By Harry Kessler, Laird Easton
Those attention-grabbing, never-before-published early diaries of count number Harry Kessler--patron, museum director, writer, cultural critic, soldier, undercover agent, and diplomat--present a sweeping landscape of the humanities and politics of Belle Époque Europe, a glittering global poised to be replaced irrevocably by way of the good battle. Kessler's immersion within the new artwork and literature of Paris, London, and Berlin unfolds within the first a part of the diaries. This subtle global supplies approach to bright descriptions of the bad scuffling with at the jap and Western fronts of global battle I, the interesting inner most discussions one of the German political and army elite in regards to the development of the conflict, in addition to Kessler's account of his function as a diplomat with a mystery challenge in Switzerland.
Profoundly glossy and sometimes prescient, Kessler used to be an erudite cultural impresario and catalyst who as a cofounder of the avant-garde magazine Pan met and contributed articles approximately some of the best artists and writers of the day. In 1903 he turned director of the Grand Ducal Museum of Arts and Crafts in Weimar, made up our minds to make it a middle of aesthetic modernism with his good friend the architect Henry van de Velde, whose institution of layout could ultimately turn into the Bauhaus. whilst a public scandal compelled his resignation in 1906, Kessler grew to become to different tasks, together with taking part with the Austrian author Hugo von Hofmannsthal and the German composer Richard Strauss at the opera Der Rosenkavalier and the ballet The Legend of Joseph, which was once played in 1914 via the Ballets Russes in London and Paris. In 1913 he based the Cranach-Presse in Weimar, some of the most very important deepest presses of the 20 th century.
The diaries current extraordinary, sharply etched, and infrequently richly comical descriptions of his encounters, conversations, and artistic collaborations with the most celebrated humans of his time: Otto von Bismarck, Paul von Hindenburg, Hugo von Hofmannsthal, Richard Strauss, Igor Stravinsky, Sergei Diaghilev, Vaslav Nijinsky, Isadora Duncan, Ruth St. Denis, Sarah Bernhardt, Friedrich Nietzsche, Rainer Marie Rilke, Paul Verlaine, Gordon Craig, George Bernard Shaw, Harley Granville-Barker, Max Klinger, Arnold Böcklin, Max Beckmann, Aristide Maillol, Auguste Rodin, Edgar Degas, Éduard Vuillard, Claude Monet, Edvard Munch, Ida Rubinstein, Gabriele D'Annunzio, Pierre Bonnard, and Walther Rathenau, between others.
Remarkably insightful, poignant, and cinematic of their scope, Kessler's diaries are a useful checklist of 1 of the main unstable and seminal moments in sleek Western background.
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Additional info for Journey to the Abyss: The Diaries of Count Harry Kessler, 1880-1918
42 | Stage Directing: A Director’s Itinerary Era Transposition If you are moving the play to another period, what are the events of the new period that might have parallels or thematic similarity to the original setting? Identify the parallels and relate them to the original source material to make sure it translates appropriately. 1 Identify the time and location of the play you are working on. Following the steps above, research the play in one or all areas, and create a presentation for your class that includes images and explanations.
Design What were the trends in furniture design and architecture? Who were the leading designers? Theatrical Trends What was popular? How were shows being produced? What was the prevalent dramatic structure? Music What were people listening to? Who were the popular musicians of the period? What were the popular musical styles? Popular Entertainment What forms of entertainment were popular among the masses? What were the popular sports? Textual Context When was the work written, who wrote it, what else was being written at the same time, was it revolutionary?
Some contend that the action be framed in terms of three parts. This tripartite view of plot structure follows from Aristotle, who wrote in Poetics that a whole plot in a tragedy must contain a beginning, middle, and end. Often, classical drama is described in terms of a protasis, epitasis, and catastrophe. Others—most notably Gustav Freytag, a nineteenth century German playwright—have described the structure of dramatic action in terms of five parts. When these five parts are visually represented, they are often drawn as a map that represents the rise and fall of suspense experienced by the audience.