Botho strauss gross und klein

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botho strauss gross und klein

Trilogie des Wiedersehens/Groß und klein: Zwei Theaterstücke. by Botho Strauß

Botho Strauß is a German playwright, novelist and essayist.


Botho Straußs father was a chemist. After finishing his secondary education, Strauß studied German, History of the Theatre and Sociology in Cologne and Munich, but never finished his dissertation on Thomas Mann und das Theater. During his studies, he worked as an extra at the Munich Kammerspiele. From 1967 to 1970, he was a critic and editorial journalist for the journal Theater heute (Theater Today). Between 1970 and 1975, he worked as a dramaturgical assistant to Peter Stein at the West Berlin Schaubühne am Halleschen Ufer. After his first attempt as a writer, a Gorky adaptation for the screen, he decided to live and work as a writer. Strauß had his first breakthrough as a dramatist with the 1977 Trilogie des Wiedersehens, five years after the publication of his first work. In 1984 he published his important work Der Junge Mann (The Young Man, translated by Roslyn Theobald in 1995).

With a 1993 Der Spiegel essay, Anschwellender Bocksgesang (Swelling He-Goat Song[N 1]),[2] a critical examination of modern civilisation, he triggered a major political controversy as his conservative politics was anathema to many.

In his theoretical work, Strauß showed the influence of the ancient classics, Nietzsche, Heidegger as well as Adorno, but his outlook was also radically anti-bourgeois.

His work as a writer has been recognized with numerous international awards and his dramas are among the most performed in German-language theatres.

Strauß presently lives in Berlin.
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Big and Small (Gross und Klein) - review

This version used a newly-commissioned English translation from by the British playwright Martin Crimp. Big and Small the allusion is first and foremost to Alice in Wonderland is an episodic play of a dozen scenes in which we follow Lotte Kotte Blanchett on a road trip, struggling to make sense of her life after separating from her husband. Lotte suffers from moments of inarticulation that Blanchett pulls off with stunning eloquence as she suddenly erupts into stammering, wordless speech or spasmodic, liberating dance steps. Strauss may not have remained sufficiently resistant to the temptations of beautifully organised displays of despair, which can be as insincere as they are ostentatious. On the other hand it is true to say that Strauss does attempt to reflect the process which gave rise to the discontinuity in his dramatic inventions. His plays mark a phase of societal evolution where the dynamics of social intercourse have become almost entirely opaque and where conflict — the stuff of drama — can only be represented, figuratively, in terms of battles fought and lost many times before. Lotte is on stage nearly every minute of the more than two hour-long play and her mercurial emotions provide an extraordinary canvas on which to work.

We follow Lotte , a bundle of raw nerves in need of an urgent emotional salve, as she seeks once again to connect with someone. First stop on her quest is her husband, who again rejects her. Blanchett is astonishing, in turns dauntless and daffy, contrite and wildly physical. Whether she is acting big questioning her own predicament in a phone booth soliloquy before morphing into a crazed gold-dressed dancer or small slowly unravelling as a bin-digging evangelist at a bus stop her Lotte feels real, her hurt acute. This is a woman who is not just wearing her pain on her sleeve but taking handfuls of it and hurling it at all those within her ever-shrinking sphere. As her emotional filter has been destroyed, so too has her ability to make connections, and her ten-part journey sees her worn down with a kind of mad grace. Directed by Benedict Andrews.

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How times change. When Botho Strauss's play was first seen in Britain in it was greeted with boos and mass walkouts on its pre-West End tour. Now it arrives in a crisp new Martin Crimp translation and an exciting Sydney Theatre Company production that yields a tumultuous performance from Cate Blanchett and is met with wild enthusiasm. But we're not just applauding a great performance; we've also finally caught up with Strauss's play. It would be all too easy to describe it as a study in postwar alienation. Actually, it is about a woman who desperately wants to belong.

It follows a woman, Lotte, who travels through Germany and seeks human connections, but is unsuccessful as every person she encounters is locked into his own world. The play is a station drama in ten scenes. It was broadcast as a German television play in John Simon reviewed the play in New York in , when it was first performed in the United States: "The stultifying banality of the play is matched only by its arrogance—it is, for example, written in a pointless free verse that becomes even flatter in Anne Cattaneo's translation. The only thing big about Big and Little is its pretentiousness; everything else, except its length, is little. He called it "theoretically tantalizing, more interesting to contemplate than to experience and less adventurous than works by Mr.

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5 COMMENTS

  1. Tripigenen says:

    Another word for star crossed lovers middle school the worst years of my life jeanne

  2. Suzette V. says:

    Navigation menu

  3. Paige A. says:

    Big and Small ( Gross Und Klein) by Botho Strauss, A Sydney Theatre Stock Photo: - Alamy

  4. Orson M. says:

    Gross und Klein (Big and Small) by Botho Strauss, English Text by Martin - Google книги

  5. Daniel E. says:

    T he good news, for fans of genuine deserve-it A-list celebrities or more importantly simply good acting, is that Cate Blanchett is beyond terrific.

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