Hostname: page-component-586b7cd67f-t7czq Total loading time: 0 Render date: 2024-11-28T14:49:24.060Z Has data issue: false hasContentIssue false

German Expressionist Acting

Published online by Cambridge University Press:  07 December 2021

Extract

The New Man possesses even greater, more direct feelings. He stands there grasping his heart. And from the surge welling up in his blood, he is in an absolutely impulsive state. It is as if he would wear his heart painted onto his chest. Now he is not an image anymore—he is actually MAN. Completely entangled in the Cosmos, but with cosmic perceptions. … Not counterfeit thoughts, but his emotions alone lead him and guide him. Only then can he advance and approach absolute Rapture, where the tremendous ecstasies soar from his soul…. Yet, these New Men are in no way crazy or foolish. Their thought-processes work according to a different nature. They are untouched. They reflect upon nothing. They live not in circles nor through echos. They experiencedirectly. And that is the greatest secret of their artifice: it is without psychology.

Kasimir Edschmid, On Poetic Expressionism, 1917

Type
Expressionism Section
Copyright
Copyright © 1975 The Drama Review

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

* Neo-Romanticism, Impressionism, and Late Symbolism were the labels given to the turn-of-the-century theatrical trend led by Max Reinhardt and Hugo von Hofmannsthal in Central Europe. Typically, it emphasized classical and Romantic plays mounted in a monumental style.

The figure above is a costume-drawing for Schreyer's Child-Deaths.

The photograph above is from Martin's production of The Transfiguration, & performance that exhibited characteristics of the Schrei and Ich styles.