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'''Erwin Friedrich Maximilian Piscator''', ([[December 17]], [[1893]] – [[March 30]], [[1966]]), [[Germany|German]] theatrical [[Theatre director|director]] and [[Theatrical producer|producer]] who, with [[Bertolt Brecht]], was the foremost exponent of [[epic theater]], a genre that emphasizes the sociopolitical context rather than the emotional content or aesthetics of the [[play]].
'''Erwin Friedrich Maximilian Piscator''', ([[December 17]], [[1893]] – [[March 30]], [[1966]]), [[Germany|German]] theatrical [[Theatre director|director]] and [[Theatrical producer|producer]] who, with [[Bertolt Brecht]], was the foremost exponent of [[epic theater]], a genre that emphasizes the sociopolitical context rather than the emotional content or aesthetics of the [[play]].
He worked experimentally in [[Berlin]] after [[1919]]. As stage director at the [[Volksbühne]] ([[1924]]–[[1927]]), and later as managing director at his own theater (on Nollendorfplatz), he produced social and political plays especially suited to his theories. His dramatic aims were utilitarian—to influence voters or clarify left-wing policies. He used mechanized sets, lectures, movies, and mechanical devices that appealed to his audiences. In 1928 he produced a notable adaptation of the [[Czechoslovakia|Czech]] [[novel]] ''The Good Soldier Schweik''. Piscator went to the [[United States]] in [[1939]] and became director of the [[Dramatic Workshop]], which he founded at the [[New School University|New School for Social Research]] in [[New York City]].
He worked experimentally in [[Berlin]] after [[1919]]. As stage director at the [[Volksbühne]] ([[1924]]–[[1927]]), and later as managing director at his own theater (on Nollendorfplatz), he produced social and political plays especially suited to his theories. His dramatic aims were utilitarian—to influence voters or clarify left-wing policies. He used mechanized sets, lectures, movies, and mechanical devices that appealed to his audiences. In 1928 he produced a notable adaptation of the [[Czechoslovakia|Czech]] [[novel]] ''[[The Good Soldier Schweik]]''. Piscator went to the [[United States]] in [[1939]] and became director of the [[Dramatic Workshop]], which he founded at the [[New School University|New School for Social Research]] in [[New York City]].
He married Maria Lay, Bertolt Brechr attended their wedding and she was still alive, living in New York and teaching drama in her 90s during the early 1980s.
He married Maria Lay, Bertolt Brechr attended their wedding and she was still alive, living in New York and teaching drama in her 90s during the early 1980s.



Revision as of 01:47, 5 March 2006

Erwin Friedrich Maximilian Piscator, (December 17, 1893March 30, 1966), German theatrical director and producer who, with Bertolt Brecht, was the foremost exponent of epic theater, a genre that emphasizes the sociopolitical context rather than the emotional content or aesthetics of the play. He worked experimentally in Berlin after 1919. As stage director at the Volksbühne (19241927), and later as managing director at his own theater (on Nollendorfplatz), he produced social and political plays especially suited to his theories. His dramatic aims were utilitarian—to influence voters or clarify left-wing policies. He used mechanized sets, lectures, movies, and mechanical devices that appealed to his audiences. In 1928 he produced a notable adaptation of the Czech novel The Good Soldier Schweik. Piscator went to the United States in 1939 and became director of the Dramatic Workshop, which he founded at the New School for Social Research in New York City. He married Maria Lay, Bertolt Brechr attended their wedding and she was still alive, living in New York and teaching drama in her 90s during the early 1980s.

He had to return to West Germany during the McCarthy era in 1951. He was appointed manager and director of the Freie Volksbühne in West-Berlin in 1962 and promoted documentary theater analyzing the German national socialist past (e.g. Rolf Hochhuth, The Deputy). His stage adaptation of Leo Tolstoy's novel War and Peace has been played in some 16 countries since 1955, e.g. three times in New York City. Piscator's influence on European and American production methods was extensive.