Purpose of this diploma thesis is to research political theatre on German territory between years 1918 and 1939. I am going to discuss different forms of political theatre (das Tribunal, Proletarian theatre, Piscator-Bühne, Epic theatre) developed by Erwin Piscator and Bertolt Brecht in the Weimar Republic. Through political theatre they represent intellectual opposition to bourgeois theatre named Volksbühne and political mind-set of NSDAP. In their theatre they disapprove bourgeois getting into characters on stage and prioritise critical treating of performing artists and whole theatre performance. Stage has to serve as propaganda of revolutionary ideas by proletarian people. Significant contribution of Piscator to German theatre in those times were film projections of political documents and never before used stage technique, and Brecht's establishing more revolutionary style of staging with development of acting techniques (alienation, dialectic, gestus) within epic theatre. Conflicts begin to develop between conservative and liberal audiences of the political theatre. First wanted to keep bourgeois theatre view of Max Reinhardt, and others supported revolutionary ideas of political theatre. Latter was established in the time of Weimar Republic (especially in late 1920s), but presenting opposition-propaganda was not highly successful due to the fact that the national socialistic forces and paramilitary organisations of Sturmabteilung (SA) and Schutzstaffel (SS) under patronage of Adolf Hitler became very strong in political power. Because of that Piscator and Brecht were forced to continue their political activities abroad (USA, Holland, Denmark, France, Russia).
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