- Old Traditions and New Beginnings[rtoc]
- ‘Our’ Shakespeare, or: the bard in the rucksack
- A more refined appropriation
- Traditional production styles: Shakespeare on the stage of the Stadttheater
- New beginnings
- Appia and Craig
- Max Reinhardt
[/rtoc]
- Shakespeare Theatre in the Weimar Republic (1919-1933)[rtoc]
- The political background
- Theatres in troubled times: hard-pressed and triumphant
- The artistic background
- Expressionist Shakespeare
- ‘Der Kampf um Shakespeare’: debates, translations, adaptations
- Saladin Schmitt, or: cultural politics in the provinces
- Otto Falckenberg and the Munich Kammerspiele
[/rtoc]
- Shakespeare in the Third Reich (1933-1945)[rtoc]
- Nazism and Culture – an uneasy alliance
- Theaterstadt Berlin
- As they liked it: Comedies galore
- Power, politics and morality: Shakespeare at the Staatstheater under Jürgen Fehling
- Clarity and order: Shakespeare at the Deutsches Theater under Hilpert and Engel
- A special case: Gustaf Gründgens – Mephisto as Hamlet
- The ‘Zürcher Schauspielhaus’: Swiss bastion against Hitler
[/rtoc]
- Shakespeare on the Post-War Stage – Continuity or a Fresh Start?[rtoc]
- Introduction: ‘Die Stunde Null’
- In search of message and style
- Continuity with a difference
- Continuity at the Burgtheater
- Shakespeare performances at theatre festivals
- The fifties epitomized: Gustav Rudolf Sillner and ‘instrumental theatre’
- Towards a new realism in the classics: Fritz Kortner’s struggles and triumphs
[/rtoc]
- Transvaluation: Shakespeare and the Revolution on the West German Stage (1964-1979)[rtoc]
- The new mental climate
- Shakespeare, the theatre and the crisis of authority
- History Lessons
- Heiner Müller’s Shakespeare operations
- Theoretical difficulties
- Better than Shakespeare? Adapting on principle, or: the question of texts
- Questions of content and form: visual radicalizations
- Eros and imagination: the theatre of Peter Zadek
- Excursus: the problem of Shylock – Zadek, Tabori and others
- Anarchy and energy: Peter Zadek’s zestful iconoclasm
- The end of a period: Heyme and Stein
- The aesthetics of iconoclasm
- Non-experimental Shakespeare (‘Shakespearepflege’)
[/rtoc]
- Reconstruction, Deconstruction, Postmodernism: Rediscovering Shakespeare in the Eighties[rtoc]
- The new mental climate and the crisis in the theatre
- Beyond catharsis, or: the escape from history
- Posthistoire, or: the thrills of despondency
- Word into image, triumphs of postmodernism
- Dieter Dorn and the Munich Kammerspiele
- Peymann and company: Stuttgart, Bochum, Vienna
- The Bremer Shakespeare Company
[/rtoc]
- Theatre under Socialism: Shakespeare in East Germany
- In another country: Introduction Wilhelm Hortmann[rtoc]
- Politics, culture and identity
- The theatrical background
- A theatre of opposition?
[/rtoc]
- Shakespeare on the stages of the German Democratic Republic Maik Hamburger[rtoc]
- Consolidation and subversion is East German Shakespeare productions: The first twenty-five years
- Beyond politics? A Midsummer Night’s Dream and Twelfth Night after 1970
- Unprincely Hamlets (1973-1983)
- Some notable regional events
- 1989 to 1990: Hamlet at world’s end. Heiner Müller’s production in East Berlin
[/rtoc]
- In another country: Introduction Wilhelm Hortmann[rtoc]
- The End of an Epoch – And Some New Faces[rtoc]
- 1989 and after: the mental climate
- Changes in the world of theatre
- Shakespeare recycled
- Novelties and rareties
- Festival Shakespeare: cultural events at Salzburg and Vienna
- Leander Haussmann
- Karin Beier
[/rtoc]
Contents
- by Edward Gordon Craig
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