Synonyms for kreidekreis or Related words with kreidekreis
Examples of "kreidekreis"
In 1923 he married the actress Carola Neher. Then in 1925, his play "Der
" (The Chalk Circle), based on a Chinese story, was first produced in Meissen. The Berlin performances of the play later that year achieved great success; (Bertolt Brecht later adapted the play in his "Kaukasischer
" (The Caucasian Chalk Circle)). In the years that followed, Klabund wrote regularly for cabarets, including "Schall und Rauch". His folksy poems and songs achieved great popularity.
The play is a reworking of Brecht's earlier short story, "Der Augsburger
"; both derive from the 14th-century Chinese play "Circle of Chalk" by Li Xingdao. However, the story bears great resemblance to the Buddhist Jataka story "Mahaushadha".
The play became first known in the Western world in a French language translation by Stanislas Julien, published in London in 1832 as "Le Cercle de Craie". This was liberally re-translated into German by Klabund as "Der
" in 1924, which was very popular. In Klabund's version, the Emperor marries the heroine at the end of the play, while in the original she returns to live with her brother, who is now a court official. Based on Klabund's play the Austrian composer Zemlinsky adapted a libretto for his Der
(opera), performed in Zurich in 1933.
Bertolt Brecht gave the Vachnadze surname to the protagonist in his "Der kaukasische
" ("The Caucasian Chalk Circle") as a form of deliberate irony in that the protagonist, Grusha Vachnadze, was a poor maid in the service of a princely household.
Among the large variety of theatre productions for directors as Volker Hesse, Dedi Baron, Günther Beelitz, Nurkan Erpulat, Bettina Jahnke, and Thorsten Weckherlin his new compositions for the Bertolt Brecht pieces Der kaukasische
and Die heilige Johanna der Schlachthöfe stand out, as they were officially commissioned by Barbara Brecht-Schall and the Brecht-Erben GmbH.
In 1940, Bertolt Brecht wrote "Der Augsburger
", a short story based on "Der
", which reworks the story by omitting any Imperial intervention and making the first wife the biological mother, but having her abandon the child. The heroine is a serving girl who rescues and raises him, becoming the "real" mother. In 1944, he further reworked the story as the play, "The Caucasian Chalk Circle", moving the events to medieval Georgia, adding a prologue set in Soviet Georgia, and greatly elaborating the narrative. In 2000, "The Caucasian Chalk Circle" in turn was rewritten as "Full Circle", or "The Berlin Circle", by Charles L. Mee, set in 1989 East Germany after the fall of Communism.
The success of Amos Tutuola's "Palmwine Drinkard" owes a little bit of credit to the effort of Nwoko. His inventive creations helped organise the choreography and direction of the play and brought to life the themes of Tutuola in every act of the play. His body of stage design and direction, which started at Ibadan includes Wole Soyinka's "A Dance of the Forests", Bertholt Brecht's "Der Kaukasische
" ("The Caucasian Chalk Circle"), and the Mbari Theatre production of John Pepper Clark's "The Masquerade".
Manheim was also a composer. In Budapest and Vienna he attended conservatories besides his scientific studies. About 1922 he composed his "Quintet for flute, viola, cello and lute". In Leipzig he created choir and song compositions, also for texts by Martin Luther, in London for texts of Irish and English poets. His work as a composer reached its peak in Kansas City, the most important works being the Introductory Music to the Chinese drama "Der
". He composed a symphony, chorus music, madrigals, chamber music, and pieces for his grandchildren. The Volker String Quartet and the Kansas City Symphony, among others, have performed his compositions.
Mayer-Marton was born in Győr, Hungary in 1897, and grew up during the final years of the Austro-Hungarian Empire. He studied art at the Academy of Fine Arts Vienna and Academy of Fine Arts, Munich. He settled in Vienna, and in 1927 became Secretary, later Vice-President, of the leading progressive society of Viennese artists, the Hagenbund. In 1928 he provided illustrations in the Chinese style for "Der
" ("the Circle of Chalk") by Klabund and submitted paintings to the art competitions at the 1928 Summer Olympics, but did not win a medal.
Born in Haldensleben, Kehler first studied Romance languages, planning to become a theatre critic. When she played a small role in a student theatre project, she was called by the Theaterhochschule Leipzig. She studied acting there and performed at several theatres in East Germany, playing for example Luise in Schiller's "Kabale und Liebe", Shen Te in Brecht's "Der gute Mensch von Sezuan" and Grusche in his "Der kaukasische
". She also turned to musical theatre as Eliza Doolittle in "My Fair Lady" and Seeräuber-Jenny in the "Dreigroschenoper". She was a member of theatres in Brandenburg and Karl-Marx-Stadt.
Neher was born in Munich to a music teacher in 1900. She started to work as a bank clerk in 1917. In the summer of 1920, she made her debut performance at the Baden-Baden theater without a specific stage education, later also working at the theaters of Darmstadt, Nuremberg and at the Munich Kammerspiele. In 1924, Neher started to work at the "Lobe-Theater" Breslau, where she met Therese Giehse and Peter Lorre. On May 7, 1925 she married Alfred Henschke (the poet Klabund), who had followed her from Munich to Breslau, at that time already a well known and successful poet. The first performance of his Circle of Chalk ("Der
") turned into her first great success.
Baum never considered a career in music until a friend urged him to study music after hearing him sing a German drinking song at a party. In 1933, he dropped out of medical school and began attending the Music Academy of Berlin where he studied for less than a year. In 1933 Baum won first prize at the Vienna International Singing Competition, and his operatic début came in the same year in Zurich in Zemlinsky's "Der
". Baum spent his early year performing lyric roles at Zurich and dramatic roles at Deutsches Theater, and after furthering his studies with Eduardo Gabin in Milan and the faculty of Accademia Nazionale di Santa Cecilia he toured the major theatres of Europe including Paris, Vienna, Budapest, Monte Carlo, and Salzburg. In 1939, Baum escaped the war threatening Czechoslovakia by migrating to Paris, and accepted a 3-year contract with the Chicago Lyric Opera. He made his debut there as Radames in Verdi's "Aida".
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