Hofmannsthal and Greek Myth: Expression and PerformancePeter Lang, 2002 - 295 pagina's Throughout his career the Austrian dramatist Hugo von Hofmannsthal (1874-1929) turned repeatedly to Greek myth for his material. This book sets out to uncover his reasons for doing so. The results provide not only new insights into his work but a case-study in the reception of the Classics in fin-de-siècle Vienna. Ranging widely over Hofmannsthal's achievements in drama, opera and the dance, this study is the first to provide a solid context for his 'Greek' works, both in the intellectual debates of his time - on such issues as psychoanalysis, feminism and the 'crisis of language' - and in contemporary performance practice. |
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Pagina 186
... pantomimes describe in detail the actor's movements , Schnitzler writes a play in dialogue with instructions that the dialogue be translated into gesture . Beer - Hofmann's pantomime Pierrot Magus of 1892 ( quoted by Hof- mannsthal at ...
... pantomimes describe in detail the actor's movements , Schnitzler writes a play in dialogue with instructions that the dialogue be translated into gesture . Beer - Hofmann's pantomime Pierrot Magus of 1892 ( quoted by Hof- mannsthal at ...
Pagina 187
... pantomime , which was never performed , has been read as a ' tragic ' text , reflecting its author's wish to emulate the inexorability of Greek tragedy , and judged to be ' as pessimistic and nihilistic a work as Hofmannsthal ever ...
... pantomime , which was never performed , has been read as a ' tragic ' text , reflecting its author's wish to emulate the inexorability of Greek tragedy , and judged to be ' as pessimistic and nihilistic a work as Hofmannsthal ever ...
Pagina 195
... pantomime , but it was only when he encountered the modern dance movement that he saw a means , by working with individual ( usually female ) performers , to fuse the gestural language he had long admired in actors with the rhythmic and ...
... pantomime , but it was only when he encountered the modern dance movement that he saw a means , by working with individual ( usually female ) performers , to fuse the gestural language he had long admired in actors with the rhythmic and ...
Inhoudsopgave
List of Illustrations | 9 |
Translation Rewriting and Performance | 49 |
Ödipus und die Sphinx and | 101 |
Copyright | |
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action ägyptische Helena Alkestis ancient Antike Antiquity Ariadne Ariadne auf Naxos Bachofen Berlin Bw Strauss Cambridge century Chapter character Chorus classical culture dance dialogue Dichter Die ägyptische Helena drama Duncan Elektra essay Euripides Europe expression Fischer Frankfurt/M Freud Gebärde Geist German Gertrud Eysoldt Gestalt Gestalten Goethe Goethe's Greece Greek myth Greek tragedy Grete Wiesenthal große Harry Graf Kessler Hermann Bahr Hofmanns Hofmannsthal's Hugo von Hofmannsthal Iphigenie Kessler Klytämnestra König Ödipus Kreon Kunst language Leben Letter libretto literary Literatur Maeterlinck mannsthal matriarchy Max Reinhardt Menschen modern Munich Musik muß mythical mythisch mythological Mythos Neue Nietzsche Oedipus opera Orient original Pannwitz pantomime performance play poet Psyche quoted recognised Reinhardt Richard Strauss Rudolf sacrifice scene Schnitzler Sophocles Sphinx St Denis stage Tanz thal thal's theatre tragic tragische translation University Press unserer Vienna Welt Werke Wesen wieder Wirklichkeit words Worte writing Zeit
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