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The Reception of German Theater in Greece  Paid

Establishing a Theatrical Locus Communis: The Royal Theater in Athens (1901-1906)

by Michalis Georgiou (Author)
©2019, Thesis, 314 Pages
Media & Communication

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The author examines the vigorous reception of the German theater in Greece, a phenomenon that took place along with the process of establishing in Athens, in 1901 the Royal Theater. The multiple aesthetic, social and political forms of this phenomenon provided a "locus of contact" with the German culture and accomplished a function, regarded as the instrument for the development of the bourgeois theater in Greece. This happened through the work of theater practitioners and intellectuals, as well as through the transfer of institutions, theatrical plays, and scripts of direction instructions, decorations, and props. The performances staged were the iceberg in the process of this reception, as they provided a strategy toward the revitalization of the Greek theater, realized in a productive way.

  • Cover
  • Title Page
  • Copyright Page
  • Acknowledgments
  • About the author
  • About the book
  • Citability of the eBook
  • Contents
  • Introduction
    • 1 Our “Today’s Theater”
    • 2 The “Brainchild of Europe” Should Be Modernized
    • 3 Reception and Renewal in European and Greek Theater
    • 4 The German-Speaking Theater during the 19th Century
  • Part I: The Reception of the German Theater during the 19th Century
    • 1. The German and the “Own” Theater
      • 1.1 Meeting the Forgotten “own”
      • 1.2 Meeting the Directors
    • 2. The Performance of Aeschylus’ Persians (1889)
      • 2.1 “With man and steed and chariot, so God crushed them”
      • 2.2 We Need a “hero”!
  • Part II: Defining the National House, the Director, and the Acting Style
    • 1. The Transfer of German Institutions
      • 1.1 The Establishment of the Royal Theater in Athens
      • 1.2 The Role of the Stage Director in the Royal Theater
    • 2. Thomas Oeconomo: Forming an Artistic Identity
      • 2.1 Early Life and Acting Studies
      • 2.2 The Career in German Theaters
    • 3. Agnes Sorma in Athens
      • 3.1 From Preserving the Personality to Entering into the Skin of the People
      • 3.2 The “negation of the theater in the theater”
  • Part III: Towards an Innovation of the Greek Theater
    • 1. Thomas Oeconomo, Director of the Royal Theater
    • 2. Repertoire Constitution, Translation, and Reception
      • 2.1 The Literarization of the Theater
      • 2.2 The Cooperation between Thomas Oeconomo and Konstantinos Chatzopoulos
      • 2.3 The Reception of German Drama Staged at the Royal Theater
    • 3. The Development of a New Acting Style
      • 3.1 “Can our actors with their knowledge of today, with their current habits, satisfy the requirements of a formal theater?”
      • 3.2 “…Truth. But then, what is this Truth?”
    • 4. The Materialization of the Stagecraft
    • 5. The Dispute over Thomas Oeconomo, the Conflict of an Epoch
  • Part IV: The Performances
    • 1. Drayman Henschel by Gerhart Hauptmann (1902)
      • 1.1 A “visual image of life”
      • 1.2 From Aesthetic to Social Provocation
    • 2. Oresteia, Adapted from Aeschylus Tragedy (1903)
      • 2.1 About “Ancient Drama and Modern Stage”
      • 2.2 The Problem of “squaring the circle”
    • 3. The Winter’s Tale by William Shakespeare (1903)
      • 3.1 The Marriage of Music and Poetry
      • 3.2 For a Well-Behaved Audience
    • 4. Faust by Johann Wolfgang von Goethe (1904)
      • 4.1 A Mental Journey in “Europe in a theater in Munich or in Berlin”
      • 4.2 “A Viennese blasé”
  • Part V: Afterword
  • Illustrations
  • Sources and Bibliography
  • Index
Pages:
314
Year:
2019
ISBN (PAPERBACK):
9783631771815 (Active)
ISBN (EPUB):
9783631784457 (Active)
ISBN (PDF):
9783631784440 (Active)
DOI:
10.3726/b15392
Language:
English
Keywords:
Modernity, Networks, Germanism, direction history, national theater, cultural transfers
Published:
Berlin, Bern, Bruxelles, New York, Oxford, Warszawa, Wien, 2019. 314 pp., 8 fig. b/w

Michalis Georgiou studied Theatrology at the National and Kapodistrian University of Athens. He received his PhD from the Institute of Theater Studies at the Freie Universität Berlin with scholarships awarded by the State Scholarships Foundation in Greece and the InterArt Studies, Freie Universität Berlin.

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