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Das Theater als "lebendiges soziales Forum": Dea Lohers Dramen auf polnischen Bühnen

Artur Pełka
Monatshefte
Vol. 99, No. 3, Dea Loher (Fall, 2007), pp. 389-398
Stable URL: http://www.jstor.org/stable/30154383
Page Count: 10
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Since scans are not currently available to screen readers, please contact JSTOR User Support for access. We'll provide a PDF copy for your screen reader.
Das Theater als "lebendiges soziales Forum": Dea Lohers Dramen auf polnischen Bühnen
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Abstract

As early as the mid-1990s, Polish theater critics called Loher the "most promising author." Local stages discovered her in 2001. Pawel Miśkiewicz staged her play Claras Verhältnisse in Wrocław shortly after the Vienna world premiere. This young stage director discovered an extremely suitable formula for a stage realization of this play which became a huge success. That success was the reason why other stage directors put on this play, for example the famous director Krystian Lupa. Only a short time after that productions of Tätowierung and Blaubart—Hoffnung der Frauen followed all over Poland. The best 'interpreter' of Loher's plays is still Miśkiewicz. This became obvious in the Cracow staging of Unschuld and Claras Verhältnisse, both of which were very successful. The attraction of Loher's works for the Polish theater people lies in their sociocritical and philosophical content, as the theater critics constantly point out.

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