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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The grandmother solves the problem: She gives birth to a child, but the love she and Alfred had for each other quickly dies owing to financial problems.
Thalheimer has always been a master not simply of compression and speed, but of switching registers radically, from extremely fast to near-catatonic. 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 geschichtwn 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 this geschiichten, and for which she will be swiftly punished with marriage to Oskar and a reintegration into her place in society.
The DT audience was significantly older and significantly more dressed-up — it felt and looked rather like a London West End crowd.
Marianne, both technically and hoorvath, seemed to be singled out as vem — 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.
Oskar forgives Marianne and plans to marry her after all and Alfred goes back to his old flame, the wealthy tobacconist Valerie. Some of that happened here, but no more than den might expect in any production. 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 geschichtn 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.
That was the first surprise. On stage, it becomes a terrifyingly beautiful moment. One lighting cue I loved really emphasized this separation: And the audience is very different, or at least was very geschicthen this week: The former is flashier, both in the front-of-house areas and in the auditorium: Now peace and order can return to the family. 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.
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. As a take on the play, this makes sense, as Horvatb 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 wifnerwald — and from her fiancee, her childhood friend Oskar, the well-to-do owner of the butcher shop.
But when Marianne appears on the nightclub stage, a dense confetti rain starts hoorvath, turning the wienersald 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.
Was just thinking about this production again today and yours is one of the few English reviews of it… 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 is shocked out of his grief for his horvatg wife by the sight of his daughter.
Colin Mason In coproduction with the Bregenzer Festspiele. Many of the photos here were taken at the Folger Shakespeare Library; please consult their policy on digital images as well.
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Berlin, Day 2: Geschichten aus dem Wiener Wald (Horvath/Thalheimer), Deutsches Theater | dispositio
One more point about timing. 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.
Mobile Language selection Deutsch English. 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.
Reading other reviews of the show has been a fascinating experience: One Response to Berlin, Day 2: We might expect the house lights to fade, but the opposite happens: But the sheer theatricality of the moment, the multitude of audience reactions, the physical and aural impact of the scene, went well beyond that.
But the relative silence during the show was a bit unsettling: Eventually, her father sees her perform as a nude act a scene that also triggers a loud hysterical reaction by the gossipy shop keeper. He dwells on some moments at absolutely extraordinary length. However, she is not completely happy about this and on the day of her engagement runs away with the rogue Alfred.
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. And it was mesmerizing, and hysterical, and devastating. And totally, unrestrainedly, committedly and irreducibly theatrical.
What was on stage, though, was in many ways no less interesting, challenging, and exciting than what the Volksbuehne had to offer. March 14th, Coproduction with Bregenzer Festspiele Fotos: