Waterhouse, Betty. Die Räuber tells the story of two brothers, the younger of which is infuriated by how society favors the first-born child and he acts on his feelings without any regard to societal rules or social standing. After this trip he returned with interest in classical ideas and writing, and a new form of writing emerged called Weimar Classicism. The period is named for Friedrich Maximilian Klinger's play of the same name, which was first performed by Abel Seyler's famed theatrical company in 1777. In Goethes „Faust I“ sind die Merkmale des Sturm und Drangs … Dieser Protest und die Provokation sind spezifisch für diese Epoche. Und übe, Knaben gleich, Der Disteln köpft, An Eichen dich und Bergeshöh'n! Following Schiller's plays Die Räuber ("The Robbers") and Kabale und Liebe ("Intrigue and Love"), he went on to become a major poet as well as to write famous essays and Weimar Classical drama (Leidner xiv). Pulsing rhythms and syncopation are common, as are racing lines in the soprano or alto registers. -> Kritik gegen den Absolutismus, blasphemische Umkehrung der Gott-Mensch-Verhälnisse, man will sich keiner Autorität unterordnen. sich selbst an die Position von Zeus; der Sprecher beraubt Zeus seines göttlichen Status. Blog. Nevertheless, the originators of the movement came to view it as a time of premature exuberance that was then abandoned in favor of often conflicting artistic pursuits.[7]. (eds.). Sie folgen nicht in ei… p. 423, Learn how and when to remove this template message, http://www.grovemusic.com/shared/views/article.html?section=music.27035, Sturm und Drang. Klinger’s most famous play, Sturm und Drang (1776), is the seminal piece of literature associated with the Sturm und Drang epoch. Major philosophical/theoretical influences on the literary Sturm und Drang movement were Johann Georg Hamann (especially the 1762 text Aesthetica in nuce. Diese Anzeigen helfen uns dabei, den Service karteikarte.com kostenlos zu halten. The most important contemporary document was the 1773 volume Von deutscher Art und Kunst. For one thing, the chronology is wrong. However, Sturm und Drang “makes its own distinctive contribution to 18th-century culture, bringing attention to the power of the environment as well as to the contradictory and self-defeating attitudes present in every segment of society” (Liedner ix). Instead, this play shows how the aristocracy disrupts the lives of middle class characters (Liedner xii). - Orientierung am Leitbild des schöpferischen Menschen (Genie) In Goethes „Faust I“ sind die Merkmale des Sturm und Drangs neben denen der Klassik am stärksten ausgeprägt. For them, sentimentality and an objective view of life gave way to emotional turbulence and individuality, and enlightenment ideals such as rationalism, empiricism, and universalism no longer captured the human condition; emotional extremes and subjectivity became the vogue during the late 18th century. Die Epoche des Sturm und Drang reicht etwa von 1765 bis 1785. schöpferisch tätig werden. The principal themes tend to be angular, with large leaps and unpredictable melodic contours. Figuren besonders typisch für Sturm und Drang und was für einen Effekt schaffen sie? 1770 bis 1785 festlegen. (1993). Friedrich Schiller's drama, Die Räuber (1781), provided the groundwork for melodrama to become a recognized dramatic form. Ask the expert: Top tips for virtual presentation success; March 23, 2021. Although sharing aspects of neoclassical plays, such as a fairly simple plot and very few changes in the setting, it breaks away from the neoclassical idea that the protagonist must be of noble descent. Proto-Romantic movement in German literature and music, For the play for which the era was named, see, "Storm and Stress" redirects here. prometheus ist die literarische verkörperung des sturm und drang weil Die erste beschäftigt sich mit dem "Sturm" der Gefühle in der Zeit des Sturm und Drang. Folgende Benutzer lernen diese Karteikarte. Heinrich Leopold Wagner was born in Strasbourg on February 19, 1747. This idea of feeling unable to change one's situation is typical of many Sturm und Drang plays. Prometheus (1774) was planned as a drama but not completed, but this poem draws upon it. angemeldet bleiben | Heckscher, William S. (1966–1967) Simiolus: Leidner, Alan. [5], There is much debate regarding whose work should or should not be included in the canon of Sturm und Drang. München: C.H.Beck Verlag, 2. aktualisierte Auflage. (Accessed 21 March 2007). Damit stellt sich Prometheus nicht nur mindestens ebenbürtig neben die Götter (er ist gleichsam selbst ein Gott und verhalf Zeus zu seiner Macht), sondern Goethe nimmt auch Bezug auf den Genie-Begriff der „Sturm-und-Drang“-Epoche, die unter einem Genie einen Menschen verstand, der völlig im Einklang mit sich selbst, der Überwelt und der Natur steht und fast göttliche Fähigkeiten besitzt. Writing for string instruments features tremolo and sudden, dramatic dynamic changes and accents. How neuroscience principles can lead to better learning The Soldiers is most likely Lenz’s most distinct example of Sturm und Drang literature. Geschichte: Sturm und Drang ist eine Gegenbewegung zur Aufklä-rung. 104, No. This relationship led to an epoch known as Weimar Classicism, a style that integrates classical, romantic and enlightenment ideals (Leidner xiv). Although famous for his Sturm und Drang style plays, many of his earlier plays were very classical in style. He studied law and was a member of the literary group surrounding Johann Daniel Salzmann. Wie auch die anderen Hymnen Mahomets Gesang, Ganymed, An Schwager Kronos entstand dieses Werk in Goethes Sturm-und-Drang-Zeit. For other uses, see, Related aesthetic and philosophical movements, E.g. acht Strophen mit unterschiedlicher Anzahl an Zeilen durchgehend reimlos Reimschema ist nicht zu erkennen Einhaltung lyrischer Regeln chaotisch im Bezug auf den formalen Teil des Gedichtes typisches Merkmal: bewusste Widersetzung von Regeln, Gesetzen Sprecher: lyrisches Ich Strangely, the play is set in revolutionary America, not Germany. acht Strophen mit unterschiedlicher Anzahl an Zeilen durchgehend reimlos Reimschema ist nicht zu erkennen Einhaltung lyrischer Regeln chaotisch im Bezug auf den formalen Teil des Gedichtes … The first example of melodrama, Pygmalion influenced Goethe and other important German literary figures.[10]. 19 in C minor, Op. One point of view would limit the movement to Goethe, Johann Gottfried Herder, Jakob Michael Reinhold Lenz, and their direct German associates writing works of fiction and/or philosophy between 1770 and the early 1780s. March 24, 2021. By then Haydn’s turbulent Sturm und Drang phase was already over. Es geht daneben um die Frage, warum gerade Prometheus die Hauptfigur in dem Werk ist. 2007, S. 107. He went to Italy for two years to collect himself and while there discovered the beauty of the Greek and Roman ruins. The plot portrays a conflict between two aristocratic brothers, Franz and Karl Moor. Friedrich Schiller was born in Marbach on November 10, 1759. [15] He was married to Sophie Seyler, the daughter of theatre director Abel Seyler. Prometheus wurde zwischen 1772 und 1774 verfasst. Music in Western Civilization. Six main playwrights initiated and popularized the Sturm und Drang movement: Leisewitz, Wagner, Goethe, Lenz, Klinger, and Schiller. [12] More interesting is the emancipation of the wind instruments in this piece, with the violins yielding to colorful bursts from the oboe and flute. The Columbia Encyclopedia, Hans Jakob Christoffel von Grimmelshausen, Anthony Ulrich, Duke of Brunswick-Wolfenbüttel, https://en.wikipedia.org/w/index.php?title=Sturm_und_Drang&oldid=1010805388, Articles needing additional references from January 2017, All articles needing additional references, Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License, Symphonies, keyboard concertos and sonatas including Symphony in E minor Wq. Belmont: Thomson Schirmer. Ein Genie (über das französische génie vom lateinischen genius, ursprüngl. XVI/44 in G minor (1771-73), Piano Sonata Hob. Daher kannst du an der Strömung des Sturm und Drang sehr anschaulich sehen, wie eng die einzelnen Literaturepochen miteinander verwoben sind. XVI/47 in E minor (1765-67), Piano Sonata Hob. HB Garland, Storm and Stress (London, 1952). Preminger, Alex; Brogan, T. V. F. The Sturm und Drang (“Storm and Stress”) movement, with its emphasis on feeling and individualism, has often … Wagner was best known for his two plays, Die Reue nach der Tat (“The Remorse After the Deed”) in 1775 and Die Kindermorderin (“The Childmurderess”) in 1776. Sturm und Drang (/ˌʃtʊərm ʊnt ˈdræŋ, - ˈdrɑːŋ/,[1] German: [ˈʃtʊʁm ʔʊnt ˈdʁaŋ]; literally "storm and drive", though usually translated as "storm and stress")[2] was a proto-Romantic movement in German literature and music that occurred between the late 1760s and early 1780s. 25 (the 'Little' G-minor symphony, 1773) is one of only two minor-key symphonies by the composer. Dies ist bestimmt kein Zufall und ich gehe davon aus, dass der Charakter eine besondere Rolle für Goethe gespielt hat. The Sturm und Drang movement was a reaction to this lack of nationality and often dealt with the idea of living life on a smaller scale and the desire to become a part of something bigger. The rise of the middle class in the 18th century led to a change in the way society and social standings were looked at. Leidner, Alan C. Sturm Und Drang: The German Library. XVI/32 in B minor (1774-76), String Quartet No. Passwort vergessen? Preminger, Alex; Brogan, T. V. F. 'Prometheus' und 'Ganymed' als Höhepunkte des Sturm und Drang - ein Vergleich: Author: Heike Esser: Publisher: GRIN Verlag, 2007: ISBN: 3638672700, 9783638672702: Length: 56 pages : Export Citation: BiBTeX EndNote RefMan Sturm und Drang: 1767-1785 - Protestbewegung gegen die Vernunft, welche ein wichtiger Bestandteil der Aufklärung ist. Sturm und Drang, (German: “Storm and Stress”), German literary movement of the late 18th century that exalted nature, feeling, and human individualism and sought to overthrow the Enlightenment cult of … He went on to write “Notes on the Theatre”, The New Menoza and Der Hofmeister (“The Tutor”) in 1774, Pandemonium Germanicum in 1775, and Die Soldaten (“The Soldiers”) in 1776 (Liedner xi). Five Plays of the Sturm und Drang. (March 1989). The parallel movement in the visual arts can be witnessed in paintings of storms and shipwrecks showing the terror and irrational destruction wrought by nature. Goethe was the director of theatre at the Weimar Theatre where he eventually ran the entire company. Der Name "Sturm und Drang" stammt vom gleichnamigen Drama Klingers, welcher den Zeitraum von ca 1767 - 1785 umfasst. Literaturwissenschaft (Fach) / Sturm und Drang (Lektion) zurück | weiter. Goethes Prometheus und der Sturm und Drang - GRI Sturm und Drang, (German: Storm and Stress), German literary movement of the late 18th century that exalted nature, feeling, and human individualism and sought to overthrow the Enlightenment cult of Rationalism. erzeugende Kraft, vgl. 178 (1757–62), String Quartet No. By then Haydn’s turbulent Sturm und … Sie ist eine Strömung innerhalb der Aufklärung (1715–1789) und überschneidet sich teilweise mit der Epoche der Empfindsamkeit (1740–1790) und ihren Merkmalen. However, the movement is actually a continuation of the Enlightenment. Groningseck, a lieutenant, seems to be willing to look past social norms and break down walls between the classes, but a fellow officer, Hasenpoth, betrays him (Liedner xii). He studied law at Giessen with the financial help of Goethe’s family. 3 (1772), String Quartet No. Living Theatre: History of Theatre. The Sturm und Drang movement did not last long; according to Betty Waterhouse it began in 1771 and ended in 1778 (Waterhouse v). Goethe was well known for his staging as well as his long dramatic poem Faust (Goethe's Faust) (Wilson and Goldfarb 287). French neoclassicism (including French neoclassical theatre), a movement beginning in the early Baroque, with its emphasis on the rational, was the principal target of rebellion for adherents of the Sturm und Drang movement. The Sturm und Drang literary movement took its name from a 1776 play by Maximilian Klinger set against the background of the American Revolution. 104, No. Prometheus is the creative and rebellious spirit which, rejected by God, angrily defies him and asserts itself; … Mit zu der repräsentativsten Literatur der Sturm-und-Drang-Epoche (1767-1785) gehört das 1773 erschienene Gedicht „Prometheus“ von Johann Wolfgang von Goethe (1749-1839). Many writers of the Sturm und Drang movement considered themselves to be challengers of the Enlightenment. Der Übergang vom Sturm und Drang zur Klassik lässt sich sehr gut an zwei Gedichten von Goethe zeigen: Während sich in "Prometheus" das Lyrische Ich noch als eine Art "zweiter Gott" präsentiert, der sich gegen den ersten, den bisher allmächtigen Obergott erhebt, fügt … Die Hymne entstand bereits um 1774 und stellt neben „Mahomets Gesang“ und … [3] The setting of the play is the unfolding American Revolution, in which the author gives violent expression to difficult emotions and extols individuality and subjectivity over the prevailing order of rationalism. STURM UND DRANG - GENIEZEIT A1 J. W. Goethe: Prometheus (1772-1774) Regieanweisungen Bedecke deinen Himmel, Zeus, Mit Wolkendunst! Das Gedicht von Johann Wolfgang von Goethe „Prometheus“ erschien im Jahr 1774 und ist ein typisches Gedicht der Epoche des Sturm und Dranges, da das lyrische Ich (Prometheus) sich, laut der griechischen Mythologie, gegen Zeus wandte und seinen eigenen Regeln folgte. 14. Writers such as Heinrich Leopold Wagner, Goethe, Lenz, Klinger, and Schiller used episodic structure, violence, and mixed genres to comment on societal rules and morals, while doubting that anything would change. The Classical period music (1750–1800) associated with Sturm und Drang is predominantly written in a minor key to convey difficult or depressing sentiments. Einige fliegende Blätter, a collection of essays that included commentaries by Herder on Ossian and Shakespeare, along with contributions by Goethe, Paolo Frisi (in translation from the Italian), and Justus Möser. The term Sturm und Drang first appeared as the title of a play by Friedrich Maximilian Klinger, written for Abel Seyler's Seylersche Schauspiel-Gesellschaft and published in 1776. The protagonist in a typical Sturm und Drang stage work, poem, or novel is driven to action—often violent action—not by pursuit of noble means nor by true motives, but by revenge and greed. Prometheus sturm und drang merkmale Es wurden 1656 verwandte Hausaufgaben oder Referate gefunden. Welche Merkmale der Sturm und Drang hat und wie er sich von anderen Epochen unterscheidet, erfährst du in diesem Artikel. Another common theme seen in Die Kindermorderin is the idea of society hindering change. »Prometheus« ist ein Gedicht des Sturm und Drang: Die trotzige Selbstbehauptung und der Gestaltungswille des Protagonisten entsprechen dem Menschenbild dieser Epoche. = Titan, der die Menschen aus Erde und Wasser gemacht hat, - Rollengedicht, ein Sprecher spricht Zeus an und stellt ihm provokative Fragen und stellt, sich selbst an die Position von Zeus; der Sprecher beraubt Zeus seines göttlichen Status, - Zeus steht für das Christentim, aber auch stellvertretend für einen absolutistischen Herrscher. 25.[13]. He studied theology and philosophy at the University of Konigsberg. Heartz, Daniel and Bruce Alan Brown. He studied medicine at Karlsschule Stuttgart, a prestigious military academy founded by the Duke of Württemberg. Karthaus, Ulrich: Sturm und Drang. Illustrating an undesirable, conflicted character with no power over her situation who does whatever she can to get through her current state, The Soldiers displays a “well-observed world where one’s identity is fluid – and hopelessly entangled in the social and linguistic environment” (Liedner xi). Goethe's unfinished Prometheus exemplifies this along with the common ambiguity provided by juxtaposing humanistic platitudes with outbursts of irrationality. This page was last edited on 7 March 2021, at 12:23. Here, orchestral accompaniment provides an intense underlay of vivid tone-painting to the solo recitative. Franz is cast as a villain attempting to cheat Karl out of his inheritance, though the motives for his action are complex and initiate a thorough investigation of good and evil. [4], Sturm und Drang came to be associated with literature or music aimed at shocking the audience or imbuing them with extremes of emotion. London: University Press of America, Inc, 1986. v. Print. The clearest musical connections to the self-styled Sturm und Drang movement can be found in opera and the early predecessors of program music, such as Haydn's Farewell Symphony. Sturm und Drang ist die Bezeichnung für die Epoche deutscher Literatur von 1767 bis 1785 und wird auch „Geniezeit“ oder „zeitgenössische Genieperiode“ genannt nach der Verherrlichung des … Works during this period often feature a newly impassioned or agitated element; however, Haydn never mentions Sturm und Drang as a motivation for his new compositional style,[11] and there remains an overarching adherence to classical form and motivic unity. Diese Karteikarte wurde von Owly erstellt. 2, pp. He is remembered for his single complete play, Julius of Taranto (1776), which is considered the forerunner of Schiller's work The Robbers (1781). Goethes Prometheus-Hymne entstand zwischen Herbst 1773 und Herbst 1774, eine genauere Fixierung des Zeitpunktes ist jedoch laut Forschung nicht möglich. He developed a strong relationship with Goethe, one of the most influential writers of the time (Wilson and Goldfarb 287). The literary topos of the "Kraftmensch" existed as a precursor to Sturm und Drang among dramatists beginning with F.M. (eds.). Johann Georg Hamann, a noted German philosopher and a major promoter of the Sturm und Drang movement, “defended the native culture of the Volk and maintained that language, the root of all our experience, was richer in images and more powerful prior to the ‘abstract’ eighteenth century” (Liedner viii). Goethe and Schiller began their careers as prominent members of the movement. Vienna, the center of German/Austrian music, was a cosmopolitan city with an international culture; therefore, melodically innovative and expressive works in minor keys by Haydn or Mozart from this period should generally be considered first in the broader context of musical developments taking place throughout Europe. 26 in G minor, Op. This seemingly spontaneous movement became associated with a wide array of German authors and composers of the mid-to-late Classical period. The philosopher Johann Georg Hamann is considered to be the ideologue of Sturm und Drang; other significant figures were Johann Anton Leisewitz, Jakob Michael Reinhold Lenz, H. L. Wagner, and Friedrich Maximilian Klinger. In act five, his views on God “represent the most blasphemous attack on religion in German literature up to that time… [and] is a masterful work of social dynamics that takes deep German patterns of sensibility into account” (Leidner xiv). griechisch γίγνομαι werden, entstehen, dann auch persönlicher Schutzgott, später Anlage, Begabung) ist eine Person mit überragender schöpferischer Geisteskraft (ein genialer Wissenschaftler, ein genialer Künstler). A Sturm und Drang period is often attributed to the works of the Austrian composer Joseph Haydn from the late 1760s to early 1770s. [9] The literature of Sturm und Drang features an anti-aristocratic slant while seeking to elevate all things humble, natural, or intensely real (especially whatever is painful, tormenting, or frightening). A Titan in Extenuating Circumstances: Sturm und Drang and the Kraftmensch - Volume 104 Issue 2 The Sturm und Drang movement also paid a lot of attention to the language of a piece of literature. They were particularly interested in questions concerning aesthetics. Johann Anton Leisewitz was born in Hanover in 1752 and studied law. Vorderseite 4.8 Prometheus als Symbolfigur des Sturm und Drang. Lenz's use of reserved dialogue, open form, violence, and a combination of comedy and tragedy precursors the works of contemporary authors such as Friedrich Dürrenmatt and Bertolt Brecht (Waterhouse v). Das Gedicht von Johann Wolfgang von Goethe „Prometheus“ erschien im Jahr 1774 und ist ein typisches Gedicht der Epoche des Sturm und Dranges, da das lyrische Ich (Prometheus) sich, laut der … 4 (1769), String Quartet No. The story of hopeless love and eventual suicide presented in Goethe's sentimental novel Die Leiden des jungen Werthers (1774) is an example of the author's tempered introspection regarding his love and torment. Significant theoretical statements of Sturm und Drang aesthetics by the movement's central dramatists themselves include Lenz' Anmerkungen übers Theater and Goethe's Von deutscher Baukunst and Zum Schäkespears Tag (sic). 23 in F minor, Op. Sturm und Drang ist die Bezeichnung für die Epoche deutscher Literatur von 1767 bis 1785 und wird auch „Geniezeit“ oder „zeitgenössische Genieperiode“ genannt nach der … Within the movement, individual subjectivity and, in particular, extremes of emotion were given free expression in reaction to the perceived constraints of rationalism imposed by the Enlightenment and associated aesthetic movements. Mußt mir meine Erde Doch lassen steh'n, Und meine Hütte, Die du nicht gebaut, Und meinen Herd, Um dessen Glut Du mich beneidest. The Sturm und Drang literary movement took its name from a 1776 play by Maximilian Klinger set against the background of the American Revolution. The protagonist in a typical Sturm und Drang stage work, poem, or novel is driven to action—often violent action—not by pursuit of noble means nor by true motives, but by revenge and greed. The obligato recitative is a prime example. Prometheus entspringt dem alten Göttergeschlecht der Titanen. Hallo, Ich muss eine textgebundene Erörterung zu dieser folgenden Aufgabe schreiben: Erörtern Sie, inwiefern Goethe's Götz von Berlichingen und Goethe's Prometheus vergleichbar sind und inwiefern beide Charaktere als Repräsentanten des Sturm und Drang angesehen werden. "Prometheus" is a poem by Johann Wolfgang von Goethe, in which the character of the mythic Prometheus addresses God (as Zeus) in misotheist accusation and defiance. 9 No. Die Kindermorderin was one of the most traditional plays of the Sturm und Drang. Dramatists and writers saw the stage as a venue for critique and discussion of societal issues. The movement soon gave way to Weimar Classicism and early Romanticism, whereupon a socio-political concern for greater human freedom from despotism was incorporated along with a religious treatment of all things natural. In Lenz’s works, tragedies feature characters that make decisions that cause events, and in comedies a resolute milieu pushes and pulls the character through events (Liedner xi). - Themen sindGefühlswelt und Emotionen. Wie auch die anderen Hymnen Mahomets Gesang, Ganymed, An Schwager Kronos entstand dieses Werk in Goethes Sturm-und-Drang-Zeit. And whereas in music Sturm und Drang was a … 20 No. Prometheus sturm und drang merkmale Es wurden 1656 verwandte Hausaufgaben oder Referate gefunden. Some of Klinger’s works include Die Zwillinge (1776), Die neue Arria (1776), Simsone Grisaldo (1776), and Stilpo und seine Kinder (1780). (1993). Blog. Abgesehen von der Auseinandersetzung mit dem Glauben wird in der letzten Strophe der schöpferische Geniegedanke des Sturm und Drang thematisiert, indem sich Prometheus mit dem Schöpfer des Menschen identifiziert. Many Sturm und Drang plays showed interest in how society affects the individual, a common theme in many Enlightenment plays as well. 11 in D minor, Op. Der Zusammenhang von der Hymne und dem gleichnamigen Dramenfragment ist ähnlich oft diskutiert worden wie die Datierung der Hymne. The poem was written between 1772 and 1774 and first published in 1789 after an anonymous and unauthorised publication in 1785 by Friedrich Heinrich Jacobi . [6] The alternative perspective is that of a literary movement inextricably linked to simultaneous developments in prose, poetry, and drama, extending its direct influence throughout the German-speaking lands until the end of the 18th century. He was born into a humble family and struggled financially after the death of his father. However, it is likely the influence of numerous minor-key works by the Czech composer Johann Baptist Wanhal (a Viennese contemporary and acquaintance of Mozart), rather than a self-conscious adherence to a German literary movement, which is responsible for the harmonic and melodic experiments in the Symphony no. 5 (1772), Piano Sonata Hob. Eine Rhapsodie in kabbalistischer Prose) and Johann Gottfried Herder, both from Königsberg, and both formerly in contact with Immanuel Kant. Both of these works are seminal examples of Sturm und Drang in German literature. In Goethes hymnischen Gedicht „Prometheus“, in den Jahren 1772 bis 1774 entstanden, reflektiert das lyrische Ich in einem inneren Monolog die Frage, ob es die Götter oder aber die menschlichen Individuen seien, die auf Erden Kultur erschaffend bzw. 13 in D minor, K. 173 (1773), Buschmeier, Matthias; Kauffmann, Kai (2010). Ask the expert: Top tips for virtual presentation success; March 23, 2021. These pre-romantic works were fashionable in Germany from the 1760s on through the 1780s, illustrating a public audience for emotionally provocative artwork. Leidner, Alan. - Die jungen Autoren fühlen sich von gesellschaftlichen Vorgaben und Traditionen eingeengt. After the Seven Years' War, which ended in 1763, German spirit was extremely high and Germans felt a sense of importance on a grander stage. Rückseite. Johann Wolfgang von Goethe and Friedrich Schiller were notable proponents of the movement early in their lives, although they ended their period of association with it by initiating what would become Weimar Classicism. Klinger utilized a defining characteristic of Sturm und Drang when he mixed aspects of comedy and tragedy throughout the play, stating “ the deepest tragic emotion continually alternates with laughter and joviality" (Liedner xiii). = Titan, der die Menschen aus Erde und Wasser gemacht hat. 1770 bis 1785 festlegen. Musical theater became the meeting place of the literary and musical strands of Sturm und Drang, with the aim of increasing emotional expression in opera. Yet Sturm und Drang is not a term Haydn or his contemporaries would have recognised. 2, pp. It is no wonder that Shakespeare, with his brilliant use of language, originality with complex plot lines and subplots, and multifaceted characters from all social classes, was seen as a model for German writers (Wilson and Goldfarb 287).