El teatro total de Erwin Piscator como herramienta audiovisual inmersiva revolucionaria: el paradigma de Hoppla, Wir Leben! (1927) = Erwin Piscator’s total theatre as a revolutionary immersive audiovisual tool: the paradigm of Hoppla, Wir Leben! (1927)
This article explores the immersive dimension of the increasingly fashionable dialogue between theatre and film. It is a dialogue that can in fact be traced back to the very origins of cinema, and that has continued right down to the present day in the form of all kinds of experiments incorporating...
| Authors: | , |
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| Format: | article |
| Status: | Published version |
| Publication Date: | 2023 |
| Country: | España |
| Institution: | Varias* (Consorci de Biblioteques Universitáries de Catalunya, Centre de Serveis Científics i Acadèmics de Catalunya) |
| Repository: | Recercat. Dipósit de la Recerca de Catalunya |
| OAI Identifier: | oai:recercat.cat:10256/22910 |
| Online Access: | http://hdl.handle.net/10256/22910 |
| Access Level: | Open access |
| Keyword: | Cinematografia i teatre Motion pictures and theater Piscator, Erwin, 1893-1966 Toller, Ernst, 1893-1939. Hoppla, Wir Leben! |
| Summary: | This article explores the immersive dimension of the increasingly fashionable dialogue between theatre and film. It is a dialogue that can in fact be traced back to the very origins of cinema, and that has continued right down to the present day in the form of all kinds of experiments incorporating the techniques and technologies of each era. A key turning point in this relationship would take place in Germany’s Weimar Republic, a very specific socio-political context in which the use of the cinematic image on stage and its immersive potential would be vested with revolutionary overtones. It was the director Erwin Piscator who systematised the use of film as a cohesive element in an ideal of total theatre profoundly connected to historical avant-garde movements and placed at the service of Marxist ideology. This would make of him an important link in the chain running from the pre-cinematic era right down to contemporary political and documentary theatre, as his work would begin to exhibit a set of characteristics—starting in particular with the production Hoppla, We’re Alive! [Hoppla, Wir Leben!] (Ernst Toller, 1927)—that would leave and indelible mark on the interaction between the stage and the screens |
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