Die Bezugslosen Michael Thalheimers Inszenierung von Lessings Emilia Galotti (2001)
Since Gotthold Ephraim Lessing’s tragedy Emilia Galotti finds its tragic outcome in the death of the protagonist, is—according to Ter-Nedden—justified in the failure of communication of the figures. The director Michael Thalheimer takes up this interpretation in his realization of 2001 while he prev...
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| Main Author: | |
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| Format: | Article |
| Language: | deu |
| Published: |
Presses universitaires de Strasbourg
2016-12-01
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| Series: | Recherches Germaniques |
| Online Access: | https://journals.openedition.org/rg/307 |
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| Summary: | Since Gotthold Ephraim Lessing’s tragedy Emilia Galotti finds its tragic outcome in the death of the protagonist, is—according to Ter-Nedden—justified in the failure of communication of the figures. The director Michael Thalheimer takes up this interpretation in his realization of 2001 while he prevents the dialogicity on the stage space and emphazises the egocentricity of the actors. They are accompanied by the continuous loop of Shigeru Umebayashis Yumeji’s Theme prisoners of their social roles and a text which only still represents the verbal hull of lost subjectivity. As this postdramatic setting undermines both the common conventions of Aristotelian approach and the expectations of the viewer, the Arrangement provides in particular to a didactic problematization, as presented in the last part of the article. |
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| ISSN: | 0399-1989 2649-860X |