in Paris, France. Theatrical career After coming back to Quebec City, Lepage wrote, directed ...[...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jan Fabre
Jan Fabre (born 14 December 1958) is a versatile Belgian artist known for his contributions to theater, literature, and visual arts. With a career spanning nearly four decades, Fabre has established himself as an influential figure in the artistic landscape. Consilience artist Jan Fabre often refers to the concept of " consilience" – the unity of knowledge – a concept that was elaborated by William Whewell (1794–1866) and further developed by the American entomologist, biologist and philosopher Edward O. Wilson (1929–2021) in his book 1998 '' Consilience: The Unity of Knowledge''. Fabre describes himself as a consilience artist, explaining: "It’s a merging of elements from different disciplines guided by fact-based theory and practice across disciplines. An understanding of entomology can, for example, lead to new interpretations within the visual arts. Or vice versa – you see connections (For example across art, theatre, science, religion, medicine), you make new ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Robert Wilson (director)
Robert Wilson who was born on October 4, 1941) is an American Experimental theatre, experimental theater stage director and playwright who has been described by ''The New York Times'' as "[America]'s – or even the world's – foremost vanguard 'theater artist. He has also worked as a choreographer, performer, painter, sculptor, video artist, and sound and lighting designer. Wilson is best known for his collaboration with Philip Glass and Lucinda Childs on ''Einstein on the Beach'', and his frequent collaborations with Tom Waits. In 1991, Wilson established The Watermill Center, "a laboratory for performance" on the East End of Long Island, New York, regularly working with opera and theater companies, as well as cultural festivals. Wilson "has developed as an avant-garde artist specifically in Europe amongst its modern quests, in its most significant cultural centers, galleries, museums, opera houses and theaters, and festivals". Early life and education Wilson was born in W ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Postdramatic Theatre
The notion of postdramatic theatre was established by German theatre researcher Hans-Thies Lehmann in his book ''Postdramatic Theatre'', summarising a number of tendencies and stylistic traits occurring in avant-garde theatre since the end of the 1960s. The theatre which Lehmann calls postdramatic is not primarily focused on the drama in itself, but evolves a performative aesthetic in which the text of the performance is put in a special relation to the material situation of the performance and the stage. The postdramatic theatre attempts to mimic the unassembled and unorganized literature that a playwright sketches in the novel. Postdramatic theatre, thus, strives to produce an effect amongst the spectators rather than to remain true to the text. Lehmann locates what he calls 'the new theatre' as part of 'a simultaneous and multi-perspectival form of perceiving'; this, he argues is brought about, in large part, by a reaction to the dominance of the written text. The new theatre, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Augusto Boal
Augusto Boal (; 16 March 1931 – 2 May 2009) was a Brazilian theatre practitioner, drama theorist, and political activist. He was the founder of Theatre of the Oppressed, a theatrical form originally used in radical left popular education movements. Boal served one term as a ''Vereador'' (the Brazilian equivalent of a city councillor) in Rio de Janeiro from 1993 to 1997, where he developed legislative theatre.Paterson, Doug.A Brief Biography of Augusto Boal ptoweb.or Biography Early life Augusto Boal studied at Columbia University in New York with the critic John Gassner. Gassner introduced Boal to the techniques of both Bertolt Brecht and Konstantin Stanislavski, and encouraged Boal to form links with theatre groups like the Black Experimental Theatre. In 1955 Boal staged productions of two of his own plays, ''The Horse and the Saint'' and ''The House Across the Street''.Eckersley, M. (1995). "A Matter of Style – The Theatre of Augusto Boal". ''Mask Magazine''. Vol. 18 No. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lehrstücke
The (; singular ) are a radical and experimental form of Modernism, modernist theatre developed by Bertolt Brecht and his collaborators from the 1920s to the late 1930s. The ''Lehrstücke'' stem from Brecht's epic theatre techniques but as a core principle explore the possibilities of learning through acting, playing roles, adopting postures and attitudes etc. and hence no longer divide between actors and audience. Brecht himself translated the term as ''learning-play'', emphasizing the aspect of learning through participation, whereas the German term could be understood as ''teaching-play''. Reiner Steinweg goes so far as to suggest adopting a term coined by the Brazilian avant garde theatre director Zé Celso, ''Theatre of Discovery'', as being even clearer.Steinweg, ReinerTwo Chapters from "Learning Play and Epic Theatre"/ref> Definition Although the texts have a highly formal, rigorous structure, this is designed to facilitate insertions or deletions (according to the exig ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
