The theater of Heiner Müller
著者
書誌事項
The theater of Heiner Müller
（Cambridge studies in modern theatre）
Cambridge University Press, 1998
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注記
Includes bibliographical references (p. 233-249) and index
内容説明・目次
内容説明
This is the first comprehensive study in English of Heiner Muller, arguably the most important figure in the German theatre after Brecht. Its prime aim is to introduce Muller to an Anglophone public largely unfamiliar with his work. Brecht's most significant spiritual heir, Muller wrote almost all his texts in direct response to other literary works and posed even more challenges to received notions of originality than Brecht. His typical practice, this study argues, was to set up 'source' authors as broad paradigms and then imitate them, in order to explode or embarrass their assumptions about history and the relationship of art to history. History being a perennial bloodbath, all previous creators were guilty shadows with whom the living had a grave obligation to grapple. This book attempts not to unmask Muller but rather to illuminate his work and thought by way of his carefully chosen alter egos.
目次
- Acknowledgements
- Chronology
- Reference Note
- List of illustrations
- 1. Muller as Muller: Introduction
- 2. Muller as Brecht (The Horatian)
- 3. Muller as Kleist (Volokolamsk Highway, Gundlings Life, Frederick of Prussia, Lessing's Sleep, Dream Scream, Mauser)
- 4. Muller as Mayakovsky (The Scab, The Correction, The Resettler)
- 5. Muller as Shakespeare (Macbeth, Anatomy of Titus, Fall of Rome)
- 6. Muller as Artaud (Hamletmachine)
- 7. Muller as Genet (The Mission)
- 8. Muller as Wagner (Germania, Death in Berlin)
- 9. Muller as Beckett (Description of a Picture)
- 10. Muller as Proteus (Quartet)
- Notes
- Bibliography
- Index.
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