Walter Hasenclever


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Hasenclever, Walter

 

Born July 8, 1890, in Aachen; died Aug. 15, 1940, in Les Milles, France. German poet and playwright.

Hasenclever emigrated to France when the Hitlerites came to power. In 1939 the French government interned him, and when the Hitlerites invaded France, he committed suicide. His collection of verses Youth (1913) and his drama The Son (1914) were written in the expressionist manner and have an abstractly rebellious character. In his collection A Political Poet (1919), Hasenclever advocated the establishment of a republic in Germany. He expressed his antiwar views in the dramas Antigone (1917) and The Savior (1919). The drama On That Side of Her (1920), the film scenario The Plague (1920), and the play Murder (1926) express the chaos and decay of capitalist Europe after World War I. The comedies The Businessman (1927; Russian translation, 1929; A. N.

Tolstoi’s translation was published in 1953) and Marriages Are Made in Heaven (1929; Russian translation, 1929), the farce Napoleon Intervenes (1930), and the antifascist tragicomedy Münchausen (published posthumously in 1947) mark his retreat from expressionism. Hasenclever’s plays were performed on the Soviet stage in the 1920’s.

WORKS

Gedichte. Dramen. Prosa. Hamburg [1963].
In the collection Expressionismus. Dramen, vols. 1-2. Berlin-Weimar, 1967.
In Russian translation:
Chuzhaia lira. Compiled by V. Neishtadt. Moscow-Petrograd, 1923.
Pevtsy chelovecheskogo. Compiled by S. Tartakover. Berlin, 1923.

REFERENCES

Lunacharskii, A. V. O teatre i dramaturgii, vols. 1-2. Moscow, 1958.
Markov, P. A. Sovremennaia ekspressionisticheskaia drama v Germanii. Moscow, 1923.
Leshnittser, F. “Smert V. Gazenklevera.” Internatsional’naia literatura, 1940, nos. 9-10.
Istoriia nemetskoi literatury, vol. 4. Moscow, 1968.
Walzel, O. Die deutsche Dichtung seit Goethes Tod, 2nd ed. Berlin, 1920.

I. V. VOLEVICH and N. IA. BANNIKOVA

References in periodicals archive ?
Jakobi rounds off this section on problematic Liebesbeziehungen in Nazi Germany with the analysis of three plays by dramatists from the Weimar Republic, Paul Zech, Gustav Wangenheim, and Walter Hasenclever. Zech's play Nur einyudenweib had its premiere in Yiddish in Buenos Aires in 1935.
The remaining sections of this chapter provide a description of the themes, plots, and characters that recur in the work of Expressionist dramatists, including Ernst Toller, Georg Kaiser, Carl Sternheim, Frank Wedekind, Walter Hasenclever, and Fritz von Unruh.
In a letter of December 15, 1934 to his friend Walter Hasenclever, Tucholsky attempted to explain his attitude.
One of the most rich and remarkable Nachlasse to have survived the Second World War is that of the dramatist Walter Hasenclever, whose biography has recently been exhaustively narrated by Bert Kasties, one of the editors of this collection of 586 letters.
The other principal playwrights of the movement were Georg Kaiser, Ernst Toller, Paul Kornfeld, Fritz von Unruh, and Walter Hasenclever, all of Germany.
From Expressionism to Exile: The Works of Walter Hasenclever (1890-1940).
Whereas Bert Kasties in his book Walter Hasenclever. Eine Biographie der deutschen Moderne (Tubingen: Niemeyer, 1994) set out to present Hasenclever's life as a typical example of modernism, Christa Spreizer concentrates on his works and fits them into their historical and social context.
Bert Kasties's new biography of the dramatist Walter Hasenclever (1890-1940), the first to be written on the basis of total access to the writer's huge Nachlass, is expensive but worth every Pfennig.
This is neither an interpretation of Walter Hasenclever's works nor an attempt to represent him as an Expressionist writer.