Beginnings
The Expressionism movement is thought by many to have began on June 7, 1905 by four architecture students when they formed the group “Die Brücke” (The Bridge) (Die Brücke). The four students that formed the group “Die Brücke” were Ernst Ludwig Kirchner, Erich Heckel, Karl Schmidt-Rottluff and Fritz Bleyl. Fritz Bleyl left the group shortly after (Die Brücke). The name, Die Brücke, was taken from writings of the philosopher Friedrich Nietszche, of whom the group greatly admired. It was to symbolize the bridge they would cross to the art of the future. Specifically, it was taken from Nietszche’s Spake Zarathustra in which the prophet Zarathustra says that “what is great in man is that he is a bridge and not a goal”. Other strong …show more content…
The play was “met with considerable criticism and controversy. Its extreme visual aspects, with its dramatic and disturbing costumes and violent imager” (Schvey). Later in 1917 the play was called “a collection of screaming images and a pretentious decoration drama” by Dernhard Diebold for the Fankfurter Zeiturng. He continued on to say, “it was utterly devoid of any character development, language, and purpose”. Critic Rober Breuer did not consider the play’s scenic elements useless, but did complain that “the words which were simultaneously spoken, are remembered only as th subtitles under the extremely powerful images” (Schvey). Not all was criticism was bad, “The playwright Paul Kornfeld praised the revolutionary drama as a breakthrough art form, calling it a "verbally supported …show more content…
A dreamlike and often nightmarish atmosphere was often created. This was paired with shadows and unnatural lighting. The sets themselves were often simplified un-centralized representations, a far stretch from the realistic and natural sets previous. The sets often were distorted, in bizarre shapes and used outrageous color. The scenic elements were typically scarce but what did appear was often symbolic. They could be described as almost dystopian, an alternative horror reality. “The dramas and set designs were atmospheric, and moody. The plots were broken and disjointed, where many of the characters were nameless, had a lack of a personality, but were stereotypes and caricatures. Just like the characters the set design was abstract, exaggerated,angular and disjointed, similar to a nightmare
The Expressionism movement is thought by many to have began on June 7, 1905 by four architecture students when they formed the group “Die Brücke” (The Bridge) (Die Brücke). The four students that formed the group “Die Brücke” were Ernst Ludwig Kirchner, Erich Heckel, Karl Schmidt-Rottluff and Fritz Bleyl. Fritz Bleyl left the group shortly after (Die Brücke). The name, Die Brücke, was taken from writings of the philosopher Friedrich Nietszche, of whom the group greatly admired. It was to symbolize the bridge they would cross to the art of the future. Specifically, it was taken from Nietszche’s Spake Zarathustra in which the prophet Zarathustra says that “what is great in man is that he is a bridge and not a goal”. Other strong …show more content…
The play was “met with considerable criticism and controversy. Its extreme visual aspects, with its dramatic and disturbing costumes and violent imager” (Schvey). Later in 1917 the play was called “a collection of screaming images and a pretentious decoration drama” by Dernhard Diebold for the Fankfurter Zeiturng. He continued on to say, “it was utterly devoid of any character development, language, and purpose”. Critic Rober Breuer did not consider the play’s scenic elements useless, but did complain that “the words which were simultaneously spoken, are remembered only as th subtitles under the extremely powerful images” (Schvey). Not all was criticism was bad, “The playwright Paul Kornfeld praised the revolutionary drama as a breakthrough art form, calling it a "verbally supported …show more content…
A dreamlike and often nightmarish atmosphere was often created. This was paired with shadows and unnatural lighting. The sets themselves were often simplified un-centralized representations, a far stretch from the realistic and natural sets previous. The sets often were distorted, in bizarre shapes and used outrageous color. The scenic elements were typically scarce but what did appear was often symbolic. They could be described as almost dystopian, an alternative horror reality. “The dramas and set designs were atmospheric, and moody. The plots were broken and disjointed, where many of the characters were nameless, had a lack of a personality, but were stereotypes and caricatures. Just like the characters the set design was abstract, exaggerated,angular and disjointed, similar to a nightmare