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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But the relative silence during the show was a bit unsettling: The latter is slightly run down, dominated by a s kind of charm, but feels very open — in the lobby and in the auditorium.
Marianne, 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, geschixhten achingly naive in her hope, more simple-minded and thus more moving in her love. But when Marianne appears on the nightclub stage, a dense confetti rain starts falling, turning the scene into a bizarre colourful and shiny snowstorm horvatu 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.
Thalheimer has always been a master not simply of compression and speed, but of switching registers radically, from extremely fast to near-catatonic. What was on stage, though, was in many ways no less interesting, challenging, and exciting than what the Volksbuehne had to offer.
The opening of the show is one of them, and perhaps the most remarkable instance. However, she is not completely happy about this and on the day of her engagement runs away with the rogue Alfred. He dwells on some moments at absolutely extraordinary length.
Some of that happened here, but no more than one might expect in any production. 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 dead wife by the sight of his daughter.
On stage, it becomes a terrifyingly beautiful moment.
Geschichten aus dem Wiener Wald
Leave a Reply Cancel reply. Now peace and order can return to the family. The DT audience was significantly older and significantly more dressed-up — it felt and looked rather like a London West End crowd. 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.
Berlin, Day 2: Geschichten aus dem Wiener Wald (Horvath/Thalheimer), Deutsches Theater | dispositio
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And it was mesmerizing, and hysterical, and devastating. March 14th, Coproduction with Bregenzer Festspiele Fotos: The contrast between the bare stage before and the geschicgten 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 horvqth 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.
Colin Mason Gesfhichten coproduction with the Bregenzer Festspiele. And totally, unrestrainedly, committedly and irreducibly theatrical. Eventually, her father sees her perform as a nude act a scene that also triggers a loud hysterical reaction by the gossipy shop keeper. Geschichten aus dem Wiener Wald.
With Angelika Kirchschlager, Daniel Wienerwqld et al. 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.
But whereas in the other Horvahh 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.
Reading other reviews of the show has been a fascinating experience: 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. As a geschicnten 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 wienerwa,d 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.
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.
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.