Historical dictionary of German Theatre

STURM UND DRANG

Sturm und Drang: translation

1) (Storm and Stress)
A term denoting a tendency among young playwrights; as a cultural movement, its name derives from the title of Friedrich Klinger's 1777 playSturm und Drang. The most significant playwright of the Storm and Stress movement wasJohann Wolfgang Goethe, who in the 1770s rejected the restrictions of neoclassicism and attempted to write plays that adumbrated intensity, unbridled lyricism, and the exaltation ofShakespeareas a prototype. Goethe was the prime motivator in the tendency, and his are by far the best of the plays created during the decade, including hisGötz von Berlichingen, Clavigo, andStella.The playwrights who imitated him included Klinger, Jakob Lenz,Heinrich Leopold Wagner, and Friedrich Müller (1749-1825). Critics sometimes includeFriedrichSchiller'sDie Räuber(The Robbers) within the Storm and Stress, but Schiller had little to do with Goethe or the others at the time, and most observers rate the play as isolated from, though somewhat similar to, the tendencies ofGötz, Lenz'sDer Hofmeister(The Tutor), or Wagner'sDie Reue nach dem Tat(Regret after the Deed). Frequent preoccupations in these plays were overpowering passion, an emphasis on the power of youth and the suffering youth must at times necessarily endure, alcoholic dissipation or sexual depravity, and unrestrained extravagance in language.
2) "Sturm und Drang"
(Storm and Stress) by Friedrich Klinger.
Premiered 1777. This is the play from which theSturm und Drangcultural movement takes its name; its original title wasDer Wirrwarr(The Chaos).Sturm und Drangis among the first of several German plays set in America—though there is hardly anything recognizably "American" in it. It is essentially a kind of revenge melodrama featuring a feud between the Bushy and Berkley families. Caroline Berkley predictably loves Karl Bushy, and because he has taken the name Wild, Caroline at first does not know he is a member of the Bushy family. There are duels between family members and their allies (including two Frenchmen named Le Feu and Blasius), deaths, and finally an attempt at reconciliation, though the original "chaos" seems destined to continue. Klinger employed an extravagant idiom in the play, with characters who often sound as if they are on the verge of hysterics.

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