Erwin Piscator PDF

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Författare: Erwin Piscator.
Mit Erwin Piscators Rückkehr aus dem amerikanischen Exil begann eine Odyssee. Der Kalte Krieg zwischen den USA und der UdSSR – und damit zwischen beiden Deutschlands – vergiftete das Klima. Piscators angestammtes Theater lag in Ost-Berlin, die ehemaligen Freunde und Kollegen aus dem sowjetischen Exil winkten ab: Man wollte ihn nicht. Auch im Westen wehte dem Begründer des politischen Theaters ein starker Gegenwind ins Gesicht. Piscator diente sich als "commis voyageur du théâtre von Stadt zu Stadt" nach oben, während Berlin (West) höhnte, der revolutionäre Löwe von einst sei zahnlos geworden. Über Gastinszenierungen hielt Piscator sich und sein Theater in der Diskussion. Es war der Regierende Bürgermeister von Berlin, Willy Brandt, der ihm mit der Berufung auf die Intendanz der Freien Volksbühne, dem Gegenstück zum Stammhaus der Volksbühnenbewegung am Rosa-Luxemburg-Platz, endlich eine Wirkungsstätte bot, an der er sein theatralisches Vermächtnis, das sogenannte Dokumentartheater mit Autoren wie Rolf Hochhuth und Peter Weiss, entwickeln und erproben konnte.

For political protest with a theatrical quality, see guerilla theater. This article needs additional citations for verification. Political theatre is theatre that comments on political and social issues. In the history of theatre, there is long tradition of performances addressing issues of current events, especially those central to society itself.

Historically in Soviet Russia, the term political theatre was sometimes referred to as agitprop theatre or simply agitprop, after the Soviet term agitprop. In later centuries, political theatre has sometimes taken a different form. Sometimes associated with cabaret and folk theatre, it has offered itself as a theatre ‚of, by, and for the people‘. Often political theatre has been used to promote specific political theories or ideals, for example in the way agitprop theatre has been used to further Marxism and the development of communist sympathies. Russian agitprop theater was noted for its cardboard characters of perfect virtue and complete evil, and its coarse ridicule. But Marxist theatre wasn’t always this directly agitational. Bertolt Brecht developed a highly elaborate and sophisticated new aesthetics–epic theater—to address the spectator in a more rational way.

A new form of political theatre emerged in the twentieth century with feminist authors like Elfriede Jelinek or Caryl Churchill, who often make use of the non-realistic techniques detailed above. The Living Theatre, created by Judith Malina and her husband Julian Beck in 1947, which had its heyday in the 1960s, during the Vietnam War, is a primary example of politically oriented Brechtian performance art in the United States. In American regional theatre, a politically oriented social orientation occurs in Street theatre, such as that produced by the San Francisco Mime Troupe and ROiL. Above all, it can be the way people find their voice, their solidarity and their collective determination.