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WOYZECK Knowledge Organiser, ORIGINAL WOYZECK CASE, 2ND ORIGINAL…
WOYZECK
Knowledge Organiser
BUCHNER CONTEXT
Buchner wrote
Woyzeck
in
1937
At the time, society was polarised between the rich and the poor. The poor united against the rich, who they saw as the oppressors and the rich united against the poor out of fear.
Buchner was interested in humanism -
theorising about man’s place in the world and striving for equality.
Buchner was infuriated
by what he saw as a prevalent
small-mindedness in society
. In drama, he saw the same divide, claiming in a letter of 1835 that the idealistic poets had given the world ‘puppets with sky-blue noses and an affection of pathos, not men of flesh and blood with whose joy and sufferings I can sympathise and whose actions inspire me with horror and admiration.’
Born in
1813
to a middle class family
When studying in Germany (Hesse), Buchner became involved in
radical politics
After founding the 'Society for the rights of man', he published a pamphlet in
1834
that called for
economic and political revolution
Despite it being distributed secretly, many copies handed to the police, but he returned to his parent's home during an investigation into it.
During this period, Buchner wrote his first play (Danton's Death - early 1835). He hoped to publish it with the finances helping him escape but he was forced to flee the country to escape arrest.
Now back in Strasbourg, he worked
on a number of new
plays, including
Woyzeck
(The Hessian Messenger)
"The life of the rich is one long Sunday." "But the people lie before them like dung on the fields."
Buchner was infuriated by what he saw as a prevalent small-mindedness in society
He died of tyhoid fever
in Februrary 1837, aged 23
ORIGINAL PERFORMANCE
CONDITIONS
LIGHTING
Often stark, illuminating key
areas of the stage space
Deliberate use
of shadow
The movement of light reinforced the stream-of-consciousness imagery of many expressionist plays and allowed the smooth transition through episodic scenes.
The light frequently cut a ribbon through the dark void of black-curtained stages.
The contrast of light and shadow, unusual colours and unrealistic angles of light contributed to the nightmare quality of the productions.
Basic icondescent stage
lights were used with early
colours filters due to
restrictions
in electrical technology.
SET AND STAGING
No theatrical curtains
November 1913 Production
: A revolving stage was used to enable the swift scene changes that created a moving experience for the audience.
The revolve was 50 feet in diameter and raised slightly off the regular stage floor. With the procesium arch staging, a little less than a fourth of the revolve was visible to the audience.
The revolve was split into quarter sections and allowed four scenes to be set at the top of the show.
The revolve allowed for depth, like landscapes with views in the distance and more three-dimensional set in front of the walls of the revolve.
ORIGINAL PRODUCTION
8th November 1913
The Residenz Theatre, Munich
Proscenium Arch
with apron
Audience arranged in tiers
Decorated in Rococo style
The theatre was a place of luxury
and opulence with the most expensive seats in boxes.
AUDIENCE
FEEDBACK
Critics responded favourably to the 1913 production. Colin Ross (theatre critic) wrote “These many short , almost unconnected scenes, some of which consist of only one sentence, create in their totality an effect of
moving tragedy
. They are harshly naturalistic, but if a reality which lurks behind substance. Another review, Edgar Steiger also praised the production stating "
it stirred the audience deeply
.”
ACTING:
Albert Steinruck who played Woyzeck in 1913, was a large, powerful man. As Woyzeck, he had his head sunk “as if poised for a great blow”. By contrast, his eyes were frightened. He had a slight tilt of the head “as if listening to voices telling him to kill.”
The critic Julius Hart said: ‘There was in Steinruck’s performance a dangerous and threatening force, a rebellion and revolution, and the red flags waved.
AURAL ELEMENTS
No microphones so voices
has to be well developed
The songs in the play would
have been sung with or without accompaniment
STYLE
First performances of Woyzeck would have looked highly stylised and quite 'music hall' in nature.
Often moving grotesquely
Use of masks
Speech was rapid, breathless and staccato, with gesture and movement urgent and energetic–eyes rolling, teeth bared, fingers and hands clutching like talons and claws.
The play was episodic
The play has expressionist features, however, Buchner wrote this play long before expressionism evolved, making him ahead of his time.
Disjointed structure
AUDIENCE
Early 20th Century Theatre was a time of huge commercial expansion in German Theatre - audiences wanted something new.
The play would have been enjoyed by an audience - many who were unhappy with the life in the land ruled by Kaiser Wilhelm.
The audience (typically Bourgeoise of the time) were suprised that the play was so stageworthy.
COSTUME
Historically accurate - traditional in keeping with the 19th century era German dress.
The German Soldier's costume of the time was heavily influenced by French military garb.
Officers wore a tri-corner hat with gold trimmings, a black scarf, a white or blue coat with a gold braid on the outside, matching breeches and knee high boots.
THEATRE STYLES CONTEXT
GERMAN EXPRESSIONISM
Wildly non-realistic, geometrically absurd sets along with designs painted on walls and floors to represent lights, shadows and objects.
The plots and stories of Expressionist films often dealt with madness, insanity and betrayal.
The practitioners used extreme disortions to show an inner emotional reality rather than what is on the surface.
Shadows and silhouettes were an important part of Expressionism.
ROMANTICISM
Romanticism: The movement in art and literature distinguished by a new interest in human psychology, expression of personal feeling and interest in the natural world.
The Romantic theatre consisted of works of strong emotion and individualism, and valued the concept of righteous emotion triumphing over mechanical reason.
During this period,
audience size increased
and the orchestra seats became less expensive as
seeing became more important than hearing
, meaning that the “gods” in the upper galleries were the cheapest. Those that sat in those seats were loud and vocal.
The movement attempted to be as realistic as possible with carefully and realistically painted scenery and natural settings.
Romantic playwrights were interested in exploring the depths of human emotion and the mysteries of existence. They often portrayed protagonists who were outsiders, rebels, or dreamers, struggling against the restrictions of society.
GERMAN NATURALISM
Naturalism was criticised in the mid-20th century by Bertolt Brecht and others who argued instead for breaking the illusion of reality in order to encourage detached consideration of the issues the play raises.
A theatrical style that attempts to resemble real-life on stage.
STURM UND DRANG
Translates to 'Storm and Stress'
A literary and artistic movement in Germany in the late 18th century - primarily between 1760's and 1780's
It can be characterised by its belief in intense belief in
intense emotional expression
. It also argues against the
existence of an objective reality.
Sturm and Drang plays often feature passionate characters in extreme situations, exploring themes such as rebellion, freedom and the struggle against oppressive authority.
Playwrights sought to evoke powerful emotions in their audiences and to challenge the status quo. The movement was marked by a rejection of the rules of classical drama in favor of more spontaneous and emotionally charged forms of expression.
Sturm and Drang had a profound influence on later literary and theatrical movements, including Romanticism. Its
celebration of individualism
and its focus on the
expression of raw emotion
laid the groundwork of the Romantic movement.
REALISM
Realism on stage depicts believable characters facing ordinary and relatable struggles
ORIGINAL WOYZECK CASE
2ND ORIGINAL PRODUCTION