German Theater Of The 20 Th Century: History & Practice
Course TitleGerman Theater of the 20th Century: History & PracticeCourse NumberGERM-UA9290D01, THEA-UT9612D01SAMPLE SYLLABUSLecturer Contact InformationDr. Katrin Dettmerkatrin.dettmer@nyu.eduCourse DetailsTuesdays, 3:30pm to 6:15pmLocationRooms will be posted in Albert before your first class. Please double check whether your classtakes place at the Academic Center (BLAC) or at St. Agnes (SNTA).PrerequisitesNone.Units earned4Course DescriptionThis course examines German theater of the twentieth century, from Expressionism tocontemporary postdramatic forms of writing and performance. The course will first offer anoverview of German theater traditions before 1900 and will then engage in analyzing specificdevelopments in German theater starting with the dramaturgical innovations of the classicalavant-garde. Other case studies will focus on Brecht’s epic theater, theater during the ThirdReich, postwar theater trends in East and West Germany, and current developments in reunifiedGermany. We will closely read relevant plays and theory by the theater makers of the respectiveperiods and explore aesthetics and performance issues as they have changed over time. As thepractice of dramaturgy in Germany has greatly influenced theatrical developments, we willinvestigate this major aspect of theatrical work in Germany and its contribution to world theater.We will also study and analyze how philosophical and theoretical debates of key ideas are beingconcretely translated into theater productions and attend performances at several Berlin theaters.We will also engage in discussions with contemporary theater makers of Berlin’s main stages andthe Free Scene.Course Objective1
The aim of this course is to provide an introduction to some central and formative approaches totheater theory and practice in Germany. As this course takes literary, theater historical, andperformance theoretical perspectives into account, our examination strives to open up new pathsof inquiry, which will illuminate the issues at hand.Assessment ComponentsStudents are expected to attend all sessions, do the readings, participate in discussions, andcomplete written assignments. Student performance will be evaluated on the basis of fourcomponents: class participation, a class presentation, 9 reading responses, an abstract for the final writingassignment, a midterm essay, and a final argumentative writing assignment.(1) Class Participation10%(2) Class Presentation10%(3) Reading Responses & Abstract for Critical Essay20%(4) Writing assignment I: Midterm Essay20%(5) Writing assignment II: Critical Essay40%(1) Participation in discussions constitutes an important component of course activities andmakes up a significant portion of student grades. You will have the opportunity tofurther explore the course readings, seek clarification, express your views, and engagein peer discussion.(2) Furthermore, students will convey their negotiations of a reading by giving one in-classpresentation of 10 minutes in the style of a short conference paper, which incorporatesexemplary close readings of selected passages and the development of criticaldiscussion questions for the seminar. The manuscript or the notes for the presentationare to be handed in to the professor on the day of the presentation.(3) In order to prepare for discussion in class and develop relevant writing skills, studentsare required to submit 9 reading responses (ca. 250 words) on specific texts and questionsat the designated deadline by uploading them to NYU Classes. These readingresponses, each counting 2% towards the final grade, serve to develop a habit of criticalengagement with the texts and regular writing practice. They can also help to identifyyour research interests early on. Students will also submit an abstract (ca. 250 words) byMonday evening, 10 December 2018, detailing their choice of topic for the criticalessay. This abstract counts 2% towards the final grade and is designed to procuresubstantial feedback on the final project during the writing process.(4) Students will write a midterm paper (5 pages), based on discussion questions, which willbe distributed two weeks before the deadline. The midterm is due on 16 October 2018.(5) Finally, students will write a critical essay (12 – 15 pages) on a topic of their choosing.This work can be an extension of the midterm paper but demands argumentativewriting and critical engagement with secondary sources. Please arrange to meet withProf. Dettmer at the earliest opportunity to discuss your research interests and finalproject. The critical essay is due on 18 December 2018.Failure to submit or fulfill any required component may result in failure of the class, regardless ofgrades achieved in other assignments2
Required Texts Course Reader Electronic Resources (via NYU Classes / NYU Library) Bertolt Brecht. The Caucasian Chalk Circle. Translated by James and Tania Stern withW.H. Auden. Bloomsbury 1984. ISBN: 9780413544506The Course Reader can be bought at Sprintout copy-shop (situated under the railway arches infront of Humboldt University’s main library, the Grimm-Zentrum, in Georgenstraße /Universitätsstraße – S-Bahn-Bogen 190). Please allow five hours between booking and collectingreaders.Texts made available via Electronic Resources should be printed out and brought to class in hardcopy.Most play texts will be distributed in class as loan copies of NYU Berlin. One copy of each bookis kept in the Reading Room of NYU Berlin's Academic Center, for you to read in the center butnot to take out.NYU Berlin Library Catalogue or follow the link on NYU Berlin's website (Academics/Facilities& Services).Supplemental Texts (not required to purchase)o Matthias Konzett (Ed.). Encyclopedia of German Literature. Routledge 2000. [electronicresource]o Marvin A. Carlson. Theatre Is More Beautiful Than War: German Stage Directing in the LateTwentieth Century. University of Iowa Press 2009. [electronic resource]o Mary Fulbrook. A History of Germany 1918-2014: The Divided Nation. Wiley Blackwell2014. [electronic resource; a reading guide for the semester will be provided]o Maik Hamburger; Simon Williams (Eds.). A History of German Theatre. CambridgeUniversity Press 2011. [available in the Reading Room]o F. J. Lamport. German Classical Drama: Theatre, Humanity and Nation 1750 – 1870.Cambridge University Press 1990. [available in the Reading Room]o Mary Luckhurst. Dramaturgy: A Revolution in the Theatre. Cambridge University Press2009. [electronic resource]SCHEDULE OF T OPICS AND R EADINGSSession 1 – 4 Sep 2018: Introduction, Topics, and ThemesIn our first session, we will discuss the objectives and the organization of the seminar but alsoalready start to investigate the specifics of the German theater system today and the challenges itfaces with regard to current discourses. This will include politics of translation and diversity. Outof this conversation we will develop questions to guide us through the semester.o Wiebke Sievers. “Mainstage Theatre and Immigration: The Long History ofExclusion and Recent Attempts at Diversification in Berlin and Vienna.” In:Crossings: Journal of Migration & Culture 8.1 (2017). pp. 67 – 83. [electronic resource]3
o Eva Espasa. “Performability in Translation: Speakability? Playability? Or justSaleability?” In: Carole-Ann Upton (Ed.). Moving Target: Theatre Translation andCultural Relocation. Taylor & Francis 2000. pp. 49 – 62. [electronic resource]Session 2 – 11 Sep 2018: DramaturgyThe session is dedicated to the position of the dramaturg in German theater history. We will takea look at German theater traditions before 1900 and the recurrent shifts in dramaturgicalviewpoints, which culminated in the Gustav Freytag’s technical approach to dramatic writing, amodel that still serves as the foundation for storytelling in the Western hemisphere. We will readand discuss Friedrich Hebbel’s play as an example of this dramaturgy, against which the varioustheatrical forms of the 20th century will rebel.o Maik Hamburger; Simon Williams (Eds.). A History of German Theatre. Cambridge2011. pp. 1 – 7. [course reader]o Mary Luckhurst. Dramaturgy: A Revolution in the Theatre. Cambridge University Press2009. pp. 24 – 44. [course reader]o Gustav Freytag. Technique of the Drama: An Exposition of Dramatic Composition and Art[1863]. Translated by Elias J. MacEwan. Scott, Foresman and Company 1900. pp.iii – vi, 114 – 140. [course reader]o Friedrich Hebbel. Maria Magdalena [1844]. Translated by Barker Fairley. In: ThreePlays by Frederic Hebbel. E. P. Dutton & Co 1914. pp. 186 – 237. [course reader]1900 – 1945Session 3 – 18 Sep 2018: ExpressionismThis session will focus on the development of Expressionism in the German theater scene, bothin terms of dramaturgy and performance. Plays by Wedekind and Kokoschka will serve as theliterary foundation before we investigate the role of Max Reinhardt and the Deutsches TheaterBerlin for this new aesthetic.o Frank Wedekind. Spring Awakening [1891/1906]. Translated by Jonathan Franzen.Faber & Faber 2007. [on loan from NYU Berlin]o Oskar Kokoschka. Murderer, Hope of Women [1907/1910]. In: Plays and Poems.Translated by Michael Mitchell. Ariadne Press 2001. pp. 21 – 28. [course reader]o David F. Kuhns. German Expressionist Theatre: The Actor and the Stage. CambridgeUniversity Press 2008. pp. 43 - 66, 80 - 93, 101 - 105, 139 - 143, 158 - 163.[electronic resource]Session 4 – 25 Sep 2018: Epic TheaterWe will discuss Bertolt Brecht’s development of Epic Theater, taking into account thegroundbreaking work by Erwin Piscator and the critical Marxist view of Walter Benjamin. We willanalyze Brecht’s Threepenny Opera in detail.o Bertolt Brecht. The Threepenny Opera [1928]. Translated by Ralph Manheim and JohnWillett. Bloomsbury 2012. pp. v – xiv, xxiv – xlv, 1 – 79. [on loan from NYUBerlin]o Bertolt Brecht. [Early Theory]. In: Brecht on Theatre. Bloomsbury 2015. pp. 36 – 39,61 - 80. [course reader]o Walter Benjamin. “What is Epic Theater?” In: Illuminations. Schocken 1969. pp. 147– 154. [course reader]4
o Erwin Piscator. The Political Theatre [1929]. Translated by Hugh Rorrison. Methuen1980. pp. 178 – 200. [course reader]Session 5 – 2 Oct 2018: Theater during the Third Reich: Conformism and ExileIn this session, we will take a twofold look at theater practitioners during the Third Reich: thosewho remained in Germany and participated in theater fitting the ideology of National Socialism,like Gustaf Gründgens, and those who had to leave Germany and tried to maintain an alternativeGerman theater in exile, like Bertolt Brecht.o Gerwin Strobl. The Swastika and the Stage: German Theatre and Society, 1933 – 1945.Cambridge University Press 2009. pp. 109 – 133. [course reader]o Bertolt Brecht. The Caucasian Chalk Circle [1944/45]. Translated by James and TaniaStern with W.H. Auden. Bloomsbury 1984. [required to purchase]o Bertolt Brecht. “The Street Scene” [1938]. In: Brecht on Theatre. pp. 176 – 183.[course reader]o Bertolt Brecht. Short Organon for the Theatre [1948]. In: Brecht on Theatre. pp. 229 –255. [course reader]o Tom Kuhn. “Brecht reads Bruegel: Verfremdung, Gestic Realism and the SecondPhase of Brechtian Theory.” In: Monatshefte 105.1 (2013). pp. 101 - 122. [coursereader]1945 - 1989Session 6 – 9 Oct 2018: Zero Hour TheaterDuring the immediate aftermath of World War II, artists in Germany developed an aesthetic ofthe “Zero Hour” or “Rubble Art”, which sought a fresh start after the horrors of war while takinginto account the various forms of destruction. We will analyze the aesthetic outlook of these worksin conjunction with theories of trauma.o Wolfgang Borchert. The Man Outside [1947]. Translated by David Porter. In: TheMan Outside and Other Prose. New Directions 1971. pp. 77 – 135. [on loan fromNYU Berlin]o Stephen Brockmann. “German Culture at the ‘Zero Hour’.” In: Brockmann /Trommler. Revisiting Zero-Hour 1945: The Emergence of Postwar German Culture. AICGS1996. pp. 8 – 34. [course reader]o Sigmund Freud. Beyond the Pleasure Principle. Translated by C.J.M. Hubback. TheInternational Psycho-Analytical Library 1922. pp. 8 – 10, 32 – 40. [course reader]o Sigmund Freud. Moses and Monotheism. Trans. by Katherine Jones. London 1939.pp. 122 – 125. [course reader]Session 7 – 16 Oct 2018: Theater in the GDR I (Cultural Production & Socialist Realism)With the founding of the two German nation states in 1949, two distinctive approaches to theaterwere established. In this session, we will begin our focus on the theater scene in East Germany,which in its beginnings was shaped by Bertolt Brecht and his work at the Berliner Ensemble, bythe state policies regarding cultural production culminating in the aesthetics of Socialist Realism,and a complex system of de-centralized control and censorship. The work of playwright HeinerMüller will serve as a fascinating case study for the development of the GDR theater culture.o Heiner Müller. The Scab [1956]. Translated by Carl Weber. In: The Battle. PAJPublications 1989. pp. 23 – 56. [course reader]5
o Marc Silberman. “Heiner Müller’s Der Lohndrücker, 1988.” In: Theatre 19.3 (1988).pp. 22 – 34. [course reader]o David W. Robinson (Ed.). No Man’s Land: East German Drama After The Wall[Introduction]. In: Contemporary Theatre Review 4.2 (1995). pp. 1 – 5. [course reader]o Laura Bradley. Cooperation and Conflict: GDR Theatre Censorship, 1961 – 1989. OxfordUniversity Press 2010. pp. 1 – 30. [electronic resource]Midterm is due in class!23 Oct 2018 – Fall Break: no classSession 8 – 30 Oct 2018: Theater in the FRG I (Documentary Theater / Theater about theHolocaust)In this session, we will shift our focus to study the developments in the theater scene in WestGermany after World War II. Documentary Theater became a significant form, which particularlyshared in the national project of Vergangenheitsbewältigung (“coming to terms with the past”)regarding the Third Reich, World War II, and the Holocaust. We will also continue our discussionof theories of trauma as specific to theatrical forms.o Peter Weiss. The Investigation [1965]. Translated by Alexander Gross. Marion Boyars1966/2010. [on loan from NYU Berlin]o Peter Weiss. “Notes on the Contemporary Theater” (1968). In: Margaret HerzfeldSander (Ed.). Essays on German Theater. Continuum 2002. pp. 294 – 301. [coursereader]o Hannah Arendt. Eichmann in Jerusalem: A Report on the Banality of Evil (1963). Penguin2006. pp. 220 – 233. [course reader]o Gene A. Plunka. Holocaust Drama: The Theatre of Atrocity. Cambridge University Press2011. pp. 114 – 131. [electronic resource]o recommended: Dominick LaCapra. „Trauma, Absence, Loss“. In: Critical Inquiry25.4 (1999). pp. 696 – 727. [electronic resource]Session 9 – 6 Nov 2018: Theater in the GDR II (Revolution I)As the political climate in the GDR continued to dictate content and form of all art, theater makerswere forced to develop strategies to critically engage their audience without jeopardizing their lives,by reworking classical material, for instance. Heiner Müller also reexamined Brecht’s legacy fortheater as such and thus came to develop a new perspective on Brecht’s Lehrstücke.o Bertolt Brecht. The Decision [1930]. Translated by John Willett. In: Brecht CollectedPlays: Three. Bloomsbury 2012. pp. 62 – 91, 343– 347. [course reader]o Heiner Müller. Mauser [1970]. Translated by Carl Weber. In: A Heiner Müller Reader.PAJ Publications 2001. pp. 93 – 107. [course reader]o Reiner Steinweg. Learning Play and Epic Theater [Lehrstück und episches Theater: BrechtsTheorie und die theaterpädagogische Praxis. Brandes & Apsel. S 17-21, 23-31]. Transl. bySruti Bala, 2003. [course reader]o David Bathrick and Andreas Huyssen. “Producing Revolution: Heiner Müller’sMauser as Learning Play.” In: New German Critique 8.1 (1976). pp. 110-121. [coursereader]6
Session 10 – 13 Nov 2018: Theater in the FRG II (Postmodern Tendencies I)We will continue our discussion of West German theater with an investigation of the studentmovement of 1968 and its repercussions for the theater as a public venue of critical engagementwith the status quo. We will analyze the impact of playwright Peter Handke and director ClausPeymann on the re-shaping of the theater culture.o Peter Handke. Kaspar [1967]. Translated by Michael Roloff. In: Kaspar and OtherPlays. Hill and Wang 1989. pp. 53 – 140. [on loan from NYU Berlin]o Claus Peymann. “Directing Handke.” In: The Drama Review 16.2 (1972). pp. 48 –54. [course reader]o J. L. Austin. How to Do Things With Words. Harvard University Press 1962. pp. 1 –24. [course reader]o recommended : Marvin A. Carlson. “Claus Peymann”. In: Theatre Is More BeautifulThan War: German Stage Directing in the Late Twentieth Century. Iowa City 2009. pp. 46– 72. [electronic resource]Session 11 – 20 Nov 2018: Theater in the GDR III (Revolution II)As the system of the GDR began to fail, more and more artists left for the West. Writers likeChrista Wolf and Heiner Müller remained in the GDR in order to advocate a reform of the stateby exploring new and avant-garde forms of expression. We will investigate the later aesthetics ofHeiner Müller, both as a playwright and a director, whose project included to secure theater as avenue for public discourse.o Heiner Müller. Hamletmachine [1977]. Translated by Katrin Dettmer & J.E. Macián.Brown University 2007. [course reader]o Heiner Müller. “Shakespeare A Difference” [1988]. Translated by Carl Weber andPaul David Young. In: Heiner Müller After Shakespeare. PAJ Publications 2012. pp.172 – 175. [course reader]o David Barnett. “Resisting the Revolution: Heiner Müller’s Hamlet/Machine at theDeutsches Theater Berlin, March 1990.” In: Theatre Research International 31.2 (2006).pp. 188 – 200. [course reader]Session 12 – 27 Nov 2018: Theater in the FRG III (Postmodern Tendencies II)As theater makers in West Germany increasingly deal with questions of freedom, identity, and themarket place while witnessing the terror of the RAF and the surge of late capitalism, they also lookfor alternative dramaturgies to address the complexity of the time. While Botho Strauß develops apostmodern approach in his playwrighting, director Peter Stein transposes the need for in-depthinquiry into his productions, whether of Shakespeare, other classics, and contemporary plays.o Botho Strauß. Big and Small [1978]. Translated by Anne Cattaneo. In: ContemporaryGerman Plays II. Continuum 2002. pp. 153 – 250. [course reader]o Michael Patterson. Peter Stein: Germany’s Leading Theatre Director. CambridgeUniversity Press 1981. pp. 90 – 122. [course reader]o Theodor W. Adorno. Minima Moralia: Reflections on a Damaged Life (1951). Verso2005. pp. 15 – 18, 38 – 40. [course reader]o recommended: Frederic Jameson. “Postmodernism, or The Cultural Logic of LateCapitalism.” In: New Left Review 146 (July-August 1984). pp. 53 – 92. [electronicresource]o recommended: Marvin A. Carlson. “Peter Stein”. In: Theatre Is More Beautiful ThanWar: German Stage Directing in the Late Twentieth Century. Iowa City 2009. pp. 3 – 25.[electronic resource]7
1990 – 2018Session 13 – 4 Dec 2018: Postdramatic Theater & PerformanceAfter the fall of the wall in 1989, German theater intensified its search for new forms, which wouldadequately represent the chaos of possibilities in a post-ideological world. Leaving traditionaldramatic structures behind, playwrights, like Elfriede Jelinek, started to construct texts that wouldwork against the institution of the theater, while directors, like Einar Schleef, sought to destabilizeestablished ways of viewing.o Carl Weber. “German Theatre: Between the Past and the Future.” In: PerformingArts Journal 13.1 (1991). pp. 43 – 59. [course reader]o Hans-Thies Lehmann. Postdramatic Theatre. Routledge 2006. pp. 1 – 15, 82 – 106.[electronic resource]o Elfriede Jelinek. The Princess Plays (Snow White / Sleeping Beauty / Jackie) [2002].Translated by Gitta Honegger. In: Theater 36.2 (2006). pp. 38 – 65. [course reader]Abs
Spring Awakening [1891/1906]. Translated by Jonathan Franzen. Faber & Faber 2007. [on loan from NYU Berlin] o Oskar Kokoschka. Murderer, Hope of Women In: Plays and Poems [1907/1910. ]. Translated by Michael Mitchell. Ariadne Press 2001. pp. 21 – 28. [course reader] o David F. Kuhns. German Expressionist Theatre: The Actor and the Stage .
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