Name: ドイツ演劇、なぜそんなに怒るのか？クラッシュコースシアター#27 (Why So Angry, German Theater? Crash Course Theater #27)
Uploaded: 2021-01-14T10:28:45.000Z
Duration: 11 min 50 s
Description: VoiceTubeの動画で発音を聞きながら英語表現を覚えよう！学べる英語：

Hey, there! I'm Mike Rugnetta. This is Crash Course Theatre, and today,

we're feeling stressed, but also romantic

and sometimes classical. It's an emotional

whatever mileage is in German because we're exploring the German theatre of the late 18th and early 19th centuries

when playwrights rebelled against the enlightenment and bourgeois society

We'll explore the enduring conflict between intellect and emotion, and between society and the individual .

We'll meet a funny little guy in a hat named Hanswurst.

Germany didn't establish a theatre of its own until late.

That's probably because Germany itself wasn't

The 30 years war ended in 1648, leaving Germany a mess

of three hundred separate provinces and city states.

Most of them were devastated. It wasn't until the mid 1800

In the meantime, German nobles who wanted theatre imported

it from France and Italy. Common people had to make do with bare grounds stuff.

Some of that stuff was provided by English actors.

With Frederic Degrey calling Shakespear plays:

Oof! Sorry, Canada. Not so great, Frederic, if you ask me.

But travelling English clowns were a hit!

especially when they developed German characters like Starkfish[?] and Pickle Herring.

Eventually Germany developed its own stock clown:

A Bavarian fool who worn a green hat and drank a lot of beer.

And that was pretty much the highest achievement of German theatre until

the mid 18th century. The first serious German troop, the [?], showed how serious they were

so they had to bring Hanswurst's plays back.

What can you say? The people wanted more John Sausage.

German's first serious playwright was G.E. Lessing who was also the world's first dramaturg

In the mid 18th century, inspired by English playwrights, he wrote bourgeois comedies and tragedies about middle class German Characters.

These were considered amazingly realistic, and finally attracted middle class audience to the theatre..

Around this time, some Germany first permanent theatres were build, which gave Lessing and other German playwrights a place to show their stuff like:

Like sentimentalism in England. Lessing's work reflected the good old enlightenment idea

that people are mostly good and just need a little moral hand-holding.

The playwrights who came after him were like:  "Uh... No."

They looked around at the ravages of poverty and crime

and they argued that maybe people and society weren't so great after all.

named for a 1776 play by Friedrich M. Klinger

that is nominally set during the American Revolution even though none of the characters are American.

It's a pretty silly play about family grudges and concealed identities,

but somewhere in there is an argument for passionate individualism,

and that's what "Sturm Und Drang" is all about.

Sort of... In fact, it's hard to tell exactly what "Sturm Und Drang" is about

because as aesthetic movements go, this one wasn't the most coherent.

The men who let it sort of agreed on what they were against: modern life, rationalism,

but not really on what they were for, so some plays reject the unities some don't.

Some of them are really emotional, but some aren't.

There's an uncomfortable amount of rape and child murder, but not enough to like build a movement around.

Writers such as Friedrich Schiller and Johann Von Wolfgang Goethe were fans of this movement.

Goethe wrote one of Sturm Und Drang most famous plays, Götz von Berlichingen, which was so long and so spectacular

Schiller had a scandalous success with The Robbers, which got him temporarily banned from play-writing.

In The Robbers, an outlaw is the true hero, and it's wealthy brother who is thriving in a corrupt society who is the villain.

Both Schiller and Goethe later rejected Strum Und Drang in favor what came to be known as Weimar classicism.

which convinced him that maybe classical models weren't so bad?

Schiller took a decade off play-writing to read history and came to the same conclusion.

Weimar classicism was a throwback to Enlightement theatre,

Instead of using French neoclassicism as its model, though,

it looked all the way back to the Greeks and Romans.

Weimar classicists wanted to make a theatre so galvanizing, extraordinary, and exquisitely beautiful that it would reveal some kind of greater truth.

For 26 years, Goethe also took over the actual Weimar court theatre in Weimar, Germany.

Even though Goethe's plays and the plays of his admired contemporaries formed only a small part of the repertory there.

He advanced the theatre in other ways by training his actors in verse speaking and more naturalistic acting.

And by rejecting haphazard blocking in favor of more specific, more painterly tableaus.

The German movement that followed Sturm Und Drang and spread across Europe in the early years of the 19th century was Romanticism.

As we discussed in Crash Course: Literature, Romanticism doesn't have a lot to do with the shirtless guy on the book cover kind of romance...

Instead it was a profound reaction against enlightenment certainties

and the social transformation wrought by the industrial revolution.

Romanticism emphasized emotions over intellect, instinct over reason, and nature over culture.

Romantics drew on the philosophy of Jean-Jacques Rousseau, who argued that humans are at their best in a state of nature

And Immanuel Kant who wrote that we understand the world only through subjective experience

Romantics believed that humans are caught between an earthly existence and a higher spiritual existence.

Nature moves us closer to that higher existence, and so can art, especially if a romantic genius is making that art.

In fact, Playwright Frederic Schiller theorized that the only way people can reconcile the confusion between sensuality and reason and body and mind

Romantic playwrights weren't interested in realism.

Their plays mostly took place in an idealized past,

Anywhere that, as composer Richard Wagner wrote, would allow audiences from

The disgusting and disheartening burden of this world of lying and fraud and hypocrisy and legalized murder."

Maybe, worth noting Richard Wagner was also a noted anti-Semite.

Romantics favored Shakespearean over neoclassical models and tend to avoid hard and fast rules about unities

in their desire to represent passion and emotions.

Many playwrights doubted that their plays could ever be successfully produced

so they wrote closet dramas that were staged only in the minds of their readers.

Romantics playwrights, worth noting, include Ludwig Tieck who helped with new translation of Shakespeare and staged Shakespeare's plays in the Elizabethan Style.

He also wrote his own plays based on folks and fairy tales.

Then there was Heinrich von Kleistwas who [?] dropped out of school and wrote some plays including the dream-like Prince of Homburg.