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Klabund: Sämtliche Werke, Band III: Dramen, Dritter Teil

Cromwell, Johann Fust, Der Fächer (Libretto)

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Edited by Hans-Gert Roloff

This text edition is the third part on drama in the Klabund - Complete Works series. The series deals with the works of German author Klabund (1890, Poland -1928, Switzerland). This volume, focuses on Cromwell, Johann Fust, and Der Fächer (Libretto). It forms an indispensable basis for any further involvement with the author and his plays.

Timescapes of Waiting

Spaces of Stasis, Delay and Deferral

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Edited by Christoph Singer, Robert Wirth and Olaf Berwald

Timescapes of Waiting explores the intersections of temporality and space by examining various manifestations of spatial (im-)mobility. The individual articles approach these spaces from a variety of academic perspectives – including the realms of history, architecture, law and literary and cultural studies – in order to probe the fluid relationships between power, time and space.
The contributors offer discussion and analysis of waiting spaces like ante-chambers, prisons, hospitals, and refugee camps, and also of more elusive spaces such as communities and nation-states.

Contributors: Olaf Berwald, Elise Brault-Dreux, Richard Hardack, Kerstin Howaldt, Robin Kellermann, Amanda Lagji, Margaret Olin, Helmut Puff, Katrin Röder, Christoph Singer, Cornelia Wächter, Robert Wirth.

Conrad’s Drama

Contemporary Reviews and Observations

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Edited by John G. Peters

Conrad’s Drama: Contemporary Reviews and Observations collects both book reviews and performance reviews of Conrad’s three plays: The Secret Agent, One Day More, and Laughing Anne. These reviews and observations show how Conrad’s plays were received by his contemporaries. More than this, however, Conrad’s Drama reveals the larger conversations surrounding his plays: the state of British drama in the early 20th century, the role the drama critic has in a play’s reception, and the difficulty most fiction writers experience in trying to write for the stage. No other reference work exists for those studying Conrad’s plays, and this volume should prove to be an indispensable reference work for those working on this topic.

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Edited by David A. Crespy and Lincoln Konkle

Edward Albee as Theatrical and Dramatic Innovator offers eight essays and a major interview by important scholars in the field that explore this three-time Pulitzer prize-winning playwright’s innovations as a dramatist and theatrical artist. They consider not only Albee’s award-winning plays and his contributions to the evolution of modern American drama, but also his important influence to the American theatre as a whole, his connections to art and music, and his international influence in Spanish and Russian theatre.

Contributors: Jackson R. Bryer, Milbre Burch, David A. Crespy, Ramon Espejo-Romero, Nathan Hedman, Lincoln Konkle, Julia Listengarten, David Marcia, Ashley Raven, Parisa Shams, Valentine Vasak

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Julia Listengarten

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This essay explores the relationship between Edward Albee’s dramaturgy and Soviet theatre, specifically the ways Albee’s dramatic and theatrical innovations impacted the development of Soviet theatre practices during the Cold War period when government-sanctioned socialist realism continued to inform production choices and theatre aesthetics. Considering the journey of Albee’s plays in the ussr, particularly in relation to the country’s shifting politics, I suggest that Albee’s complex dramatic style which blends an absurdist sensibility with irony and social satire challenged the existing socialist realist framework of Soviet productions and paved the way for Soviet, and later Russian, theatre’s experimentation with European absurdists. This discussion expands Albee’s role as a theatrical and dramatic innovator beyond the United States, places him in dialogue with other cultures and theatrical traditions, and welcomes further examination of his innovative influence in a global context.

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Nathan Hedman

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Edward Albee’s recognition scenes can be strange and violent, often carrying the valence of a religious “epiphany.” In an epiphany the mental content is often secondary to the embodied, largely inarticulate brush with some other reality. After demonstrating a pattern in such “other realties” in The Zoo Story, Tiny Alice, and Seascape, the author shows how that pattern elucidates how epiphany works in The Goat, or Who is Sylvia? The surprising conclusion is that what is principally conveyed through Albeean epiphany is not a transcendent reality per se (typically a religious project), but rather the opposite: the feeling of being secular, of living within what the philosopher Charles Taylor calls an “immanent frame.” A final comparison with Peter Shaffer’s Equus clearly demonstrates Albee’s innovation. While Shaffer represents religious tradition as a meaning-rich foil against an enervated modernity, Albee moves beyond primitivistic nostalgia by deploying religious traditions as a fulcrum to launch characters into immanent, inarticulate ecstasy. The result, however, is a desperate, even tragic loneliness through a shared, secular, immanent frame of reference.

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David Marcia

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This article will analyze and explore two specific techniques Albee routinely employs throughout his work: textual awareness, which increases aesthetic distance reducing audience empathy, and comedy, which draws the audience into the performance without necessarily establishing empathy or overwhelming critical judgment. The interaction and juxtaposition of these two techniques accounts for the unusual and effective relationship that Albee’s plays have with their audience. It also points to the necessity of understanding these relationships in performance and to what end they may ultimately be employed, as well as the overall innovative nature of Albee’s dramaturgy. Textual awareness and comedy swing the hammer of paradox and parable, creating both connection and distance in the audience as well as a resonance that persists long after the performance has ended.

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David A. Crespy

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Delving deeply into a selected history of Edward Albee’s connection with theatrical design, and his relationship with his designers, this article seeks to tease out not only Albee’s unusual rapport with designers but also his life-long bonds with many different types of artists outside of the theatre, including visual artists, composers, and sculptors, all of whom influenced the nature of Albee’s playwriting. Also discussed in this essay is Albee’s presence as an occasional curator, mentor, and purchaser of art in the New York art scene. The nature of visual and aural spectacle in Edward Albee’s own plays was deeply influenced by these affiliations with artists, and here too, the author attempts to analyze the dramaturgy of Albee’s drama through the lens of theatrical design. What becomes important is Albee’s innovation in the promotion of emerging art and artists, a project which he engaged in from the earliest point in his career to his final years as one of America’s leading dramatists.

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David A. Crespy and Lincoln Konkle

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Parisa Shams

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Edward Albee’s The Goat, or Who is Sylvia? blurs the boundaries between human and animal to unveil the transgressive impulses and perplexing emotions that define and disrupt our most intimate bonds. Albee substitutes the human with an anthropomorphized animal at the center of an epiphanic recognition scene where the human forms a queer kinship with the animal, thus breaking ties with his human kin. How do the human and animal become kin whilst the bonds of kinship between humans break apart? What subjects the animal to bodily harm in the hands of humans blinded by passion, rage, and grief? Albee’s turbulent tale of love and loss provides us with a context to think about the interplay of kinship and the ethics of vulnerability and violence. Here, Albee’s unsettling provocation of conventions of the tragic genre is put into dialogue with Judith Butler’s ethics of vulnerability and her reading of Emmanuel Levinas’s ethical philosophy of the face.