Michael Cherlin is Professor of Music Theory, University of Minnesota.

• List of IllustrationsPrefaceRichard L. RudolphNotes on ContributorsDRAMATIC THEATERIntroduction: Rethinking Drama and Theater in Austria and Central Europe Halina Filipowicz 3Part I: The Enlightenment and the “New Beginning”Chapter 1. “By and By We Shall Have an Enlightened Populace”: Moral Optimism and the Fine Arts in Late-Eighteenth-Century AustriaErnst WangermannChapter 2. Taming a Transgressive National Hero: Tadeusz Kosciuszko and Nineteenth-Century Polish DramaHalina FilipowiczChapter 3. Nestroy and His Naughty Children: A Plebeian Tradition in the Austrian TheaterCarl WeberChapter 4. Pantomime, Dance, Sprachskepsis, and Physical Culture in German and Austrian ModernismHarold B. SegelChapter 5. Populism versus Elitism in Max Reinhardt’s Austrian Productions of the 1920sMichael PattersonPart Two: Post-Holocaust and Postmodern TheaterChapter 6. Elfriede Jelinek’s Nora Project; or, What Happens When Nora Meets the CapitalistsChristine KiebuzinskaChapter 7. George Tabori’s Return to the Danube, 1987–1999Hans-Peter BayerdörferChapter 8. Thomas Bernhard’s Heldenplatz: Artists and Societies beyond the ScandalAlfred PfabiganChapter 9. Pulling the Pants Off History: Politics and Postmodernism in Thomas Bernhard’s Eve of RetirementJeanette R. MalkinMUSICAL THEATERIntroduction: Conflict and Crosscurrents in Viennese MusicMichael CherlinPart III: The Emergence of the Classical StyleChapter 10. Vienna as a Center of Ballet Reform in the Late Eighteenth CenturySibylle DahmsChapter 11. The Viennese Singspiel, Haydn, and MozartEva Badura-Skoda Chapter 12. Displaying (Out)Rage: The Dilemma of Constancy in Mozart’s OperasGretchen A. WheelockPart IV: Some Major Transformations of the Nineteenth and Twentieth CenturiesChapter 13. Karl Goldmark’s Operas during the Directorship of Gustav MahlerPeter ReversChapter 14. A Break in the Scenic Traditions of the Vienna Court Opera: Alfred Roller and the Vienna SecessionEvan BakerChapter 15. Schoenberg’s Music for the TheaterMichael CherlinReferencesIndex

Michael Cherlin is Professor of Music Theory, University of Minnesota.

• List of IllustrationsPrefaceRichard L. RudolphNotes on ContributorsDRAMATIC THEATERIntroduction: Rethinking Drama and Theater in Austria and Central Europe Halina Filipowicz 3Part I: The Enlightenment and the “New Beginning”Chapter 1. “By and By We Shall Have an Enlightened Populace”: Moral Optimism and the Fine Arts in Late-Eighteenth-Century AustriaErnst WangermannChapter 2. Taming a Transgressive National Hero: Tadeusz Kosciuszko and Nineteenth-Century Polish DramaHalina FilipowiczChapter 3. Nestroy and His Naughty Children: A Plebeian Tradition in the Austrian TheaterCarl WeberChapter 4. Pantomime, Dance, Sprachskepsis, and Physical Culture in German and Austrian ModernismHarold B. SegelChapter 5. Populism versus Elitism in Max Reinhardt’s Austrian Productions of the 1920sMichael PattersonPart Two: Post-Holocaust and Postmodern TheaterChapter 6. Elfriede Jelinek’s Nora Project; or, What Happens When Nora Meets the CapitalistsChristine KiebuzinskaChapter 7. George Tabori’s Return to the Danube, 1987–1999Hans-Peter BayerdörferChapter 8. Thomas Bernhard’s Heldenplatz: Artists and Societies beyond the ScandalAlfred PfabiganChapter 9. Pulling the Pants Off History: Politics and Postmodernism in Thomas Bernhard’s Eve of RetirementJeanette R. MalkinMUSICAL THEATERIntroduction: Conflict and Crosscurrents in Viennese MusicMichael CherlinPart III: The Emergence of the Classical StyleChapter 10. Vienna as a Center of Ballet Reform in the Late Eighteenth CenturySibylle DahmsChapter 11. The Viennese Singspiel, Haydn, and MozartEva Badura-Skoda Chapter 12. Displaying (Out)Rage: The Dilemma of Constancy in Mozart’s OperasGretchen A. WheelockPart IV: Some Major Transformations of the Nineteenth and Twentieth CenturiesChapter 13. Karl Goldmark’s Operas during the Directorship of Gustav MahlerPeter ReversChapter 14. A Break in the Scenic Traditions of the Vienna Court Opera: Alfred Roller and the Vienna SecessionEvan BakerChapter 15. Schoenberg’s Music for the TheaterMichael CherlinReferencesIndex

Michael Cherlin is Professor of Music Theory, University of Minnesota.

• List of IllustrationsPrefaceRichard L. RudolphNotes on ContributorsDRAMATIC THEATERIntroduction: Rethinking Drama and Theater in Austria and Central Europe Halina Filipowicz 3Part I: The Enlightenment and the “New Beginning”Chapter 1. “By and By We Shall Have an Enlightened Populace”: Moral Optimism and the Fine Arts in Late-Eighteenth-Century AustriaErnst WangermannChapter 2. Taming a Transgressive National Hero: Tadeusz Kosciuszko and Nineteenth-Century Polish DramaHalina FilipowiczChapter 3. Nestroy and His Naughty Children: A Plebeian Tradition in the Austrian TheaterCarl WeberChapter 4. Pantomime, Dance, Sprachskepsis, and Physical Culture in German and Austrian ModernismHarold B. SegelChapter 5. Populism versus Elitism in Max Reinhardt’s Austrian Productions of the 1920sMichael PattersonPart Two: Post-Holocaust and Postmodern TheaterChapter 6. Elfriede Jelinek’s Nora Project; or, What Happens When Nora Meets the CapitalistsChristine KiebuzinskaChapter 7. George Tabori’s Return to the Danube, 1987–1999Hans-Peter BayerdörferChapter 8. Thomas Bernhard’s Heldenplatz: Artists and Societies beyond the ScandalAlfred PfabiganChapter 9. Pulling the Pants Off History: Politics and Postmodernism in Thomas Bernhard’s Eve of RetirementJeanette R. MalkinMUSICAL THEATERIntroduction: Conflict and Crosscurrents in Viennese MusicMichael CherlinPart III: The Emergence of the Classical StyleChapter 10. Vienna as a Center of Ballet Reform in the Late Eighteenth CenturySibylle DahmsChapter 11. The Viennese Singspiel, Haydn, and MozartEva Badura-Skoda Chapter 12. Displaying (Out)Rage: The Dilemma of Constancy in Mozart’s OperasGretchen A. WheelockPart IV: Some Major Transformations of the Nineteenth and Twentieth CenturiesChapter 13. Karl Goldmark’s Operas during the Directorship of Gustav MahlerPeter ReversChapter 14. A Break in the Scenic Traditions of the Vienna Court Opera: Alfred Roller and the Vienna SecessionEvan BakerChapter 15. Schoenberg’s Music for the TheaterMichael CherlinReferencesIndex