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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He dwells on some moments at absolutely extraordinary length. But the relative silence during the show was a bit unsettling: 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 qienerwald appears almost immeasurably deep, with a gulf of darkness between Marianne and the rest.

Colin Mason In coproduction with the Bregenzer Festspiele. But whereas geschiichten the other Thalheimer shows I know, lines are delivered mostly at breakneck pace and physical actions are often separated sharply edm speechhere the pace was rather more relaxed.

But the sheer theatricality of the moment, the multitude of audience reactions, the physical and aural impact of the scene, went well horgath that. Some of that happened here, but no more than one might expect in any production. When her father discovers her working as a nude dancer in a night club in an effort to earn some money, he indignantly disowns his wayward daughter. If you continue to use our website, you aggree to the use of cookies.

And totally, unrestrainedly, committedly and irreducibly theatrical. However, she is not completely happy about this and on the day of her engagement runs away with the rogue Alfred.

Reading other reviews of the show has been a fascinating experience: She gives birth to a child, but the love she and Alfred had for each other quickly dies owing to financial problems. Again, this went on horvarh at least five minutes, only accompanied by the sound of creaking cardboard and the occasional grunt. 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.


Geschichren a Reply Aks reply. 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.

Thalheimer has always been a master not simply of compression and speed, but of switching registers radically, from extremely fast to near-catatonic. Eventually, her father sees her perform as a nude act a scene that also triggers a loud hysterical reaction by the gossipy shop keeper. One more point about timing. And it was mesmerizing, and hysterical, and devastating.

Geschichten aus dem Wiener Wald | Theater an der Wien – Production Details

Oskar forgives Marianne wienerwaod plans to marry her after all and Alfred goes back to his old horvahh, the wealthy tobacconist Valerie. And the audience is very different, or at least was very different this week: The former is flashier, both in the front-of-house areas and in the auditorium: Sorry, your blog cannot share posts by email.

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. 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. Was just thinking about this production again today and yours is one of the few English reviews of wienereald 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 geschichtten shocked out of his grief for his dead wife by the sight of his daughter.


With Angelika Kirchschlager, Daniel Schmutzhard et al. Now peace and order can return to the family.

What was on stage, though, was in many ways no less interesting, challenging, and exciting than what the Volksbuehne had to offer. Mobile Language selection Deutsch English.

Wichmann even had multiple moments where she seemed to inhabit the text with more abandon than the rest of the cast.

Berlin, Day 2: Geschichten aus dem Wiener Wald (Horvath/Thalheimer), Deutsches Theater

On stage, it becomes a terrifyingly beautiful moment. That was the first surprise. One lighting cue I loved really emphasized this separation: March 14th, Coproduction with Bregenzer Festspiele Fotos: The latter is slightly run down, dominated by a s kind of charm, but feels very open — in the lobby and in the auditorium. 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.

The point here may in fact be quite simple: The DT audience was significantly older and significantly more dressed-up — it felt and looked rather like a London West End crowd. 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.

The grandmother solves the problem: Many of the photos here were taken at the Folger Shakespeare Library; please consult their policy on digital images as well.