
The dawn of the 20th century is changing the performing arts more than ever in its more than two thousand year history. Arthur Schnitzler continues what Ibsen and Strindberg have prepared for the realistic drama under the impression of Freud and psychoanalysis: the human psyche is interpreted for the first time - also on stage. The theater develops from embodied declamation to multi-layered staging. The director was born, it was Max Reinhardt's great theatrical years in Germany and Konstantin Stanislawski in Russia, whose drama theories are still the basis of all stage training to this day.
The dawn of the 20th century is changing the performing arts more than ever in its more than two thousand year history. Arthur Schnitzler continues what Ibsen and Strindberg have prepared for the realistic drama under the impression of Freud and psychoanalysis: the human psyche is interpreted for the first time - also on stage. The theater develops from embodied declamation to multi-layered staging. The director was born, it was Max Reinhardt's great theatrical years in Germany and Konstantin Stanislawski in Russia, whose drama theories are still the basis of all stage training to this day.
Under the pressure of the totalitarian regimes of Stalinism and Fascism, theater artists in Spain, Russia and Germany increasingly came into conflict between resistance and adaptation. Numerous playwrights and directors went into exile. However, most of them stayed in their homeland and began to come to terms with the Nazis, since they were unable to speak any language other than their mother tongue. From then on, no Jewish or "left" authors were allowed to be played, only classics and apolitical entertainment were still allowed. Gustaf Gründgens, stage star of the century, became general director of the Berlin State Theater despite his connections to "leftist" artists and staged - not only on stage - a clever double play. In the meantime, the system used itself theatrical means and made the state a monumental and cruel "state theater"