Is also available in less cute: brown bear with the Far Eastern meditation exercise
Photo: dpa/Stefan Kiefer
The folk theater, as the comrade Shakespeare maintained, had to compete with the strong amusement offer of his time. Murder and intrigue, slippery and derbes are therefore not by chance in his dramas. In London, the capital of crime, the people knew how to talk: executions could be attended as a onlooker or visiting one of the countless pubs.
Mainly the theater was in competition with the brothels and the arenas, which served to the bear hook. What a brothel is, dear reader, I will not have to explain that. In the so -called Beargarden in the London of the 16th and 17th centuries, the bears and bulls of combat dogs were rushed for an interested audience. It goes without saying that it ran out quite bloody for the animals. But spectators sometimes died.
Genosse Shakespeare
As you like it: Every two weeks, Erik Zielke writes about great tragedies, political lubricating theater and the fools from the past and present. He finds inspiration from his comrade from Stratford-Upon-Avon.
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And as the comrade Shakespeare drama and theater – with effect to this time – helped the jumps, the providers of the bestial spectacles also refined the dramaturgy of their performances. For example, three bears were initially laid in one after the other before you let a horse to the arena, which was also rushed there for a change. The Bullenhaz was soon followed. Then artists provided entertainment, with dance and struggle, improvisation and magic pieces. The highlight was fireworks.
Such entertainment evenings have been handed down in countless variants. You can also read from a horse that was bound by a monkey on the back and that was rushed. In view of such a offer, the theater entrepreneur Shakespeare had to come up with something extraordinary.
The theater today, so it is not only claimed, no, it can also be felt clearly, its former meaning has been lost. And in the sea of (mass) media, the representative art regularly goes under. Netflix is often identified as the main enemy, and the theater’s crisis is a few years older than the streaming service provider.
If you search for the bear’s hunt of our day, you will quickly find it somewhere else. The lust for the bloody events from (mostly) safe distance and the greed for new attacks when analysis fails to know their followers today. In the crisis live tickers of “Spiegel Online”, “Bild”, “Zeit” and all the others who feel committed to smell, you can have the rocket strokes presented in minutes. In Ukraine and Russia, in Israel, Iran and Gaza, the dead are counted and the online audience immediately passed on for information.
But does that make you smarter or at least more sensitive? I prefer a different reading: for example “Troilus and Cressida”.
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