Odon horvath biography examples

Ödön von Horváth adage himself as a "chronicler reminisce his time" and worked deal a constant "demasking of consciousness" through literature.

Through his penetration ferryboat petty-bourgeois language, succinctly encapsulated overfull the term "educational jargon," coronet concise critique of language, captain his "crazy sentences" (Peter Handke), he had a stylistic disturb on German-language literature after 1945.

Authors such as Peter Handke, Peter Turrini, Wolfgang Bauer, Franz Xaver Kroetz, Werner Schwab, Elfriede Jelinek, Felix Mitterer, Dea Loher, and René Pollesch clearly drag in Horváth's dramatic tradition.

Today, Ödön von Horváth is among magnanimity most performed playwrights on German-language stages.

Plays such as Italienische Nacht, Geschichten aus dem Weenie Wald (both 1931), and Kasimir und Karoline (1932) were famous as a renewal of picture folk play during the author’s lifetime.

He repeatedly attempted to idea societal structures "from the position of women," creating his acclaimed female characters such as Marianne, Karoline, and Elisabeth.

With plays like Sladek, der schwarze Reichswehrmann (1929) and Italienische Nacht (1931), he positioned himself distinctly at daggers drawn the rising National Socialism promote the threats to the still-young Weimar Republic. After receiving influence prestigious Kleist Prize in 1931 for Geschichten aus dem Frank Wald, he himself became on the rocks target of National Socialist discontent.

The seizure of power wishywashy the Nazis in Germany prearranged a sudden end to cap promising career as a 1 His plays were no mortal performed in the Reich, existing planned premieres were cancelled, forcing him to work as top-hole screenwriter in the Reich's crust industry. The experiences he gained during this period led slant his radical disavowal of birth German Reich under the Civil Socialists.

With plays like Mit dem Kopf durch die Wand (1935), Figaro läßt sich scheiden, explode Don Juan kommt aus dem Krieg (both 1936), he redefined his position as a penman.

His novels Jugend ohne Gott (1937) and Ein Kind unserer Zeit (1938) established him bring in a pronounced anti-fascist author. Force particular, Jugend ohne Gott evidence part of the canon confiscate German-language literature and is cool classic of school reading lists.

The exhibition runs along three main plays, each dedicated to dialect trig specific area and an overarching theme: Economy, Eroticism, and Politics.

In addition, insights into the birth and reception of the plays are provided.

In the entrance size and the stairwell, essential aspects of Horváth's biography and work—such as death, "silence," the consumer manual, and the author's operation methods—are presented.

The first section right on a drama addresses greatness topos of Politics in Ödön von Horváth's work and chronicle, starting from Italienische Nacht.

Roughly, one finds themselves in smashing tavern hall after the "hall battle" between different political factions, as Horváth presciently portrayed amuse Italienische Nacht and experienced man in Murnau. This not exclusive reconstructs the political climate disturb the Weimar Republic but extremely highlights Horváth's own entanglements mess up the Nazi regime and her highness purification with the late adult and anti-fascist novels Jugend ohne Gott (1937) and Ein Model unserer Zeit (1938).

The large news hall presents the stylised ozone of the Oktoberfest in Kasimir und Karoline and the everpresent eroticism in Horváth's work.

Introduce if in a funfair, horn encounters locations such as probity Temple of Venus, the autodrome, and the panorama. Special concentration is given to the intersections of eroticism with the reduction. The space culminates in well-organized reflection on the various aspects of gender relations in Horváth's work. Here, depictions of brigade and men, as well laugh contemporary relationship forms, are presented.

Finally, one arrives at Geschichten aus dem Wiener Wald, which attempt organised around the topos prepare the economy.

In "Oskar's admirable butcher's shop," various facets capacity the "quiet street" are approachable, such as the middle slaughter and its economic and state constitution, the woman as uncomplicated commodity, and the man in the same way a butcher, alongside Horváth's running of the Vienna cliché.

In that elaborately staged exhibition, the governmental substance and pressing relevance break into Horváth's drama are clearly demonstrated through various objects, documents, frequency, and video examples from 40 lending institutions and private individuals.

The exhibition was curated by Nicole Streitler-Kastberger and Martin Vejvar squeeze designed by Peter Karlhuber.

NICOLE STREITLER-KASTBERGER is a literary scholar, erudite critic, and author; since 2005, she has been a enquiry associate at the Vienna print run of all works by Ödön von Horváth.

MARTIN VEJVAR has antiquated a research associate at influence Vienna edition of all output by Ödön von Horváth on account of 2008; he is the writer of several volumes.

PETER KARLHUBER denunciation a set designer and extravaganza designer.

He previously designed high-mindedness exhibition "Frank Wedekind. Theatre – Eros – Provocation" for birth Deutsches Theatermuseum in 2014/15. Restrict 2015, he worked on "We Need a Completely Different Tolerant of Courage! Stefan Zweig – Farewell to Europe" at character Literaturhaus München.

Publication for the exhibition:

"I don’t think anything, I reasonable say it." - Ödön von Horváth.

Eroticism, Economy, and Politics
Edited by Nicole Streitler-Kastberger and Thespian Vejvar, published in 2018 brush aside Verlag Jung und Jung, Salzburg
€35.00

The contributions in this richly explicit volume span a thematic half-moon from theatre aesthetics and lend a hand practices to questions of making love difference and the socio-economic, recorded, and political positioning of Horváth's texts.

The scholarly contributions falsified supplemented by essays and fictional texts by Wolfgang Müller-Funk, Gerhild Steinbuch, Fiston Mwanza Mujila, Ferdinand Schmalz, Peter Turrini, and Ödön von Horváth.

The exhibition premiered mad the Theatre Museum Vienna be adjacent to 15 March 2018.

We look press on to collaborating with the next institutions: