scholarly journals Irmãos de Sangue: um mergulho na República de Weimar

2021 ◽  
pp. 220-231
Author(s):  
Simone Pereira Gonçalves
Keyword(s):  
Neue Sachlichkeit

Apresento aqui a tradução de Blutsbrüder (Irmão de Sangue). A preocupação maior neste trabalho foi encontrar o ritmo mais próximo possível do texto alemão que é leve, dinâmico, marcado por coloquialismos e pela linguagem sóbria da Nova Objetividade [Neue Sachlichkeit], movimento artístico, cultural e literário que surgiu com a Proclamação da República de Weimar, e o fim da Primeira Guerra Mundial.

scholarly journals Die Neue Sachlichkeit

Germanica ◽  
1991 ◽  
pp. 217-228 ◽  
Author(s):  
Wieland Schmied
Keyword(s):  
Neue Sachlichkeit

Dramaturgical, Theoretical, and Musical Associations between Max Brand’s Maschinist Hopkins and Alban Berg’s Operas

2021 ◽  
Vol 61 (3-4) ◽  
pp. 175-226
Keyword(s):  
Trace Elements ◽  
Weimar Republic ◽  
Richard Wagner ◽  
Social Realism ◽  
Theatrical Design ◽  
Popular Narrative ◽  
Neue Sachlichkeit ◽  
Linear Association ◽  
German Speaking ◽  
The Aesthetic

Abstract In the German-speaking countries during the morally uninhibited years of the Weimar Republic, the opposing cultural epochs of Expressionism and Neue Sachlichkeit dominated the aesthetic landscape. Opera was a central proponent of both movements, as implemented by the Expressionist practitioners and those who favored the subsequent topical and objectifying Zeitoper that sought to move away from representations of psychological distortion to depict social realism that emphasized mechanical technology and lighter, popular narrative themes. Max Brand’s famous Zeitoper, Maschinist Hopkins, will be analyzed to illustrate how it bore fundamental trace elements back to Alban Berg’s Expressionist opera Wozzeck, and likewise, how Hopkins in turn influenced Berg’s second opera Lulu, to constitute a linear association of narrative, music, and theatrical design that simultaneously conformed to and defied the operatic models that all three operas are historically associated with. It will also be suggested that both composers were consequentially influenced by Richard Wagner, promoting vestiges of an even older lineage, which contributed to this association between the three operas at a time when Wagner was less applicable to the trends of innovation and progress.

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