vor der Tür - traduction vers Anglais
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vor der Tür - traduction vers Anglais

LITERARY WORK
Draussen vor der Tür; Draußen vor der Tür
  • Title page of the first German print (July 1947)

Hugo van der Goes         
  • ''The Fall and Redemption of Man''
  • ''The Adoration of the Kings'' ([[Monforte Altarpiece]])
  • Shepherds from the Portinari Triptych
  • ''Portrait of a Man at Prayer with St John the Baptist''
  • ''Saint George and the Dragon''
  • 280px
  • Adoration of the Shepherds]]''
  • Still life from the Portinari Triptych
  • Portinari Triptych]]
  • ''Death of the Virgin''
FLEMISH PAINTER (C.1440-1482)
Hugo van Der Goes; Hugo Van der Goes; Hugo Goes; Hugo van der goes; Hugo Van Der Goes
Hugo van der Goes, (ca. 1440-1482) flemischer Renaissance Maler, Maler des Kunstwerks "Jakob begegnet Rachel"
out-of-door      
vor der Tür, draußen
van der Waals         
WIKIMEDIA DISAMBIGUATION PAGE
Van der waals; Van der Walls; Van der waal; Van Der Waal; Van der Waal; Van der Waals (disambiguation); Van de Waal; Waals; Van der Waal (disambiguation)
Johannes Diderik van der Waals, (1837-1923) niederländischer Physiker, erhielt den Nobelpreis für Physik im Jahre 1910; van der Waals, Nachname

Définition

Tur

Wikipédia

The Man Outside

The Man Outside (German: Draußen vor der Tür, literally Outside, at the door) is a play by Wolfgang Borchert, written in a few days in the late autumn of 1946. It made its debut on German radio on 13 February 1947.

The Man Outside describes the hopelessness of a post-war soldier called Beckmann who returns from Russia to find that he has lost his wife and his home, as well as his illusions and beliefs. He finds every door he comes to closed; even nature seems to reject him.

Due to its release during the sensitive immediate postwar period, Borchert subtitled his play "A play that no theatre wants to perform and no audience wants to see." Despite this, the first radio broadcast (February 1947) was very successful. The first theatrical production of The Man Outside (at the Hamburger Kammerspiele) opened on the day after Borchert's death, 21 November 1947.

The play consists of five scenes in one act. It makes use of expressionist forms and Brechtian techniques, such as the Verfremdungseffekt (estrangement effect) to disorient and engage its audience.