Book section Open Access

The Image as Stage: Paul Klee and the Creation of Theatrical Space

Okuda, Osamu

MARC21 XML Export

<?xml version='1.0' encoding='UTF-8'?>
<record xmlns="">
  <datafield tag="041" ind1=" " ind2=" ">
    <subfield code="a">eng</subfield>
  <datafield tag="653" ind1=" " ind2=" ">
    <subfield code="a">Paul Klee, theatre</subfield>
  <controlfield tag="005">20200120143707.0</controlfield>
  <datafield tag="500" ind1=" " ind2=" ">
    <subfield code="a">Ausstellungskatalog. - Ausstellung, Zentrum Paul Klee, Bern, [2007]- 06.01.2008</subfield>
  <controlfield tag="001">1038452</controlfield>
  <datafield tag="856" ind1="4" ind2=" ">
    <subfield code="s">1014751</subfield>
    <subfield code="z">md5:f7d4e5f4d899d1dbe9b6d60e1252f66f</subfield>
    <subfield code="u"> as Stage.pdf</subfield>
  <datafield tag="542" ind1=" " ind2=" ">
    <subfield code="l">open</subfield>
  <datafield tag="260" ind1=" " ind2=" ">
    <subfield code="c">2006-06-01</subfield>
  <datafield tag="909" ind1="C" ind2="O">
    <subfield code="p">openaire</subfield>
    <subfield code="p">user-zwitschermaschine</subfield>
    <subfield code="o"></subfield>
  <datafield tag="100" ind1=" " ind2=" ">
    <subfield code="a">Okuda, Osamu</subfield>
  <datafield tag="245" ind1=" " ind2=" ">
    <subfield code="a">The Image as Stage: Paul Klee and the Creation of Theatrical Space</subfield>
  <datafield tag="980" ind1=" " ind2=" ">
    <subfield code="a">user-zwitschermaschine</subfield>
  <datafield tag="540" ind1=" " ind2=" ">
    <subfield code="u"></subfield>
    <subfield code="a">Creative Commons Attribution Non Commercial No Derivatives 4.0 International</subfield>
  <datafield tag="650" ind1="1" ind2="7">
    <subfield code="a">cc-by</subfield>
    <subfield code="2"></subfield>
  <datafield tag="520" ind1=" " ind2=" ">
    <subfield code="a">&lt;p&gt;Paul Klee frequently composed his images as theatrical spaces containing depictions of characters and props. In particular, he employed the curtain as a motif, which lent a theatrical gesture or quality to his pictures. Through the use of specific examples, the following will explain how Klee's notion of the image as stage developed and changed. First, we will focus on the Cubist, theatrical compositions of 1913-14. Second, we will explore the curtain as motif and the many ways Klee used it, even during his later years in exile in Switzerland. We will end with 1939's &lt;em&gt;Uebermut&lt;/em&gt; (High spirits), since it can be considered the artist's most important theatrical work involving the stage curtain as a theme.&lt;/p&gt;</subfield>
  <datafield tag="773" ind1=" " ind2=" ">
    <subfield code="n">doi</subfield>
    <subfield code="i">isVersionOf</subfield>
    <subfield code="a">10.5281/zenodo.1038451</subfield>
  <datafield tag="773" ind1=" " ind2=" ">
    <subfield code="g">243-250</subfield>
    <subfield code="b">Hatje Cantz</subfield>
    <subfield code="a">Ostfildern, Germany</subfield>
    <subfield code="z">978-3-7757-2185-1</subfield>
    <subfield code="t">Paul Klee - theater everywhere</subfield>
  <datafield tag="024" ind1=" " ind2=" ">
    <subfield code="a">10.5281/zenodo.1038452</subfield>
    <subfield code="2">doi</subfield>
  <datafield tag="980" ind1=" " ind2=" ">
    <subfield code="a">publication</subfield>
    <subfield code="b">section</subfield>
All versions This version
Views 1313
Downloads 2323
Data volume 23.3 MB23.3 MB
Unique views 1313
Unique downloads 1919


Cite as