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Gas #2
Gas: Schauspiel (Ullstein-Buch ; Nr. 4986)
Leather Binding on Spine and Corners with Golden Leaf Printing on round Spine (extra customization on request like complete leather, Golden Screen printing in Front, Color Leather, Colored book etc.) Reprinted in 2021 with the help of original edition published long back [1925]. This book is printed in black & white, sewing binding for longer life, Printed on high quality Paper, re-sized as per Current standards, professionally processed without changing its contents. As these are old books, we processed each page manually and make them readable but in some cases some pages which are blur or missing or black spots. If it is multi volume set, then it is only single volume, if you wish to order a specific or all the volumes you may contact us. We expect that you will understand our compulsion in these books. We found this book important for the readers who want to know more about our old treasure so we brought it back to the shelves. Hope you will like it and give your comments and suggestions. - ger, Pages 212. EXTRA 10 DAYS APART FROM THE NORMAL SHIPPING PERIOD WILL BE REQUIRED FOR LEATHER BOUND BOOKS. COMPLETE LEATHER WILL COST YOU EXTRA US$ 25 APART FROM THE LEATHER BOUND BOOKS. {FOLIO EDITION IS ALSO AVAILABLE.} schauspiel in fünf akten, von Georg Kaiser ... 1925 , Kaiser, Georg, -.
- GenresPlays
88 pages, Perfect Paperback
First published January 1, 1917
38 people want to read
About the author
Georg Kaiser
90 books7 followersFriedrich Carl Georg Kaiser, called Georg Kaiser, (November 25, 1878 – June 4, 1945) was a German dramatist.
He was highly prolific and wrote in a number of different styles. An Expressionist dramatist, he was, along with Gerhart Hauptmann, the most frequently performed playwright in the Weimar Republic. Georg Kaiser's plays include The Burghers of Calais (1913), From Morn to Midnight (1912), and a trilogy, comprising The Coral (1917), Gas (1918), Gas II (1920).
He died at Ascona, Switzerland.
The Burghers of Calais (Die Bürger von Calais), written in 1913, was not performed until 1917. It was Kaiser's first success. The play is very dense linguistically, with its dialogue comprising numerous emotive monologues influenced by the Telegramstil poetics of August Stramm. Like Kaiser's other works of the period, it bears the mark of Friedrich Nietzsche's philosophy, calling upon the modern individual to transcend mediocrity through extraordinary actions; the Expressionist 'New Man' became a commonplace of the genre.
From Morning to Midnight, filmed by Karlheinz Martin in 1920, was written in 1912 and first performed in 1917. One of the most frequently performed works of German Expressionist theatre, its plot concerns a Cashier (played by Ernst Deutsch in Martin's film) in a small bank in W. (ostensibly Weimar) who is alerted to the power of money by the visit of a rich Italian lady. He embezzles 60,000 Marks and absconds to B. (Berlin) where he attempts to find transcendent experiences in sport, romance and religion, only to be ultimately frustrated.
Kaiser's classic Expressionist plays, written just before and during World War I, often called for man to make a decisive break with the past, rejuvenating contemporary society. He eschewed characterization, and particularly character psychology, instead making his protagonists and other characters archetypes, employing highly anti-naturalistic dialogue often comprising lengthy individual speeches.
Kaiser's drama Side by Side (Nebeneinander, 1923), a 'people's play' (Volksstück), premiered in Berlin on the 3rd November, 1923, directed by Berthold Viertel with design by George Grosz. With this play Kaiser moved away from the Expressionism of his previous works. Utilizing a more rounded characterization and more realistic curt, comic dialogue to tell a light-hearted story of an idealistic pawnbroker caught up in the hyperinflation afflicting Germany at the time (the currency stabilization came a fortnight after the play opened), the play inaugurated the 'new sobriety' (Neue Sachlichkeit) in the drama. "Kaiser has left the cloud that used to surround him," a review in the Weltbühne suggested, "and landed with both feet on the earth."
Kaiser's plays, particularly From Morning to Midnight, were highly influential on the German dramatists operating during the 1920s, including Iwan Goll, Ernst Toller and Bertolt Brecht, who drew on Kaiser's use of revue-type scenes and parable, which was influenced by medieval and 16th-century German mystery plays.
Kaiser collaborated with the composer Kurt Weill on his one-act operas Der Protagonist (1926) and Der Zar lässt sich photographieren (1928), also Der Silbersee (1933).
In his later years, he developed his criticism of the modern machine age that had characterised the Gas trilogy further. Imprisoned briefly in 1923 for stealing a loaf of bread during the hyper-inflationary crisis, Kaiser fled to Switzerland when the Nazis came to power in the 1930s (Kaiser went into exile in 1938), and turned to writing verse dramas on mythological themes, including Pygmalion, Amphitryon, and Bellerophon, and a pacifist drama, The Soldier Tanaka (1940). The Raft of the Medusa (1945) is a play written in verse that reverses the ethos of The Burghers of Calais in a more pessimistic direction; to avoid bad luck, thirteen children on a life-raft drown the youngest of them.
He was highly prolific and wrote in a number of different styles. An Expressionist dramatist, he was, along with Gerhart Hauptmann, the most frequently performed playwright in the Weimar Republic. Georg Kaiser's plays include The Burghers of Calais (1913), From Morn to Midnight (1912), and a trilogy, comprising The Coral (1917), Gas (1918), Gas II (1920).
He died at Ascona, Switzerland.
The Burghers of Calais (Die Bürger von Calais), written in 1913, was not performed until 1917. It was Kaiser's first success. The play is very dense linguistically, with its dialogue comprising numerous emotive monologues influenced by the Telegramstil poetics of August Stramm. Like Kaiser's other works of the period, it bears the mark of Friedrich Nietzsche's philosophy, calling upon the modern individual to transcend mediocrity through extraordinary actions; the Expressionist 'New Man' became a commonplace of the genre.
From Morning to Midnight, filmed by Karlheinz Martin in 1920, was written in 1912 and first performed in 1917. One of the most frequently performed works of German Expressionist theatre, its plot concerns a Cashier (played by Ernst Deutsch in Martin's film) in a small bank in W. (ostensibly Weimar) who is alerted to the power of money by the visit of a rich Italian lady. He embezzles 60,000 Marks and absconds to B. (Berlin) where he attempts to find transcendent experiences in sport, romance and religion, only to be ultimately frustrated.
Kaiser's classic Expressionist plays, written just before and during World War I, often called for man to make a decisive break with the past, rejuvenating contemporary society. He eschewed characterization, and particularly character psychology, instead making his protagonists and other characters archetypes, employing highly anti-naturalistic dialogue often comprising lengthy individual speeches.
Kaiser's drama Side by Side (Nebeneinander, 1923), a 'people's play' (Volksstück), premiered in Berlin on the 3rd November, 1923, directed by Berthold Viertel with design by George Grosz. With this play Kaiser moved away from the Expressionism of his previous works. Utilizing a more rounded characterization and more realistic curt, comic dialogue to tell a light-hearted story of an idealistic pawnbroker caught up in the hyperinflation afflicting Germany at the time (the currency stabilization came a fortnight after the play opened), the play inaugurated the 'new sobriety' (Neue Sachlichkeit) in the drama. "Kaiser has left the cloud that used to surround him," a review in the Weltbühne suggested, "and landed with both feet on the earth."
Kaiser's plays, particularly From Morning to Midnight, were highly influential on the German dramatists operating during the 1920s, including Iwan Goll, Ernst Toller and Bertolt Brecht, who drew on Kaiser's use of revue-type scenes and parable, which was influenced by medieval and 16th-century German mystery plays.
Kaiser collaborated with the composer Kurt Weill on his one-act operas Der Protagonist (1926) and Der Zar lässt sich photographieren (1928), also Der Silbersee (1933).
In his later years, he developed his criticism of the modern machine age that had characterised the Gas trilogy further. Imprisoned briefly in 1923 for stealing a loaf of bread during the hyper-inflationary crisis, Kaiser fled to Switzerland when the Nazis came to power in the 1930s (Kaiser went into exile in 1938), and turned to writing verse dramas on mythological themes, including Pygmalion, Amphitryon, and Bellerophon, and a pacifist drama, The Soldier Tanaka (1940). The Raft of the Medusa (1945) is a play written in verse that reverses the ethos of The Burghers of Calais in a more pessimistic direction; to avoid bad luck, thirteen children on a life-raft drown the youngest of them.
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Displaying 1 - 5 of 5 reviews
April 10, 2025
me aburri una banda
April 4, 2021
I like the ideas behind this play but the execution is just... ridiculous.
March 2, 2024
meiner meinung nach extrem krasse industrial expressionistische kunst
October 27, 2024
Wrote an essay on how science becomes itself a religion within this work. Shows you how German pre WW1 society was ill at this point. Also very relevant today
May 28, 2025
ilovit expresionismo
Displaying 1 - 5 of 5 reviews