The thesis is an analysis of the early years of the Munich Künstlertheater. First, the theoretical premises by Georg Fuchs and Peter Behrens of the early 20th century are analysed. They will be at the base of the projects of architect Max Littmann for the Künstlertheater building, which is described in its entirety, with a focus on the three-parted stage, the so-called “Reliefbühne”. The first season, under the direction of Georg Fuchs, is described through the description of some iconic moments from the 1908 opening staging, Faust I by Goethe. The thesis ends with a study of the following seasons under the direction of Max Reinhardt, and his radical changement of poetic and stage practice.
La tesi analizza i primi anni di attività del Künstlertheater di Monaco. Inizialmente si studiano le premesse teoriche di riforma teatrale elaborate da Georg Fuchs e Peter Behrens nel corso della prima decade del Novecento, alla base del progetto dell’architetto Max Littmann. Si analizza poi l’edificio teatrale nel suo complesso e in particolare nella scena tripartita, la cosiddetta “Reliefbühne”. La prima stagione, sotto la direzione di Georg Fuchs, viene analizzata prendendo a esempio alcuni momenti rappresentativi dello spettacolo inaugurale del 1908, il rivoluzionario Faust I di Goethe. Infine, si studiano le stagioni successive dirette da Max Reinhardt, con un radicale cambio di poetica e prassi scenica.
Poetiche e prassi sceniche in Georg Fuchs e Max Reinhardt: il Künstlertheater di Monaco (1908-1911).
BOZZOLO, FIAMMA
2023/2024
Abstract
The thesis is an analysis of the early years of the Munich Künstlertheater. First, the theoretical premises by Georg Fuchs and Peter Behrens of the early 20th century are analysed. They will be at the base of the projects of architect Max Littmann for the Künstlertheater building, which is described in its entirety, with a focus on the three-parted stage, the so-called “Reliefbühne”. The first season, under the direction of Georg Fuchs, is described through the description of some iconic moments from the 1908 opening staging, Faust I by Goethe. The thesis ends with a study of the following seasons under the direction of Max Reinhardt, and his radical changement of poetic and stage practice.File | Dimensione | Formato | |
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https://hdl.handle.net/20.500.12608/78956