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Seven Expressionist Plays: Kokoschka to Barlach
This volume contains even plays, written between 1906 and 1926, which demonstrate the basic forms, tenets and preoccupations of German Expressionist drama, which has been described as the forerunner of Absurdist theatre and is characterized by both visual and verbal violence. These plays, taken together, offer an excellent introduction to the entire movement. Kokoschka's 'Murderer; Hope of Womankind', for example, has that strong ritualistic quality which characterizes so many other Expressionist writings, and Stramm's terrifying 'Awakening' recalls the threatening absurdities of Ionesco's theatre. These plays, with their visionary elements and their timeless quality, speak as clearly to audiences today as they did at the time of their creation.
202 pages, Paperback
First published January 1, 1980
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October 17, 2017
Let me start with the definition of Expressionist Drama that I’ve put together. (The book itself does not plainly give one.) It emphasizes the emotional experience rather than physical reality, presenting the world from a subjective perspective distorting reality for an emotional effect in order to evoke moods or ideas. (Thank you, Wikipedia. https://en.wikipedia.org/wiki/Express....)
According to the editor/translator Ritchie, German Expressionist plays were anarchic, emphasizing violence, sexual tension and the grotesque. Like the Symbolist playwrights (who preceded the Expressionists by about a decade), the Expressionists emphasized the psychological/emotional over the physical, and were largely standing against the Naturalistic/Rationalist trend in theatre. They built on the ideas/models of Strindberg and Wedekind.
The editor notes that “Very little of [Expressionist Theatre] is in any sense ‘great’ theatre but buried among the forgotten rubbish is much of lasting value.” (pg. 7) (Incidentally, this was not on the blurb in the back cover of the book.) That appears to be true. There are a couple interesting pieces, and a bunch of dross.
This set is for the drama historian, or the historian of the early 20th century. There are no “must read/see” plays here.
My thoughts as I read them:
Murderer Hope of Womankind** – This is the kind of overwrought poetry/drama that purports to express great things but is a confused muddle of pseudo-heightened language/nonsense and over-dramatic emotion. Although this credited as the first Expressionistic play, it left me cold.
The Guardian of the Tomb** – Having looked around on the Internet, apparently I’m not the only one that has no idea was this is about. Sadly, it is another unfinished fragment declared a wonder of the world and foisted on the public by Kafka’s friends. I don’t see the expressionistic connection here either.
The Protagonist **** – This is, by far, the most interesting work in the collection, although it too is seriously flawed. The Protagonist is a wonderful character, full of energy and life – a wonderfully unique creation. But the one act play tries to do too much – tries to jam too much action and thought into one play. It feels somewhat rushed and incomplete, and the ending is rather predictable.
Methusalem *** – This is a wildly constructed play, but keeps a center that allows viewers/readers to move along with it. While not something that I’d be interested in seeing myself, it is ambitious and fluent.
The Wolves * – This is some kind of weird macho fantasy that attacks Christianity for being too wimpy. It’s some kind of wet fantasy in which all women want to be raped by strong, virile men of action. Really. It’s not hard to see why the Nazis at first welcomed Brust’s works. Strange stuff.
Squire Blue Boll ** – This was simply not interesting enough for me to continue reading it, nor to work to make sense of it. Strange and uncompelling.
According to the editor/translator Ritchie, German Expressionist plays were anarchic, emphasizing violence, sexual tension and the grotesque. Like the Symbolist playwrights (who preceded the Expressionists by about a decade), the Expressionists emphasized the psychological/emotional over the physical, and were largely standing against the Naturalistic/Rationalist trend in theatre. They built on the ideas/models of Strindberg and Wedekind.
The editor notes that “Very little of [Expressionist Theatre] is in any sense ‘great’ theatre but buried among the forgotten rubbish is much of lasting value.” (pg. 7) (Incidentally, this was not on the blurb in the back cover of the book.) That appears to be true. There are a couple interesting pieces, and a bunch of dross.
This set is for the drama historian, or the historian of the early 20th century. There are no “must read/see” plays here.
My thoughts as I read them:
Murderer Hope of Womankind** – This is the kind of overwrought poetry/drama that purports to express great things but is a confused muddle of pseudo-heightened language/nonsense and over-dramatic emotion. Although this credited as the first Expressionistic play, it left me cold.
The Guardian of the Tomb** – Having looked around on the Internet, apparently I’m not the only one that has no idea was this is about. Sadly, it is another unfinished fragment declared a wonder of the world and foisted on the public by Kafka’s friends. I don’t see the expressionistic connection here either.
The Protagonist **** – This is, by far, the most interesting work in the collection, although it too is seriously flawed. The Protagonist is a wonderful character, full of energy and life – a wonderfully unique creation. But the one act play tries to do too much – tries to jam too much action and thought into one play. It feels somewhat rushed and incomplete, and the ending is rather predictable.
Methusalem *** – This is a wildly constructed play, but keeps a center that allows viewers/readers to move along with it. While not something that I’d be interested in seeing myself, it is ambitious and fluent.
The Wolves * – This is some kind of weird macho fantasy that attacks Christianity for being too wimpy. It’s some kind of wet fantasy in which all women want to be raped by strong, virile men of action. Really. It’s not hard to see why the Nazis at first welcomed Brust’s works. Strange stuff.
Squire Blue Boll ** – This was simply not interesting enough for me to continue reading it, nor to work to make sense of it. Strange and uncompelling.
Displaying 1 of 1 review