T. A. Solomkina
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The paper is devoted to the development of the cinematic performance model in German art of the first third of the 20th century. Based on the performances “In Spite of Everything” (Großes Schauspielhaus, Berlin, 1925) and “Hoppla, We’re Alive!” (Theater am Nollendorfplatz, Berlin, 1927) by Erwin Piscator, the author studies the mutual influence of the aesthetics of theatre and cinema on stage. The author also analyses the combination of the aesthetics of epic and expressionist theatre within a cinematic performance and considers the combination of documentary film and staged material through the example of the documentary theatre development.
K e y w o r d s: documentary film, performance, montage, simultaneity, Piscator.
References
1. Piskator E. Politicheskiy teatr. M.: GIKhL, 1934. 154 s.
2. Jhering H. Von Reinhardt bis Brecht. Vier Jahrzehnte Theater und Film. Berlin: Aufbau Verlag, 1958. Bd. II. 617 S.
3. Lang J. Episches Theater als Film: Bühnenstьcke Bertolt Brechts in den audiovisuellen Medien Würzburg: Königshausen & Neumann, 2006. 407 S.
4. Lang L. Expressionistische Buchillustration in Deutschland 1907–1927. Leipzig: Edition Leipzig, 1975. 242 S.
5. Piscator E. Das Politische Theater. Reinbek bei Hamburg: Rowohlt, 1963. 253 S.
