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The creative appropriation of the "Erbe" of Bertolt Brecht in the GDR political song
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Protest song in East and West Germany since the 1960s
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The reception of "Vormärz" and 1848
revolutionary song in West Germany and the GDR -
Mühsam, Brecht, Eisler, and the twentieth-century revolutionary heritage
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Narrative role-play as communication strategy in German protest song
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Political song in the GDR
the cat-and-mouse-game with censorship and institutions -
Cities, clocks and chaos
a modernist perception of time in the comedy of Karl Valentin -
Ralf E. Remshardt. Staging the savage god [Rezension]
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Reviving the dead
montage and temporal dislocation in Karls Enkel's "Liedermacher" -
Von "Krähwinkel" bis zur "Da Da eR"
clowneske Revolutionäre in der österreichischen und deutschen theatralischen Tradition -
Katrin Sieg, Ethnic Drag ; Birgit Haas, Modern German political drama 1980 - 2000 [Rezension]
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"Laß Dich nicht bescheißen!"
die "Hammer-Rehwü" von 1982 - Masken, Verwandlungen und karnevalistische Moral in der DDR -
Protest song in East and West Germany since the 1960s
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Protest song in East and West Germany since the 1960s
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Protest song in East and West Germany since the 1960s
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"Seid reinlich bei Tage und säuisch bei Nacht"
Karls Enkel's 'Dahin! Dahin! Ein Göte-Abend' -
The GDR "Singebewegung"
metamorphosis and legacy -
Protest song in East and West Germany since the 1960s
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Music and the rebirth of "Faust" in the GDR
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Oppositional political identity in the song culture of the Vormärz and the 1848 Revolution in Germany
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Protest song in East and West Germany since the 1960s
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Protest song in East and West Germany since the 1960s
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Songs for a revolution
the 1848 protest song tradition in Germany -
Zwei Clowns im Lande des verlorenen Lachens
das Liedertheater Wenzel & Mensching -
Zwei Clowns im Lande des verlorenen Lachens
das Liedertheater Wenzel & Mensching