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  • 100 Years of Kurt Weill

    An issue of: Theater
    Volume: 30
    Issue: 3
    Pages: 152
  • Paperback: $12.00 - In Stock
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  • 1. Up Front–Erika Munk and Tom Sellar

    2. The Threepenny Songs: Cabaret and the Lyrical Gestus–Peter W. Ferran

    3. Royal Palace: A Translator’s Note–Jonathan Eaton

    4. Royal Palace, Music by Kurt Weill, libretto by Iwan Gull–translated by Jonathan Eaton

    5. On Die Bürgschaft: Director’s Notes–Jonathan Eaton

    6. Die Bürgschaft [The Pledge]: An Opera in Three Acts, Music by Kurt Weill, libretto by Caspar Neher and Kurt Weill–translated by Jonathan Eaton

    7. Die Bürgschaft, or “Brecht ohne Brecht”–Michael Evenden

    8. Kurt Weill’s American Dreams–Kim H. Kowalke

    9. The Eternal Road and Kurt Weill’s German, Jewish, and American Identity–Kim H. Kowalke, Jürgen Schebera, Christian Kuhnt, and Alexander Ringer

    10. Either a German or a Jew: The German Reception of Kurt Weill’s Der Weg der Verbeifsung–Tamara Levitz

    11. From Myth to Monograph: Weill Scholarship, Fifty Years After–Bruce D. McClung


    12. The Eternal Road at the Brooklyn Academy of Music–Gordon Rogoff


    13. Four Plays by Dawn Powell–Catherine Sheehy

    14. Spectacular Suffering: Theatre, Fascism, and the Holocaust–Elinor Fuchs

    15. Theatre, Court, and City, 1595–1610: Drama and Social Space in London–

    Joseph Roach

    16. Classical Greek Theatre: New Views of an Old Subject–

    Andrew Szegedy-Maszak

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  • Description

    The year 2000 marks the hundredth birthday of theater and opera composer Kurt Weill (1900-1950). In celebration of this occasion, 100 Years of Kurt Weill features recently rediscovered and previously untranslated dramatic works by Weill and critical essays and articles reflecting on his legacy and influence. Reviews and reports on centenary productions from around the world are included along with panel discussions by directors and musicians on Weill’s cultural identity.

    100 Years of Kurt Weill makes a notable addition to the commemoration of the anniversary with the English-language publication of two major Weill librettos, both translated and introduced by international opera director Jonathan Eaton. Written in 1925, Royal Palace is a one-act opera with a libretto by surrealist/expressionist poet-playwright Yvan Goll. It was one of the first operas to incorporate film. The other work, Die Bürgschaft (The Pledge), was inspired by a dark social parable by Johann Gottfried von Herder and written in collaboration with Caspar Neher. The piece was banned in 1933 by the Nazi regime because of its controversial content and was not restaged in its original form until Eaton’s 1998 and 1999 productions in Bielefeld, Germany, and at the Spoleto Festival U.S.A.

    This special issue specifically addresses the theatrical context of Weill’s music, exploring new perspectives on the artist and his work and on recent developments in Weill scholarship. These articles, combined with the previously unpublished works, make 100 Years of Kurt Weill a considerable and unique contribution to the centenary commemoration of his birth.

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