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Und was sich stregne steigern sollte, hemmt sich. Er verlangt eine unnachgiebige Auswahl der Schauspieler. Aber es ist seltsam: Von Reinhardt bis Brecht vol. Dies ist der bleibende Eindruck: Vossische Zeitung Berlin 29 Feb Anonymous Das Cabinet des Dr. Lil Dagover gefiel mir weniger als in Harakiri.

Wird der Film bei der breiten Masse Anklang finden? Die Grosse Glocke Berlin 03 Mar Caligari "Das Cabinet des Dr. Berlin hat ein neues Schlagwort mehr. Man kann sich zur modernen Kunst stellen, wie man will, in diesem Fall hat sie entschieden eine Berechtigung. Die Welt malt sich anders im Hirn eines Wahnsinnigen, und wie die Gestalten seiner Phantasie zum Teil spukhafte Formen annehmen, so zeigt auch die Umwelt, in der sie sich bewegen, ein bizarres Gesicht: Und man kann von diesen tollen Bildern wie von der Handlung sagen: Die Handlung ist packend, viele Szenen direkt von faszinierender, atembeklemmender Wirkung, wie z.

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Sind Kuratoren letztlich nichts anderes als Raumausstatter? Exterior view of A. The Danish Pavilion, Venice Their reaction was to turn two extremely disparate architectural structures into livable houses, and even better, into the houses of two very different art collectors — complete with the likeness of a dead man floating face down in the shared pool. Their role as artists, in turn, took on shades of that of interior decorators with a mega-quandary: April Lamm tried to tickle out possible solutions with Ingar Dragset in the palatial living room-cum-attic of a former waterworks station of the city of Berlin, which the artists gloriously gutted and converted into a live-work space.

One of the greatest curators of all time, Johannes Cladders, believed that the best art exhibition conveys itself through theatrical means, no labels necessary: In what way do you think that curators could benefit from the savoir-faire of certain interior decorators? Was sollen denn Ihrer Meinung nach jetzt die ganzen nun arbeitslos gewordenen Kuratoren machen? Arbeitslose Kunstkritiker auch nicht B selber dazu ja nicht mehr in der Lage ist, jedenfalls wirkt er eher tot, wie er da so im Pool treibt. It is almost as if he had a guilty conscience for engaging the writings of a former Nazi and did not wish to admit it to Demus or anyone else.

What finally prompted Celan to begin reading Heidegger is still unclear, but he began modestly, and probably reluctantly, with a minor seven-page pamphlet published in entitled The Field Path Der Feldweg. A meticulous and voracious reader, the aspiring young poet who now made his meager living by translating poetry and prose into German left behind considerable information on his reading habits. In the case of writers who were especially important to him, he often noted inside the book the date he acquired it, the date he read individual chapters, and the date he finished a complete work.

That would not come until the next year, when he began reading Being and Time, which he marked extensively. And Paris was its center. It is tempting to think that the presence of Heideggerian thought, which was very much in the air, infected Celan and that he began reading the German philosopher to find out what Parisian intellectual circles were talking about.

But with the qualified exception of the dying Franco-German poet Yvan Goll, at this time the unknown young Romanian exile had almost no friends and almost no contact with Parisian literary or intellectual circles, a condition Demus has confirmed. Trying to pursue his studies at the Sorbonne and eke out a meager existence with part-time translating jobs all but consumed him. But early in he began to be drawn into a major dialogue or, put in other terms, a love-hate relationship with the problematic thinker, and that relationship occupied him until the end of his life.


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