Download Fernando Krapp Wrote Me This Letter

fernando
krapp wrote
me this letter
an attempt at the truth
study guide
compiled by:
Rob Kempson, Education Manager
Michael Limerick, Educator Advisor
Jason Brand, Education Intern
Laura Moses, Education Intern
production sponsor
“‘How can we live?’ Is what all of my theater pieces ask: What power is driving us into our deeds
and our crimes, into our madness? What dark move of our imagination will drive us eventually
into war and the end of it all? Nothing is certain, and the truth that we are striving for in our
lives and our writings is not to be found.”
– Tankred Dorst, 1983
This season is the first to be programmed by our new Artistic & General Director Matthew Jocelyn,
and Fernando Krapp Wrote Me This Letter will be our first opportunity to see his work as a director on our
Bluma stage. It is certainly going to be an exciting season opener with a number of firsts for Canadian
Stage. You will notice changes in our programming that reflect Matthew’s world experience and this play
is no exception.
Fernando Krapp Wrote Me This Letter is a surprising and exciting text for us to pursue academically. Links to
German Expressionism, the Role of Women and Jungian philosophy make this play a good fit for many
classrooms. However, it is not for those looking exclusively to be entertained. With this piece, Dorst (and
by extension Jocelyn) will look to make audiences think—about contemporary theatrical forms, about the
impact of history and about the way in which we explore our connections to one another on stage.
In our Study Guide, I think you’ll find interesting ways to explore this play—through the theatrical form
itself and its connections to theatre history, as well as the interesting themes that inspire the character
dynamics. In this guide, as in all of our Study Guides, you will find three major areas of exploration
connected with Fernando Krapp Wrote Me This Letter. Within each of these areas, we explore the theatrical,
historical and social context, as well as specifying pre- and post-performance activities which highlight that
particular area. As always, our activities are prepared by experienced educators who sit on our Educator
Advisory committee. With this format, these highlighted areas provide you with a full classroom package
so that you have all of the required background to use our teacher-prepared activities. Just look for the
section headings to know which “Area of Exploration” you’re in.
Finally, as with all of our productions, we understand how valuable it is for teachers to prepare their
students so they know what to expect when coming to the theatre. Fernando Krapp Wrote Me This Letter
is unlike anything that you have seen at Canadian Stage before, and I encourage you to speak to me
about which classes might benefit from seeing this production. Alternatively, if you would like to join us
for a Backstage Student Workshop before a matinee performance or an In-Class Variations Workshop,
please don’t hesitate to contact me directly for more information.
Rob Kempson
Education Manager
416.367.8243 x280
[email protected]
educator Outreach
Program Sponsor
Sun Life Financial Community
Accessibility Program Sponsor
study guide: fernando krapp wrote me this letter 1
a guide to live theatre
(a.k.a. this is not the movies. a top ten list.)
1. Turn off your cell phones, iPods, iPhones, etc. before entering the theatre. They are
a distraction to the actors, your classmates and yourself, and their signals can also affect
our in-house technical signals and ruin the show. Vibrate/silent is not the same as off.
(Things that light up and beep should only appear on stage.)
2. No texting. The light can be seen by the actors on stage.
(You can wait until intermission to update your Facebook status.)
3. No headphones of any sort. Listening to your own media is not only rude, but also
disruptive for those around you.
(We make the soundtrack for you.)
4. No food or drink (except water) in the theatre.
(You can survive until intermission to mow down.)
5. Refrain from talking during the performance. The theatre is small and both actors and
audience can hear you.
(Laugh when it’s funny, cry when it’s sad. Otherwise, zip it.)
6. Keep other sounds to yourself. This includes singing, unwrapping candies, watch alarms,
jewelry, etc.
(If you know it will annoy your teacher, put it away.)
7. Sit in the seat assigned to you. If you sit elsewhere, the seating for everyone is disrupted.
(You’re watching the show anyways, so who cares who sits beside you?)
8. Represent your school (and your age bracket) with good behaviour.
(Theatre is awesome. You should be too.)
9. Do not heckle or shout at the stage. The actors can hear you.
(They are real people. There is no screen.)
10. Keep an open mind and think critically. Theatre is engaging and challenging, so be
prepared to examine something rather than simply judge it.
(It doesn’t star Justin Bieber. I think we can all agree that’s a good thing. So pay attention.)
study guide: fernando krapp wrote me this letter 2
table of contents
Opening Letter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
A Guide to Live Theatre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Table of Contents. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
area of exploration
Gender and Power: The Influence Of Traditional Gender Roles
Subject Links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Theatrical Context . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Historical & Social Context . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Pre-show Activities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Post-show Activities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
area of exploration
Saving Face: How Our Public Selves Differ From Our Private Selves
Subject Links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Theatrical Context . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Historical & Social Context . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Pre-show Activities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Post-show Activities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
area of exploration
German Theatre: The Survival Of Cultural Style and Structure
Through Translation
Subject Links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Theatrical Context . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Historical & Social Context . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Pre-show Activities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Post-show Activities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
13
13
13
15
16
additional resources
Other Areas of Exploration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Production History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Playwright Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
References. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
study guide: fernando krapp wrote me this letter 3
area of
exploration
subject links:
theatrical
context:
historical and
social context:
gender and power
the influence of traditional gender roles
History: Uncover the moments
in history where women held
power. Explore the timelines
and countries where women
had political and/or social power
in our world.
English: Explore how gender
has influenced many of the great
literary myths, and played a role
in 20th-century literature and
drama.
Gender Studies: Explore the
many traditional roles women
have played in literature.
Compare this to the untraditional/atypical roles of females
in literature.
This play has been considered an exploration of what is a modern-day love triangle. Though the
situations and the characters may seem familiar in that context, the differences can be found in the
power dynamic suggested between the characters. In other words, the status of women affects the
status of the other players, and certainly the plot and outcome of the play. Dorst is not advocating
for the demotion of women, but rather looks to explore how these differences in status can affect
storytelling and the tension of his narratives.
Female Hysteria
In Western Europe during the mid-to-late 1800s female hysteria was a popular medical diagnosis,
made to categorize the ailments of women. Hysteria was considered a problem of the female, linked
to the irrational, emotional and (less openly) sexual. Hysteria stems from the Greek word for uterus,
or ‘hysteria.’ It was believed that disturbances in the uterus caused manifestations of madness and multiple symptoms. The diagnosis disappeared in the 20th century as many cases were reclassified based
on Sigmund Freud’s work on anxiety neuroses.
However, for hundreds of years in Western Europe medical doctors and authorities discussed the symptoms of the disorder. In
Western Europe in the mid-1800s, it was medically established
that approximately 75% of women suffered from hysteria. Supposed symptoms included: emotional instability, muteness,
faintness, nervousness, insomnia, fluid retention, heaviness in
abdomen, muscle spasm, shortness of breath, irritability, loss
of appetite for food or sex, and “a tendency to cause trouble” .
Treatment for female hysteria included medically administered
pelvic massage, bed rest, bland food, seclusion, refraining from
mentally taxing tasks (such as reading) and sensory deprivation.
The pioneering psychiatrist, Sigmund Freud,
1856-1939, had some controversial and
misogynist beliefs about the female brain.
During the 19th century, hysteria as a medical curiosity moved
into a cultural conversation. The hysteric was no longer the product of her anatomy; it became a disease of the female imagination. Writers of the time felt the female hysteric demanded attention and
interpretation. Thus, many novels from this time period associate hysteria either explicitly or implicitly
with the new feminist movement of the nineteenth century. Works such as The Diary of Alice James
(1894) demonstrate one who is victimized by her illness but who also gains power from it. In contrast,
Flaubert’s Madame Bovary (1857) and Charlotte Brontë’s Jane Eyre (1847) link hysteria to the repression of sexuality and reinforce the identification of femininity and thus, stereotypes.
study guide: fernando krapp wrote me this letter 4
gender and power: the influence of traditional gender roles | context
historical and
social context
(continued):
The Pygmalion Myth
In Ovid’s Metamorphoses (greek myths), Pygmalion is a sculptor who falls in love with a statue he
carves out of ivory. According to Ovid’s myth, Pygmalion is ‘not interested in women’ after seeing
prostitutes. He is a bachelor until he creates a highly realistic statue that he later falls in love with.
The festival of Aphrodite approaches and during the festivities Pygmalion makes an offering to Venus.
He makes a wish. He wishes for his ivory sculpture to become a real woman. When he returns to his home Cupid
has kissed the sculpture on the hand and it changes into a
beautiful woman. Pygmalion marries the sculpture-turnedwoman under the blessing of Venus.
The Pygmalion myth is a simple story of a man who creates
a woman exactly as he would like her to be; the narrative
revolves around a man who takes a flesh-and-blood woman
and recreates her. He gives her a physical makeover but
sometimes the makeover extends to actions, thoughts, and
manners. He only falls in love with her once she adapts to
the way he wants her to look, dress, and act. This simple
story has inspired many film and literary adaptations, with
Fernando Krapp Wrote Me This Letter as an interesting reimagining of the original myth.
In these adaptations, the female is only complete after being molded by a man. His love for her, once she is worthy
of him, is the “breath” that brings her to life.
Pygmalion et Galatée by Anne-Louis Girodet
de Roussy-Trioson
Films that use the Pygmalion trope:
• Metropolis
• Weird Science
• My Fair Lady
• Pretty Woman
• The Little Mermaid
• Lars and the Real Girl
• She’s All That
study guide: fernando krapp wrote me this letter 5
gender and power: the influence of traditional gender roles | context
historical and
social context
(continued):
Roles of Women in Pre-WWII Germany (Late 1800s to Mid-1900s)
Tankred Dorst was born in pre-war Germany, but did not write Fernando Krapp Wrote Me This Letter
until 1992. The writing is inflected with a distinctly German style and the setting (though timeless)
proposes an early time when the rights and roles of women reflected pre-war Germany.
A growing number of middle-class women in the late-19th century felt compelled to withdraw from
participation in public life, commerce and manufacturing and to focus their activities more exclusively
on child-rearing, the supervision of the household, and sociability mainly within a female network. A
resurgence of this mentality occurred after WWI. This effectively helped create a separate sphere for
women in German society; a sphere separated from men, in which they focused on the home, family,
and local community.
Life in the new ‘sphere’ was extremely domestic. In fact, the mid-19th century saw the emergence
of a new ideology (called Hauslichkeit), which placed emphasis on cleanliness, orderliness, and diligence
within the home. Hauslichkeit translates to domesticity and family life. This is significant, as it shows a
conscious decision to stay at home and maintain the house, instead of going out and earning income
and this ideology moved in and out of fashion until the late 20th century. Previous to this, a women’s
fate was dictated by her situation (e.g. new mothers stayed home, single women went to work, the
poor worked, and all were wives full-time).
While this seems to be a period of significant advancement for women in terms of choice and options,
the early 1900s were not exceptionally forward-thinking in terms of equality for women, compared
to other Western countries at the time. Marriage and Family Law in early-20th century Germany
withheld from married women the full status of ‘legal persons’. Furthermore, what is now considered
domestic violence was commonplace at the time.
study guide: fernando krapp wrote me this letter 6
gender and power: the influence of traditional gender roles | activites
pre-performance
activites:
Today’s Pygmalion
Start with a class discussion about what the term “Pygmalion” means to students, and together define
it on the board. Then have students list the movies and shows they’ve seen inspired by the Pygmalion myth. Movies like Pretty Woman, Lars and the Real Girl and She’s All That will likely come up. If time
allows, show an excerpt from one of the films discussed. Explore with your students the reasons why
this gender-biased plotline is still used in Hollywood in the 21st century. You might consider delving
deeper into the world of theatre, and showing/reading excerpts from Pygmalion-esque plays (Pygmalion, My Fair Lady). Split your class into small groups and have them discuss these questions:
• Do females view film differently than males?
• Are Pygmalion-type shows/movies sexist?
• How realistic are these media interpretations of gender roles?
• H
ow closely are society’s standards/views towards women aligned with the
male perspective?
• A
re you a “Pygmalion”? Do you mold and shape people you know to make them
more ideal? If so, which gender?
Back together as a full class, discuss what people found in their smaller discussions. Was there discourse/argument? If time allows, review the Pygmalion myth with the class.
The Perfect Form
On paper, as a sketch or a detailed description, have students describe their perfect male or female
in statue form. You might consider using large rolls of paper and encouraging students to trace each
other, embellishing with full descriptions, clothing, etc. (It would be best to suggest to all students that
their statue be clothed!) Before beginning, ensure that they consider what attributes/details they consider to be “perfect” (physical, mental, emotional, etc.).
A follow-up discussion might focus on each student presenting their perfect person. Points to
consider might include:
• Why do you think these attributes make a person “perfect”?
• W
hich attribute do you consider to be most important for someone to be considered a
good person?
• Are “perfect” attributes different between genders? Why?
From Page to Stage
Students pick a partner. Using their ideas and sketches, students will take turns as the “sculptor” to
mold and shape their partner into a position or “stance” that represents or symbolizes their idea of
the ideal form. Of course, this exercise requires trust among the students involved. Pygmalion or
“the sculptor” may sculpt more than one pose if necessary, which could, in turn, become a series
of tableaux.
Ask students to volunteer to show their creations, and if willing, have them explain their motivations
and reasons behind their choices.
Conclude with a discussion around the similarities and differences between gender roles. How much
did traditional gender roles contribute to the students’ own interpretations?
study guide: fernando krapp wrote me this letter 7
gender and power: the influence of traditional gender roles | activities
postperformance
activities:
Fernando the Sculptor
Now that your students have seen the show, have them re-visit their perfect forms (either on paper
or in tableaux). Do they still agree with their choices? Are their forms still as “perfect” as they once
thought? Ensure that both the sculptors/writers/drawers and the “sculptees” discuss the differences
between how they felt during the process.
In partners, have one of them take on the role of Fernando Krapp as the sculptor, to mold and shape
Julia into one position (or more) that represents a moment or feeling in the play. Present this series
of tableaux to the class and discuss how it might be different from the original sculpting that they did.
Note: you might want to alternate the gender that is playing the role of Fernando to emphasize
the point.
study guide: fernando krapp wrote me this letter 8
area of
exploration
subject links:
theatrical
context:
saving face
how our public selves differ from our private selves
History: Research the role of
men and women in Pre-WWI
Germany (19th century). Compare your analysis to traditional
gender roles today. How much
has changed?
Drama: Identify your “public”
self along side of your “private”
self. Accessing control of one’s
public self is the very craft
of acting.
Psychology: Understand Carl
Jung’s psychology surrounding
the idea of “persona”.
Tankred Dorst is known for his engaging and often political work. In 1990,
Georg Hensel said: “For thirty years Dorst’s plays have responded to the great
transformations. He has always been a companion to the times.” To that end, his
plays often focus on how the exterior (or public) world acts on the private lives
of its inhabitants. The connections to the political and social sphere are clear,
insofar as they affect the people living within them. Thus, it is far from surprising to find Dorst exploited Jung’s concept of the persona. This creation of other
“selves” (whether consciously or not) is a thematic line that influences the
characters, relationships and plotline of Fernando Krapp Wrote Me This Letter.
Swiss psychiatrist Carl
Jung developed the concept of the persona.
historical and
social context:
Public and Private Life in Pre-WW1 Germany (Late 1800s to Early 1900s)
The concept of separating public from private is a very old notion. And with this idea of separation,
the designation of women to the private (domestic) sphere and of men to the outer spheres of public
affairs and political power goes hand-in-hand. Crucial, though, is the understanding that though women were relegated to control/existence in one sphere, men were active in both. It was thought that a
man should be raised to be active and independent, that he should be committed to reason and science, and that he was to be fashioned for public life. While men were primarily focused on the more
public aspects of life, it was still expected that men control women, and enforce their subordination.
Typically, the interior of the home was considered a woman’s domain, so a man seeking to assert their
power over the woman would intrude on decisions made within this realm. The relationship resembled
something of a master and servant, rather than a more contemporary idea of equal partners.
However, secular divorce was permitted under German law and put women very distinctly into public
life. In order to be granted a divorce, there had to be a legal trial, with the records available to the
public. By presenting their experiences of abuse and humiliation, women were able to bring to the
public the inner workings of their domestic and private lives. This also allowed for the public presentation of women’s views and beliefs about their rights and responsibilities. The granting of divorces on
the basis of their accounts also indicates a changing opinion/attitude towards women in the
legal system.
study guide: fernando krapp wrote me this letter 9
saving face: how our public selves differ from our private selves | context
historical and
social context
(continued):
In today’s digital age, the concept of separating the private and public self is far more complex. We
present different versions of ourselves on Facebook, Twitter and other forms of social media. Webcams and blogs allow for a distinctly new wave of self-publication and self-identification. Fernando Krapp
Wrote Me This Letter premiered just before the dawn of the internet, and the conception of private and
public space was just on the verge of overhaul.
Magritte’s Son of Man: Who is Fernando Krapp?
“Everything we see hides another thing, we always want to see what is hidden by what we see. There
is an interest in that which is hidden and which the visible does not show us.”
– René Magritte
Magritte’s The Son of Man, 1964
The Son of Man
The Son of Man is a 1964 painting by the Belgian surrealist painter René
Magritte. The painting is a self-portrait of the artist. A man, wearing
a suit and bowler hat, stands in the foreground in front of a small wall
that separates him from the sea and sky beyond. The face of the man is
mostly obscured by a green apple, which hovers in front of his nose and
mouth. The figures eyes are partially visible as they peak over the apple.
The intrigue of the painting is that which is not visible or seen. The viewer
is drawn to the mystery of what is obscured by the apple. The interest of
the painting comes from an intense longing of the viewer to know what is
hidden. This conflict between knowing and not knowing the ‘truth’ is also
motif in Fernando Krapp Wrote Me This Letter, hence the subtitle: an attempt
at the truth.
The Persona
A major task in understanding one’s self is navigating who one is and how one presents oneself to the
world. Adapting to surroundings, behaving suitably, and knowing how to best navigate situations is a
necessary part of life—and likewise, an essential part of acting. In Jungian psychology, the persona
is also the mask or appearance one presents to the world. The persona does not undermine the
authenticity of the self, but rather should act as an extension of it. We can understand the persona
as the facilitator of the inner world of the self and the outer world of culture and values. In Jungian
psychology, the persona is also the mask or appearance one presents to the world.
study guide: fernando krapp wrote me this letter 10
saving face: how our public selves differ from our private selves | activities
pre-performance
activites:
E-dentity/Identity
Ask students to brainstorm and write down at least three of their own different “personas”. For
example, a student’s Facebook persona would likely be different from their family (son/daughter)
persona. Ensure that they consider all of the many roles they may play, real and virtual (MySpace,
YouTube, student, athlete, artist, Twitter, etc.)
Then have students rate their personas based on how much time they spend being each one. Split
students into groups based on their preferred personas. Put “students” together, “son/daughters” together, “Facebook profiles” together, etc. Each group should then discuss why that persona is the one
that they find themselves being most.
To close, you might consider two options:
1. H
ave a debate between the different personas about why one is better than the other. Use a structured debate process, and encourage preparation between groups.
2. H
ave each group develop a creative presentation to showcase their preferred persona. These presentations might take the form of drama, comedy, music, improv, PowerPoint,
poetry, etc. depending on the type of persona being represented. However, they should ensure that the presentation style reflects the persona as much as the content of it.
On Your Feet
There are many instances when a well-developed persona can act as an asset. Have each student find
their own space in the classroom and then ask them to develop a distinct persona (through a frozen
image) for each of the following:
• A job interview
• A first date
• A student in a classroom
• Communicating with your boss
• Attending a party
You can do this through using:
Mime: Students act out a brief situation or freeze in a position that represents their persona in
that moment.
Role Play: In groups of two or three, have students role play a brief scenario, where each character
created has a distinct persona. The audience could be invited to guess each persona in the
scenarios/scenes.
study guide: fernando krapp wrote me this letter 11
saving face: how our public selves differ from our private selves | activities
post-perfomance
activities:
Who Is Fernando Krapp?
Now that students have seen the play, ask them who they think Fernando Krapp really is. How do they
define his inner persona? His outer one?
Using Fernando Krapp (the character) as a starting point, you might consider re-visiting any of the
pre-performance activities. What would Fernando Krapp’s Facebook page look like as compared to his
conversations with Julia? What would he post on Twitter regularly? Similarly, you could dramatically
explore how Fernando might behave in any of the aforementioned situations in which a persona
is useful.
Picture Yourself
Using The Son of Man by René Magritte as inspiration, have your students create their own self-portrait. In their portrait, they must be careful not reveal all about them. They must, like Magritte, try
to keep something “hidden” from the viewer. Students can use any medium (and any size) for their
portraits (pencil, paint, marker, mixed media, Photoshop etc.).
As a class, discuss the decision to hide something. What have they chosen to hide and why? Note:
depending on the class, the hidden parts may need to stay hidden for comfort and emotional safety.
Be sure to judge the framework for the discussion based on your classroom dynamic.
study guide: fernando krapp wrote me this letter 12
area of
exploration
subject links
german theatre
the survival of cultural style and structure through translation
Drama: Explore the movement
that inspired Dorst’s work—
Expressionism.
Geography: The culture and language of a place often determines
the forms that its artists use. Explore how German Expressionism
was a representation of the German people at the time and how
this artistic movement influenced the political and social spheres.
theatrical
context
Though not explicitly Expressionist in its style or time period, Tankred Dorst used German
Expressionism as an influence for Fernando Krapp Wrote Me This Letter. When reading a play (even one
in translation), the voice of the playwright comes through his/her characters in many ways. In many
cases, the playwright’s voice almost disappears (specifically in Naturalistic pieces) and the audience is
left to impose their own ideals. German Expressionism represents a specific stylistic choice that has
inspired playwrights worldwide since its beginnings in the 1920s. Whether adhering to the guidelines
of strict Expressionism, or simply exploring some of the more abstract qualities of the style, this form
allows the playwright to speak through his/her characters more directly—often with political and
social implications.
historical and
social context:
German Expressionism
Expressionism is a movement in the arts that originated in Germany at the beginning of the 20th
century. Expressionism is an extremely subjective, emotion-evoking form focused less on technique
than on the inner conflict of the subject. The overall effect is that of a highly distorted reality, yet not
as distorted as Surrealism.
A dominant form of German Expressionism involves the
juxtaposing of a series of seemingly unrelated images or
words in the creation of a whole. There is also an overwhelmingly apocalyptical message and tone throughout
Expressionist work, with messages related to an inherent
denunciation of the bourgeoisie as well as the prophecy
of its imminent doom. This feeling of imminent disaster
in the arts was reinforced by the dominance of a military
caste in newly industrialized Germany. This juxtaposition
of images as well as severity of the dialogue can be found
in this production of Fernando Krapp Wrote Me This Letter.
Photo from The Cabinet of Dr. Caligari
(Robert Weine, 1920), an early German
Expressionist Film
The Expressionistic art form forecasts a vision of man’s
alienation – his inability to find meaning in material wealth
and losing the values found within human relationships.
There is a sense of man alienating himself from other
members of the same species, not just through physical
space but emotionally and spiritually as well.
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german theatre: the survival of cultural style and structure through translation | context
historical and
social context
(continued):
At this time, both Freudian and Jungian psychologies were becoming familiar amongst the public and
within academia. It was common to recognize angst and archetypes instead of individual characters
with unique personalities and depth (refer to “The Persona” in “Saving Face”). An example of a common archetype is the generational conflict between the father and son characters, which is unparalleled in use in other genres. The father/father-figures are symbols of tyranny and tyrannical authority
and constraint. The use of types and generational conflicts shows the integration of both psychologies
into the knowledge base of both artists and audiences.
The development of a style of playwriting also influenced the area of Stage Design, and Performance.
Within the genre, there were 3 general styles of performances:
1) Geist (Spirit);
2) Schrei (scream or ecstatic);
3) Ich (The I, personal pronoun)
Geist performances were the most abstract in form. They would often choose to avoid the
conventional use of characters and intricate plots and focus on the concept of pure expression.
Schrei (scream or ecstatic) performances were often hazy or dream-like wherein movement,
exteriors, language, motivation and inner logic were uniformly and bizarrely warped.
Ich (I) performances were similar to Schrei performances, but they focused upon a
central character.
For both the Schrei and Ich performance styles, actors often used exaggerated gestures, mask or
mask-like makeup to portray human types.
The very nature of Expressionist playwriting and performance style also demanded that the traditional
concept of stage design and lighting adjust to meet the new form. Abstract stage design (e.g. a single
flight of stairs) and geometrical form for props were encouraged, as well as the use of ‘dramatic’ lighting.
Ironically, the very elements that made Expressionism popular were ultimately responsible for its
demise. The use of lofty language and harsh ideals, were no longer reflective of the instability of
German society by the mid-1920s. However, the ultimate end to the Expressionist movement was
the result of the rise of Nazis to power in 1933. Philosophically, the Party considered the form as
decadent, and thereby ‘degenerate’. Expressionism and therefore Expressionists were forbidden from
exhibits and eventually total production. In fact, no known prompt book from any major Expressionist
drama productions exists.
Many Expressionists left Germany into exile in various countries, where their unique style had influence on the local arts. In fact, if were not for the works of foreign writers such as T.S. Elliot, Eugene
O’Neill, and Tennessee Williams, young German audiences after 1945 would not have been exposed
to Expressionism, as it was only through these artists that they became acquainted with a genre that
had originated in their own country.
study guide: fernando krapp wrote me this letter 14
german theatre: the survival of cultural style and structure through translation | activities
pre-performance
activites:
Expressionist Snow White?
Review the three general styles of performances in the Expressionist genre: Geist (Spirit); Schrei
(scream or ecstatic); Ich (The I, personal pronoun) with your students, so that they get a good idea of
what “Expressionist” means (see area of exploration above for details). Then have students in small
groups re-create a traditional fairy-tale in the “style” of one of these genres.
This activity could be executed in different ways, depending on time. The new version of the fairy-tale
could be written as a play, with the emphasis on stage directions/instructions on how actors are to
move or sound on stage. A description and/or outline of a detailed set should be included in the play
as well.
This activity could also be a performed improvisation (with limited rehearsal). The focus here will be on
the interpretation of the characters, who may become archetypes, as well as their interpretation of
the “spiritual’ meaning behind the fairy-tale.
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german theatre: the survival of cultural style and structure through translation | activities
postperformance
activities:
Designing the Abstract
Now that students have seen one designer’s interpretation of this play, students should now design
their own set for Fernando Krapp in one of two general styles of Expressionist performances: Geist
(Spiritual or abstract) or Schrei (dream-like or ecstatic). This could be a detailed sketch, a computergenerated image, or a three-dimensional model made on a solid base.
Style Translation
In small groups, provide students with some concrete examples of Expressionist text (German in
origin or otherwise). It is important to recognize that Tankred Dorst is not considered an Expressionist
playwright, but rather is influenced strongly by the form. Where possible select different playwrights
(Expressionist or Expressionist-inspired) for each group:
• Eugene O’Neill
• Oskar Kokoschka
• Arnolt Brionnen
• Hans Johnst
• Georg Kaiser
• Carl Sternheim
• Heinrik Ibsen
Have students examine the text and find key characteristics, based on the information provided or
your own resources. Students should then attempt to adapt two pages of a known text/play into an
Expressionist-type text. You might select these texts based on a theme that you are already exploring
in your classroom. Adaptations could be presented or simply read, depending on time restraints.
study guide: fernando krapp wrote me this letter 16
additional resources
other areas
of exploration:
Early Modern Theatre (Late 1800s— Early 1900s)
Though considered to be a contemporary playwright, Dorst is clearly inspired by the Early Modern
period in his writing. Find out more about the background that influences his work.
A Doll’s House
This iconic Ibsen play is a mainstay of the study of Modern Drama. Draw parallels between Fernando
Krapp Wrote Me This Letter, and this important play about the status of women and the
female imagination.
Changeling
Examine the parallels between this modern-day film and “Female Hysteria.” How does the status of
women affect political and social integrity?
Shock Therapy
The science behind turn-of-the-century shock therapy seems troubling in today’s medical world, but
was commonplace at the time. Discover how fear of the unknown inspired some of medicine’s
greatest mistakes.
production
history:
The narrative of Fernando Krapp Wrote Me This Letter is
derived from a novella by the Spanish Basque writer and philosopher Miguel de Unamuno (1864-1936) entitled Nada menos
que todo un hombre (Nothing Less Than a Man). Dorst’s script
has received many productions in many different languages
over the past few decades.
The play first premiered in Prague in 1992, followed by a U.S.
premiere in Seattle in 1997. This production was a translation
by Michael Roloff. It premiered a year later in New York as part
of the New York International Fringe Festival and has since
been produced in Latvia, Dallas, Los Angeles and in a French
television film.
This translation by Matthew Jocelyn marks the play’s
Canadian Premiere.
A poster from an early film adaptation
of Unamuno’s novella, Nada menos
que todo un hombre.
study guide: fernando krapp wrote me this letter 17
additional resources | playwright’s biography
playwright’s
biography:
Tankred Dorst (born December
12, 1925) is a German playwright and storyteller who currently lives and works in Munich.
His farces, parables, one-act plays
and adaptations are inspired by
the theatre of the absurd and the
works of Ionesco, Giraudoux and
Beckett. His monumental drama
Merlin oder das wüste Land, which
premiered in 1981 in Düsseldorf,
has been compared to Goethe’s
Faust.
Tankred Dorst was born in Sonneberg, a small town in Thuringia,
the son of an engineer and factory owner. His father died when the boy was five. In 1943 while still in high school, Dorst was
drafted into the Labour Service and then into the army at the Western Front, where he became
a prisoner of war in 1944. After three years in prison camps, briefly in England but mainly the
United States, he returned to West Germany, where he finished high school. By the time he was
released from war captivity his birthplace was part of the Soviet sector of Germany. He studied
art history, literature, and theatre at Bamberg and Munich universities during the early 1950s. In
Munich, together with composer Wilhelm Killmayer, Dorst founded the marionette theatre “Das
kleine Spiel”, for which he wrote his first plays. After breaking off his studies, he worked in various
capacities in film, radio and publishing houses. In 1960, the first three of his theatre texts received
their premieres at city theatres in Lübeck, Mannheim and Bielefeld.
Tankred Dorst
Dorst has become one of the most prolific and widely performed playwrights in the German language. Dorst also has written several opera libretti, prose works, and films; some of the latter he
also directed. Dorst first directed Richard Wagner’s Ring of the Nibelung in Bayreuth in 2006.
During 1970 Dorst was a writer in residence at Oberlin College. The same year, he began his collaboration with Ursula Ehler (including Fernando Krapp Wrote Me This Letter) who was to become
his wife.
Much of Dorst’s writing focuses on the confrontation of the personal with general history, the
ways societal forces intrude upon the private realm.
study guide: fernando krapp wrote me this letter 18
additional resources | glossary
glossary:
glossary
Embellishments
Anything that adds design interest to a piece.
Stipulations
To lay down as a condition of an agreement; require by contract.
Pygmalion
A legendary figure of Cyprus, Pygmalion was a sculptor who fell in love with a statue he had
carved.
Operetta
A genre of light opera, light in terms both of music and subject matter. It is also closely related, in
English-language works, to forms of musical theatre.
Perspicacity
The capacity to assess situations or circumstances shrewdly and to draw sound conclusions.
Leopardi
Giacomo Leopardi (June 29, 1798 – June 14, 1837), an Italian poet, essayist, philosopher, and
philologist, created a remarkable and renowned poetic work related to the Romantic movement,
which made him one of the greatest poets of modern Italy.
Superlative
Of the highest order, quality, or degree; surpassing or superior to all others.
Lorca
Federico García Lorca (June 5, 1898 – August 19, 1936) was a Spanish poet, dramatist and
theatre director. García Lorca achieved international recognition as an emblematic member of the
Generation of ’27.
Dissimulate
To conceal one’s true feelings or intentions.
Rigmarole
A long and complicated and confusing procedure.
Divan
A sofa or couch, usually without arms or back, often usable as a bed.
Convoked
To cause to assemble in a meeting.
Sycamore
A Eurasian deciduous maple tree having palmately lobed leaves, winged fruits, and greenish
flowers.
study guide: fernando krapp wrote me this letter 19
additional resources | glossary
glossary
(continued):
Diabolic
Of, concerning, or characteristic of the devil; satanic.
Psychosis
A severe mental disorder, with or without organic damage, characterized by derangement of personality and loss of contact with reality.
Psychopath
A person with an antisocial personality disorder, manifested in aggressive, perverted, criminal, or
amoral behavior without empathy or remorse.
tête á tête
French for the phrase “Head to Head”.
study guide: fernando krapp wrote me this letter 20
references
Renate Benson. “German expressionist drama: Ernst Toller and Georg Kaiser”. London: Macmillan,
1984.
Gender relations in German history: power, agency, and experience from the sixteenth to the
twentieth century. Edited by Lynn Abrams and Elizabeth Harvey. Durham: Duke University Press,
1997, c1996.
3 May 2010 <http://www.newworldencyclopedio.org/entry/Expressionism>
3 May 2010 <http://www.trashface.com/germanexpressionism.html>
“Expressionism.” Encyclopaedia Britannica. 2010. Encyclopaedia Britannica Online. 03 May. 2010
<http://www.britannica.com/EBchecked/topic/198740/Expressionism>.
Author Unknown. Ovid’s Pygmalion: Translations.
4 May 2010 www.pygmalion.ws/stories/ovid2.htm
2 May 2010 http://en.wikipedia.org/wiki/Hysteria
Jung, Carl Gustav (August 1, 1971). “Psychological Types”. Collected Works of C.G. Jung, Volume 6.
Princeton University Press. ISBN 0-691-09774.
2 May 2010. Suite101: What Is the Persona in Jungian Psychology?: How the Authentic Nature of
the Self Adapts to Wearing the Mask <http://clinical psychology.suite101.com/article.cfm/what_is_
the_persona#ixzz0mtDmd2ry>
Samuels, A., Shorter, B., Plaut, F. (1986). A Critical Dictionary of Jungian Analysis London:
Routledge.
6 May 2010 www.dictionary.com
Carl Weber, Script Editor
18 August 2010 www.wordiq.com
study guide: fernando krapp wrote me this letter 21