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<p>This article focuses on the efforts to dynamise transitions both on stage and in dramatic texts as a&#xa0;joint project of the Berlin theatre avant-gardes of the early 20th century. By examining the interaction between act and curtain, technical innovations and staged texts, including the Reinhardt stages and the Piscator stage at Nollendorfplatz, it is shown that fluid, rapid transitions as a&#xa0;link between dramatic form, stage form and theatre technology became the focus of reform efforts. This led on the one hand to the development of new stage forms such as the ›Drehbühne‹ or the ›filmisierte Simultanbühne‹, and on the other hand to the emergence of new dramatic forms such as the revue and a&#xa0;renewed popularity of Shakespeare’s plays. Transitionality is thus discussed as a&#xa0;signum of modern theatre, as it allows the medialised and temporalised world of experience of the early 20th century to be adequately represented.</p>

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Ökonomie der Übergänge

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  • 发表日期：

    2026年3月24日

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  • Sophie König

摘要

This article focuses on the efforts to dynamise transitions both on stage and in dramatic texts as a joint project of the Berlin theatre avant-gardes of the early 20th century. By examining the interaction between act and curtain, technical innovations and staged texts, including the Reinhardt stages and the Piscator stage at Nollendorfplatz, it is shown that fluid, rapid transitions as a link between dramatic form, stage form and theatre technology became the focus of reform efforts. This led on the one hand to the development of new stage forms such as the ›Drehbühne‹ or the ›filmisierte Simultanbühne‹, and on the other hand to the emergence of new dramatic forms such as the revue and a renewed popularity of Shakespeare’s plays. Transitionality is thus discussed as a signum of modern theatre, as it allows the medialised and temporalised world of experience of the early 20th century to be adequately represented.