| Preface |
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| Acknowledgments |
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| Introduction |
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German Drama and Theater in German-Speaking Countries Today |
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1 | (22) |
| I. PERFORMANCE AND THEORY |
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Incoherence as Meaning: From the Real to the Expressive |
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23 | (14) |
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Sign and Referent in the Work of Robert Wilson |
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Reconstituting the Human Form |
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37 | (9) |
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Forging a Link Between Stage and World |
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The Genre of Director's Drama |
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46 | (7) |
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Spann-Temporality as Theater Performance |
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53 | (10) |
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The Uses of Audieince Participation |
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Theater's Engagement in Social Experience |
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63 | (8) |
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Craig's and Brecht's Theories of Dramatic Performance |
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71 | (17) |
| II. EXPRESSIONISM |
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Georg Kaisers Von Morgens his Mitternachts as a Metaphor for Chaos 81 |
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Ernst Tollers Masse-Mensch |
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The Individual versus the Collective |
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88 | (5) |
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Hasenclever's Sinnengluck und Seelenfrieden as Metaphor for Suicide |
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93 | (10) |
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Reinhard Goering's Seeschlacht and the Expressionist Vision |
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103 | (7) |
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Mankind and Sun: German-American Expressionism |
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110 | (5) |
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Expressionism and Deconstructionism: A Critical Comparison |
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115 | (7) |
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Arnolt Bronnen's Austro-Expressionist War Plays Sturmgegen Gott and Sturmpatrull |
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122 | (11) |
| III. THIRD REICH |
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The Theater in and of the Third Reich: The German Stage |
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133 | (14) |
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Anti War Discourse in War Drama |
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Sigmund Graff and Die endlose Strasse |
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147 | (8) |
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An "Ancient German Rediscovered":The Nazi Widukind Plays of Forster and Kiß |
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155 | (12) |
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Caroline Neuber/Die Neuberin in the Third Reich |
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167 | (9) |
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Gewalt, Gott, Natur, Volk The Performance of Nazi Ideology in Kolbenheyer's Gregor und Heinrich |
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176 | (11) |
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Gerhart Hauptmann's Ratten (1911) at the Rose (1936) |
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187 | (9) |
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Rules, Regulations, and the Reich: Comedy under the Auspices of the Propaganda Ministry |
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196 | (9) |
| IV. BERTOLT BRECHT |
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The Performance of Ideology and Dialectics in Brecht's Life of Galileo |
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205 | (7) |
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Julie Klassen and Ruth Weiner |
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Reviving Brecht: Transformations, or the Reciprocity of Outward Signs and Inward States |
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212 | (7) |
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Saving the Fallen City of Mahagonny: The Musical Elaboration of Brecht's Epic Theater |
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219 | (6) |
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Brecht's Gestic Vision for Opera: Why the Shock of Recognition is More Powerful in the Rise and Fall of the City of Mahagonny than in The Three Penny Opera |
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225 | (11) |
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Brecht's Life of Galileo as an Aristotelian Tragedy |
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236 | (11) |
| V. POST-WORLD WAR II |
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Max Frisch's The Great Wall of China and the Language of Re-Emergence |
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247 | (7) |
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A Fictional Response to Political Circumstance: Martin Walser's The Rabbit Race |
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254 | (7) |
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Wolfgang Hildesheimer's Das Opfer Helena: Another Triumph of the "They" |
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261 | (10) |
| VI. CONTEMPORARY |
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Cry Beyond the Hamlets: Peter Handke's Dramatic Poem and the Tragic Tradition |
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271 | (6) |
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The Rebellion of the Body Against the Effect of Ideas |
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Heiner Muller's Concept of Tragedy |
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277 | (8) |
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Darkness Visible: Peter Turrini and the Scripted Life |
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285 | (9) |
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Woman Takes Center Stage:Three Versions of "The Female Condition on the German Theater Stage Today |
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294 | (7) |
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The Representation of Foreigners in German and Austrian Plays of the 1990's by Female Playwrights |
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301 | (11) |
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Conquering the South Pole and Other Places in Germany |
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312 | |
Other versions by this Author
