Значение слова "EXPRESSIONISM" найдено в 22 источниках

EXPRESSIONISM

найдено в "Англо-русском большом универсальном переводческом словаре"
[ɪks`preʃnɪzm]
экспрессионизм


найдено в "Historical dictionary of German Theatre"
Expressionism: translation

   The term Expressionism as it applies both to German theater and to drama was a manifestation of modernism by about 1910, though the rejection of illusionism on which Expressionism was primarily based had set in a decade earlier. As an artistic movement, it began as a rejection of Naturalism, fed by Sigmund Freud's (1856-1939) ideas of the subconscious. As a dramatic style, it embraced self-referentiality, meaning that a play constitutes a self-enclosed world. An Expressionist play, therefore, is simply what it is; just as an Expressionist painting did not claim to represent something external to itself, Expressionist plays were worlds that existed in and for themselves. Some of the original Expressionist playwrights were in fact painters, for example, Oskar Kokoschka and Vassily Kandin-sky (1866-1944), whose conception of character had little to do with motivation or dramatic action in the Aristotelian sense but rather as functions of a subjective experience. Other Expressionist playwrights shared Naturalism's partiality for social change, but most were concerned with innovations in dramatic structure. Many admired August Strindberg's later plays, which Max Reinhardt and others staged with unusual frequency after about 1912. They admired the self-conscious distortions Strindberg employed, creating characters who often existed largely in a self-enclosed environment.
   Many well-known Expressionist plays were written prior to World War I, though most remained unperformed or unpublished until after 1918. Nearly all employed discontinuity, combined with a penchant for the fragmented, the fractured, and the discordant—all modernist signals to official Wilhelmine culture, which preferred the harmonious and the complete. The paucity of Expressionist plays on German stages before 1918 was due to police censorship, which during the war intensified. Reinhardt nevertheless succeeded in presenting the world premiere of Reinhard Johannes Sorge's Der Bettler (The Beggar, subtitled A Dramatic Mission) in 1917, largely because Sorge had been awarded the Kleist Prize for it in 1912 and had died of wounds suffered in action on the Western Front in 1916.Most critics consider The Beggar the first Expressionist play of any significance in the German theater: it employed distortion at nearly every turn, featuring characters with only generic identities, speaking dialogue that was abrupt and condensed. The drab existence of the everyday disappeared in the swelling ecstasy of "essential experience," such as when the central character (known only as "the Poet") murders both his parents. Having done so, the Poet sloughs off all responsibility to society and is free to experience further ecstasies of his wholly personal and subjective "mission," per the play's subtitle. Playwrights subsequent to Sorge—chief among them Walter Hasenclever, Georg Kaiser, Ernst Barlach, Arnolt Bronnen, and Ernst Toller—employed similar devices and strategies, with uneven degrees of success. Kaiser was the most widely produced after World War I, Von Morgens bis Mitternachts (From Morn to Midnight) and Die Koralle (The Coral) the best known among them.
   In performance, Expressionism required acting that renounced realistic portrayals or psychological nuances that informed motivation. Ernst Deutsch was regarded in the early 1920s as the "high priest" of Expressionist acting, though Fritz Kortner, Werner Krauss, Agnes Straub, and Heinrich George were at the time likewise regarded as experts in the technique. Expressionist acting sometimes required actors to alternate shrieking and whispering their lines, to move across the stage rhythmically or mechanically, and sometimes to gesticulate in a nightmarish fashion. Deutsch was thought particularly adept at rolling his eyeballs, for example; Kortner had an admirable ability to "telegraph" speeches when required or to make obscene passages sound poetic. Jürgen Fehling was particularly gifted as a director of actors in the Expressionist style; he also fashioned innovative ways of employing "body speech" when moving large numbers of actors in crowd scenes.
   Expressionism in stage design and lighting influenced the work of directors such as Leopold Jessner in their productions of William Shakespeare, Heinrich von Kleist, or Friedrich Schiller. In the early 1920s, Jessner frequently outraged traditionalists who expected to hear familiar passages delivered in a familiar way, only to hear Kort-ner or Straub say things that were largely unintelligible. Scene design reflected the premium on distortion. Window frames and doorways narrowed upward, trees turned into skeletons, and shadows were painted on walls. Lighting was perhaps the most obvious use of the subjective viewpoint in Expressionism; spotlights often isolated characters in the throes of torment or transports of revelation. Lighting also served to provide abstract "stations" in plays which required them, such as Kaiser's From Morn to Midnight. The most intriguing use of Expressionist lighting took place in Jessner's 1919 production of Richard III; the blood-red light focused on Gloucester at the height of his power faded to a warm white glow by the time of his defeat at the Battle of Bosworth Field at the hands of Richmond.


найдено в "Historical Dictionary of Architecture"
EXPRESSIONISM: translation

   Expressionist architecture originally developed parallel to the aesthetic ideals of the Expressionist visual and performing arts in the European avant-garde from around 1910 through 1924. From its German, Dutch, and Danish origins, the term Expressionism is now used to describe the style of any building that reveals an expressive, organic distortion of shape with reference to movement and emotions, symbolic or visionary works, or natural, biomorphic shapes. Not stylized in the same manner as Art Nouveau, Expressionism takes its inspiration from a more unusual massing of form. Less practical than the opposing International style of architecture, the earliest Expressionist buildings exist either on paper or were designed for temporary exhibitions or theatrical stage sets.
   Expressionism in architecture was introduced by Bruno Taut, a German painter and visionary who sought to explore a highly utopian, socialist vision of modernist architecture. His Glass Pavilion, built for the Cologne Werkbund Exhibition of 1914, reveals a blending of Gothic and more exotic features in its pointed dome made of diamond-shaped panes of glass set atop a drum designed from piers that frame glass curtain walls. The entire structure rests on a base of concrete, formed like an earth mound elevated slightly off the ground. Although known today only in black-and-white photo-graphs, Taut's structure was brightly colored, with stained glass to provide a symbolic, almost spiritual interior, much like that of a Gothic church.Taut's bold use of color is unique in early-20th-century modernist architecture. Original colors are rarely preserved on such extant buildings, but Taut's bright palette can be seen in his illustrations for Alpine Architecture, a utopian treatise published in 1917. Interest in a glass structure had existed in the previous century, and Joseph Paxton's Crystal Palace, built for the London Exhibition of 1851, initiated a debate on the merits of a glass house that did not reach its resolution until Philip Johnson's famous Glass House was built in New Canaan, Connecticut, in 1949. Bruno Taut offered the idea that a glass house could create a transparency that would meld public and private and that would force honesty and shape more ideal human interactions. Taut's 1912 Falkenberg Housing Estate in Berlin and his housing complex built in Magdeburg in 1912-1915 both reveal his interest in bringing a humane functionalism, informed by the English garden city movement, to popular housing in Europe. As hostility toward Taut's political views mounted, he moved to Russia, then Japan, and finally to Istanbul, where he died after completing several municipal housing projects in Turkey.
   The first major permanent Expressionist structure is considered to be Erich Mendelsohn's Einstein Tower, built in Potsdam, Germany, beginning in 1917 as an astrophysical observatory for the study of Albert Einstein's theory of relativity. Here Mendelsohn created a building with gentle curves and rhythms best described in musical terminology. Made to look like concrete, the shape of the building was actually created with plaster-covered brick, and Mendelsohn himself described the organic shape as an exploration on the mystery of Einstein's universe. In 1933, Expressionist art was outlawed by the Nazi Party as degenerate, but nonetheless expressive tendencies endured in later International style architecture. For example, the building that most closely follows Mendelsohn's curved shapes is Le Corbusier's Notre Dame du Haut, built in Ronchamp, France, in the 1950s. Situated on a hill, the church features masonry walls of sprayed white concrete and a mushroom-shaped dark roof. The roof tilts on a slant, as if it is sliding down one side, while a bell tower grows out of the opposing side. Developing a more expressive late style, here Le Corbusier uses the symbolism of light and organic shape to reflect religious spirituality. The church is constructed with thick walls that are soft in appearance and have an assortment of variously sized square and rectangular windows spread across the exterior. These windows emit moving patterns of colored light in the interior of the church, creating a deeply moving ambience.
   Other Expressionist architects include Alvar Aalto, whose Opera House in Essen, Germany, begun in 1959, features a white façade that appears to fold into curves like a piece of paper. Such later forms of Expressionism reveal a blending of modernist styles, which formed the foundation for the work of Eero Saarinen, Bruce Goff, Frank Lloyd Wright, and Frank Gehry. Thus, the legacy of Expressionism continues to inform Deconstructivism, High-Tech architecture, and the even more recent bulging, amoeba-styled buildings called "Blobitecture."


найдено в "Historical dictionary of Weimar Republik"
Expressionism: translation

   Both the chronological parameters and the artistic defi-nition of Expressionism have changed in recent years. Once considered an avant-garde movement identified roughly with the years 1905-1914, Expressionism was deemed a romantic revolt of youth against the bankruptcy of their elders. As a break with traditions tied to idealism and positivism, the pre-1914 spirit of projecting emotion through art was revealed first and most powerfully in German painting: from 1905 in the art of the Dresden-based Brücke (i.e., Ernst Ludwig Kirchner, Karl Schmidt-Rottluff*, Erich Heckel, Emil Nolde,* and Max Pechstein) and from 1911 in the work of the Munich-based Blaue Reiter (Was-sily Kandinsky,* Franz Marc, August Macke, and Paul Klee*).Expressionism s delayed impact on music, literature, and theater,* extending well beyond Ger-many s borders in all these areas, was no less striking. Understood as an artist s deeply personal articulation, the movement was revered by sympathetic critics as the culmination of creativity. The atonal music of Arnold Schoenberg* and Alban Berg, emerging in 1908, and the early writing of Kurt Hiller* and Walter Hasenclever* all predated World War I. Founded in March 1910, Der Sturm,a literary weekly published in both Berlin* and Vienna, was the first mouthpiece for both artistic and literary Expressionism. Die Aktion,* established in 1911, played a similar role. But an internal feud dissolved Die Brücke in 1913, and the war led to the dispersal and death of many once associated with the move-ment—most notably, those involved with Der blaue Reiter.
   Although Expressionism gained public notice in postwar Germany, the con-ditions that gave rise to it (i.e., the materialism and rigidity of the Kaiserreich) had been displaced by violence, suffering, and despair. Since several politically involved artists—for example, Otto Dix,* George Grosz,* and Rudolf Schlich-ter—rejected Expressionism, it became customary to view their postwar work (see Dada) as an entirely new movement. This explanation is no longer judged adequate. Because the total rejection of accepted aesthetic standards is a central feature of Expressionism, the daring political and social art of the early Weimar era (i.e., through 1923) is now more generally seen as the movement's second generation.
   The war-induced trauma depicted in the exaggerated realism of Expression-ism's second generation seemed to run its course in parallel with Germany's great inflation.* Despite the initial approval given Franz Werfel's poetry, Walter Hasenclever's plays, Max Beckmann's* drawings, and Robert Wiene's films* (see The Cabinet of Dr. Caligari), a new style was demanded by 1924. By this date an estimated 2,500 German authors (essayists, poets, dramatists, and prose writers) had been classified as Expressionists. While many were gifted, most were charlatans with scant ability; few were still writing in 1924. Concurrent with Germany's cruel, albeit necessary, currency stabilization, Expressionism was eclipsed by a harsh Neue Sachlichkeit.*
   REFERENCES:Barron, German Expressionism; Donald Gordon, Expressionism; Selz, German Expressionist Painting; Sokel, Writer in Extremis; Willett, Theatre of the Wei-mar Republic.


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