Gerhart Hauptmann and the Naturalist Drama (German Theatre by John Osborne
By John Osborne
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Extra info for Gerhart Hauptmann and the Naturalist Drama (German Theatre Archive)
Pillars of Society and A Doll’s House reached the German theatre at a fairly early date (1878 and 1880), in fact only one year after 16 See Horst Claus, The Theatre Director Otto Brahm, Theatre and Dramatic Studies, 10 (Ann Arbor, Michigan: UMI Research Press, 1981), pp. 13–14. Fischer, 1913–15), I, 30–36. Conrad, Von Emil Zola bis Gerhart Hauptmann: Erinnerungen zur Geschichte der Moderne, Leipzig: Seemann Nachf. (1902), p. 80. 19 Yet this early success of Ibsen’s social dramas was something of a false start.
Fischer, 10 vols (Berlin: Dietz Nachfolger, 1924–25) X, 214. 9 Erika Fischer-Lichte, Kurze Geschichte des deutschen Theaters (Tübingen and Basel: Francke, 1993), pp. 236–37. 10 Kritische Waffengänge, 4 (1882), 41 f. 11 See Julius Bab, ‘Gerhart Hauptmann als Regisseur’, Gerhart Hauptmann Jahrbuch, Neue Folge, 1 (1948), 148–53. 12 Kritische Waffengänge, 4 (1882), 17. 13 An urgent need is felt for an actors’ school, to function in close association with the National Theatre; such a school was subsequently to be founded by Emanuel Reicher, an actor intimately associated with Brahm, and directly involved in the successes of Hauptmann and Ibsen.
Subsequently, though, he became distinctly hostile towards Holz (he re-dedicated Vor Sonnenaufgang in its second edition to Brahm and Schlenther) and denied that his influence had ever been decisive. This later view is probably a more accurate one. Even before the publication of Papa Hamlet, in January 1889, Hauptmann was himself already attempting to reproduce accurately everyday speech in his works; Fasching (Siegfried, 1887) and Bahnwärter Thiel (Die Gesellschaft, 1888) had already been published, and Vor Sonnenaufgang had been completed.