Katherine Saranpa provides an overview of Schiller reception in the context of radical shifts in historical thought. The juxtaposition of three strands, which Saranpa covers, will interest scholars of German literature.

STC is proud to announce a newly commissioned adaptation and translation f Friedrich Schiller's Wallenstein by former Poet Laureate Robert Pinsky. Wallenstein, one of Germany's greatest dramatic works, follows the famous general Albrecht Wallenstein at the height of his influence and power during the Thirty Years' War. Leading Europe's most powerful army, Wallenstein is caught between his ambition and his Emperor's growing distrust. He must decide either to stay loyal to his king and lose his power or to betray his country for greater gain. STC Artistic Director Michael Kahn envisions this epic story of war, intrigue and loyalty tested. Wallenstein was commissioned through the generous support of The Beech Street Foundation.

In examining Schiller's often-neglected use of gesture, this study treats his dramas as written to be performed -- not merely read. Many aspects of the works of Friedrich Schiller (1759-1805) have attracted attention. His work as a philosopher and pioneering thinker in poetics and aesthetics and as a historian have recently been the focus of much attention. But Schiller's dramas have always held the most interest, and they continue to be performed regularly both in German-speaking lands and around the world. Schiller is a dramatist of psychological conflict rather than of abstract ideas, and he had a unique grasp of how to use the stage to that end. This study of Schiller's use of gesture begins with a discussion of the origins of the gestures he employs, viewing them in relation to his medical writings, his literary influences, theories of the theater and acting, and Enlightenment thinking in general. The study then considers the use of gesture and related aspects of stagecraft in Schiller's nine completed dramas, highlighting elementsof continuity and development. It is concerned with the interpretation of gesture, often marginalized in studies of Schiller's works, and with the interrelationship between gesture and verbal text. It also considers Schiller's relationship to the theater of his day, and discusses the first performances of his plays as well as their more recent stage history in both Germany and Great Britain. Appearing in the 250th anniversary of Schiller's birth, this study treats his dramas as plays written to be performed -- as works that reach their fullest potential in the theater. John Guthrie teaches modern German literature and language at the University of Cambridge, where he isfellow and director of studies at Murray Edwards College.

Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision.