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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Now peace and order can return to the family. One Response to Berlin, Day 2: What was on stage, though, was in many ways no less interesting, challenging, and exciting than what the Volksbuehne had to offer. This website uses cookies to provide you the best possible experience. 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 suddenly appears almost immeasurably deep, with a gulf of darkness between Marianne and the rest.

Wiener Ausgabe sämtlicher Werke – Band 3 Geschichten aus dem Wiener Wald

Eventually, her father sees her perform as a nude act a scene that also triggers a loud hysterical reaction by the gossipy shop keeper. Colin Mason In coproduction with the Bregenzer Festspiele. Characters like this did not only exist in Vienna gescgichten the early s, however; pompous members of the middle class whose stupidity makes them dangerous can be found everywhere and in every era.

Images may be reused as long as their source is properly attributed in accordance with the Creative Commons License detailed above. Gorvath, both technically and visually, seemed to be singled out as different — not necessarily less culpable than anyone else, not less morally questionable, but perhaps more pure in her yearning for another life, more achingly naive in her hope, more simple-minded and thus more moving in her love.


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

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. Sorry, your blog cannot share posts by email. And totally, unrestrainedly, committedly and irreducibly theatrical.

With Angelika Kirchschlager, Daniel Schmutzhard et al.

Reading other reviews of the show has been a fascinating experience: And it was mesmerizing, and hysterical, geschkchten devastating. 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. Oskar forgives Marianne and plans to marry her after all and Alfred goes back to his old flame, the wealthy tobacconist Valerie. But the relative silence during the show was a bit unsettling: And the audience is very different, or at least was very different this week: One lighting cue I loved really emphasized this separation: The opening of the show is one of them, and perhaps the most remarkable instance.

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

The grandmother solves the problem: The horvafh is slightly run down, dominated by a s kind of charm, but feels very open — in the lobby and in the auditorium. Geschichten aus dem Wiener Wald. Leave a Reply Cancel 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 geschichhen her fiancee, her childhood friend Oskar, the well-to-do owner of the butcher shop.


The DT audience was significantly older and significantly more dressed-up — it felt and looked rather like a London West End crowd. The contrast between the bare stage before and the beauty of the nightclub scene almost geschichte to suggest that in her very destitution and despair, even as wineerwald 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.

Some of that happened here, but no more than one might expect in any production. We might expect the house lights to fade, but the opposite happens: But whereas in the other Thalheimer shows I know, lines are delivered mostly at breakneck pace and physical actions are often separated sharply from speechhere the pace was rather more relaxed.

The former is flashier, both in the front-of-house areas and in the auditorium: That was the first surprise. March 14th, Coproduction with Bregenzer Festspiele Fotos: If you continue to use our website, you aggree to the use of cookies. But the sheer theatricality of the moment, the multitude of audience reactions, the physical and aural impact geschicnten the scene, went well beyond that.