Ancient Drama and Reception of Antiquity in the Theatre and Drama of the German Democratic Republic (GDR)

Keria: Studia Latina et Graeca

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Title Ancient Drama and Reception of Antiquity in the Theatre and Drama of the German Democratic Republic (GDR)
Antična dramatika in recepcija antike v gledališču in dramatiki Nemške demokratične republike (NDR)
 
Creator Seidensticker, Bernd
 
Subject Theatre in the German Democratic Republic
state propaganda machine
party
classical Greek drama
gledališče v Nemški demokratični republiki
državni propagandni stroj
partija
klasična grška drama
 
Description Theatre in the German Democratic Republic was an essential part of the state propaganda machine and was strictly controlled by the cultural bureaucracy and by the party. Until the early sixties, ancient plays were rarely staged. In the sixties, classical Greek drama became officially recognised as part of cultural heritage. Directors free to stage the great classical playwrights selected ancient plays, on one hand, to escape the grim socialist reality, on the other to criticise it using various forms of Aesopian language. Two important dramatists and three examples of plays are presented and discussed: an adaptation of an Aristophanic comedy (Peter Hack’s adaptation of Aristophanes’ Peace at the Deutsche Theater in Berlin in 1962), a play based on a Sophoclean tragedy (Heiner Müller’s Philoktet, published in 1965, staged only in 1977), and a short didactic play (Lehrstück) based on Roman history (Heiner Müller’s Der Horatier, written in 1968, staged in 1973 in Hamburg in West Germany, and in the GDR only in 1988). At the end there is a brief look at a production of Aeschylus Seven against Thebes at the BE in 1969.
Gledališče je bilo v Nemški demokratični republiki pomemben del državnega propagandnega stroja ter pod strogim nadzorom kulturne birokracije in partije. Do začetka šestdesetih let so bile uprizoritve antičnih dram redke. V šestdesetih letih je klasična grška drama postala uradno priznan del kulturne dediščine. Režiserji so lahko svobodno uprizarjali gledališke klasike in antične drame so po eni strani izbirali zato, da bi se izognili mračni socialistični realnosti, po drugi pa zato, da so to realnost lahko kritizirali z uporabo različnih oblik ezopskega jezika. Članek predstavi in analizira dva pomembna dramatika in tri primere dram: najprej adaptacijo Aristofanove komedije (Petra Hacka in njegovo adaptacijo Aristofanovega Miru na odru gledališča Deutsche Theater v Berlinu leta 1962), nato dramo, zasnovano na Sofoklovi tragediji (Filoktet Heinerja Müllerja, objavljen leta 1965, uprizorjen šele leta 1977) in slednjič kratko didaktično igro (Lehrstück), ki temelji na rimski zgodovini (dramo Der Horatier Heinerja Müllerja, napisano leta 1968, uprizorjeno leta 1973 v Hamburgu v Zahodni Nemčiji in šele leta 1988 v NDR). V zadnjem delu obravnava uprizoritev Ajshilove Sedmerice proti Tebam v BE leta 1969.
 
Publisher Znanstvena založba Filozofske fakultete
 
Date 2018-11-22
 
Type info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
 
Format application/pdf
 
Identifier https://revije.ff.uni-lj.si/keria/article/view/8194
10.4312/keria.20.3.75-94
 
Source Keria: Studia Latina et Graeca; Vol 20 No 3 (2018); 75-94
Keria: Studia Latina et Graeca; L. 20 Št. 3 (2018); 75-94
2350-4234
1580-0261
10.4312/keria.20.3
 
Language eng
 
Relation https://revije.ff.uni-lj.si/keria/article/view/8194/8348
 
Rights Copyright (c) 2018 Bernd Seidensticker
http://creativecommons.org/licenses/by-sa/4.0
 

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