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Rainer Werner Fassbinder and the German Theatre
Publisher description
Spoken Word and Social Practice
Spoken Word and Social Practice: Orality in Europe (1400-1700) addresses historians and literary scholars. It aims to recapture oral culture in a variety of literary and non-literary sources, tracking the echo of women’s voices, on trial, or bantering and gossiping in literary works, and recapturing those of princes and magistrates, townsmen, villagers, mariners, bandits, and songsmiths. Almost all medieval and early modern writing was marked by the oral. Spoken words and turns of phrase are bedded in writings, and the mental habits of a speaking world shaped texts. Writing also shaped speech; the oral and the written zones had a porous, busy boundary. Cross-border traffic is central to this study, as is the power, range, utility, and suppleness of speech. Contributors are Matthias Bähr, Richard Blakemore, Michael Braddick, Rosanna Cantavella, Thomas V. Cohen, Gillian Colclough, Jan Dumolyn, Susana Gala Pellicer, Jelle Haemers, Marcus Harmes, Elizabeth Horodowich, Carolina Losada, Virginia Reinburg, Anne Regent-Susini, Joseph T. Snow, Sonia Suman, Lesley K. Twomey and Liv Helene Willumsen.
New Theatre Quarterly 54: Volume 14, Part 2
Provides an international forum where theatrical scholarship and practice can meet.
Personal Experience and the Media
The work of the West German artist Rainer Werner Fassbinder is as versatile as it is extensive. During the 16 years of his artistic career, Fassbinder produced more than 40 films and staged 29 plays half of which he had written himself. In doing so he not only drew on aesthetic traditions as diverse as the German folk play, the American gangster film, Hollywood melodrama, the Theatre of Cruelty and the French Nouvelle Vague, but also worked in three media simultaneously: theatre, cinema, and television. It has often been pointed out that this versatility appears to forestall any conceptualisation of Fassbinder's work from the vantage point of its production. The present work aims at exactly such a conceptualisation by exploring the interplay between his work for the different media.
Personal Experience and the Media
The work of the West German artist Rainer Werner Fassbinder is as versatile as it is extensive. During the 16 years of his artistic career, Fassbinder produced more than 40 films and staged 29 plays half of which he had written himself. In doing so he not only drew on aesthetic traditions as diverse as the German folk play, the American gangster film, Hollywood melodrama, the Theatre of Cruelty and the French Nouvelle Vague, but also worked in three media simultaneously: theatre, cinema, and television. It has often been pointed out that this versatility appears to forestall any conceptualisation of Fassbinder's work from the vantage point of its production. The present work aims at exactly such a conceptualisation by exploring the interplay between his work for the different media.
