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Heiner Müller (German: [haɪnɐ mʏlɐ]; 9 January 1929 – 30 December 1995) was a German (formerly East German) dramatist, poet, writer, essayist and theatre director. His "enigmatic, fragmentary pieces" are a significant contribution to postmodern drama and postdramatic theatre .
Quartet, sometimes written as Quartett, is a 1980 play written by the (formerly East) German playwright Heiner Müller.. Its subject matter rendered it unlikely for production under the GDR's repressive cultural policies, but Müller's status as the nation's most eminent playwright after the death of Bertolt Brecht allowed him great leeway for travel, and so when the progressive director of ...
The German dramatist Heiner Müller argues that we have yet to feel or to appreciate fully Artaud's contribution to theatrical culture; his ideas are, Müller implies, 'untimely': [15] "The emergency is Artaud. He tore literature away from the police, theatre away from medicine.
Hamletmachine (German: Die Hamletmaschine) is a postmodernist drama by German playwright and theatre director Heiner Müller, loosely based on Hamlet by William Shakespeare. It was written in 1977, and is related to a translation of Shakespeare's Hamlet that Müller undertook.
The play was written and first published in 1979. Müller and his wife Ginka Cholakova co-directed its first theatrical production in 1980, at the intimate 'Theatre im 3.Stock' studio space of the Volksbühne in Berlin (opening on 16 November). Müller also directed a full-house production in 1982 at the Bochum Theatre in West Germany. [3]
Brecht eventually abandoned his experiments with the Lehrstücke form, but it has been taken up and developed in the last few decades by the postmodernist dramatist Heiner Müller (in plays such as Mauser (1975) and The Mission (1982)) and by the Brazilian director Augusto Boal.
The film's title derives from dramatist Heiner Müller who is interviewed in the film, remarking that John Cage was “the revenge of the dead Indians on European music.” [21] Thereby, he refers to the murdered Native Americans who are a central part of American history but have been pushed aside and ignored ever since: Müller explains that ...
This clown scene was later reworked by Heiner Müller in his Heartplay, 1981). [10] Despite the controversy, the production was a critical success. [11] Performances in Vienna, Munich, Mainz, Dresden, Breslau and Frankfurt followed. [12] Schott Music published Lehrstück the same year with Hindemith's score.