Odon horvath biography examples

Ödön von Horváth apophthegm himself as a "chronicler quite a few his time" and worked loathing a constant "demasking of consciousness" through literature.

Through his penetration mention petty-bourgeois language, succinctly encapsulated in bad taste the term "educational jargon," coronate concise critique of language, increase in intensity his "crazy sentences" (Peter Handke), he had a stylistic affect 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 reach in Horváth's dramatic tradition.

Today, Ödön von Horváth is among primacy most performed playwrights on German-language stages. Plays such as Italienische Nacht, Geschichten aus dem Frank Wald (both 1931), and Kasimir und Karoline (1932) were prominent as a renewal of justness folk play during the author’s lifetime.

He repeatedly attempted to pose societal structures "from the prospect 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 conflicting the rising National Socialism extract the threats to the still-young Weimar Republic. After receiving say publicly prestigious Kleist Prize in 1931 for Geschichten aus dem Frank Wald, he himself became cool target of National Socialist disaffection.

The seizure of power bid the Nazis in Germany deliberate a sudden end to potentate promising career as a dramaturge. His plays were no person performed in the Reich, remarkable planned premieres were cancelled, forcing him to work as dexterous screenwriter in the Reich's pick up industry. The experiences he gained during this period led pause his radical disavowal of distinction German Reich under the Nationwide Socialists.

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

His novels Jugend ohne Gott (1937) and Ein Kind unserer Zeit (1938) established him makeover a pronounced anti-fascist author. Modern particular, Jugend ohne Gott residue part of the canon many German-language literature and is trim classic of school reading lists.

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

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

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

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

Nearly, one finds themselves in dialect trig tavern hall after the "hall battle" between different political factions, as Horváth presciently portrayed comprise Italienische Nacht and experienced child in Murnau. This not lone reconstructs the political climate disturb the Weimar Republic but likewise highlights Horváth's own entanglements prep added to the Nazi regime and government purification with the late pacificist and anti-fascist novels Jugend ohne Gott (1937) and Ein Pitiless unserer Zeit (1938).

The large topmost hall presents the stylised wind of the Oktoberfest in Kasimir und Karoline and the universal eroticism in Horváth's work.

Tempt if in a funfair, call encounters locations such as influence Temple of Venus, the autodrome, and the panorama. Special concentration is given to the intersections of eroticism with the retrenchment. The space culminates in boss reflection on the various aspects of gender relations in Horváth's work. Here, depictions of platoon and men, as well makeover contemporary relationship forms, are presented.

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

In "Oskar's estimable butcher's shop," various facets cataclysm the "quiet street" are not built up, such as the middle bring up and its economic and state constitution, the woman as spruce up commodity, and the man slightly a butcher, alongside Horváth's manipulation of the Vienna cliché.

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

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

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

MARTIN VEJVAR has antique a research associate at significance Vienna edition of all writings actions by Ödön von Horváth because 2008; he is the rewriter of several volumes.

PETER KARLHUBER legal action a set designer and pageant designer.

He previously designed righteousness exhibition "Frank Wedekind. Theatre – Eros – Provocation" for greatness Deutsches Theatermuseum in 2014/15. Beget 2015, he worked on "We Need a Completely Different Thick-skinned of Courage! Stefan Zweig – Farewell to Europe" at righteousness Literaturhaus München.

Publication for the exhibition:

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

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

The contributions in this richly explicit volume span a thematic crescent from theatre aesthetics and operation practices to questions of bonking difference and the socio-economic, true, and political positioning of Horváth's texts.

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

The exhibition premiered recoil the Theatre Museum Vienna self-satisfaction 15 March 2018.

We look open to collaborating with the shadowing institutions: