The community, he said, is divided by geography, "by dialect, by religion, by looks, by food habits, by cultural habits".
And some, such as Bavaria or Saxony, which call themselves "Freistaat", are highly aware of their own cultural identity highlighted by dialect, dishes and customs.
In the early decades of the century, regionalism was a strong element, particularly in the novel; and authors adopted language coloured by dialect, thus becoming identified with their region.
NIGHT AND DAY By Tom Stoppard; directed by Ernest Johns; sets by Robert J. Martin; lighting by Giles Hogya; costumes by Susan Soetaert; original music and sound by Ellen Mandel; dialect coaching by Amy Stoller.
THE PHILANTHROPIST By Christopher Hampton; directed by David Grindley; sets by Tim Shortall; costumes by Tobin Ost; lighting by Rick Fisher; sound by Gregory Clarke; dialect coach, Gillian Lassociateiartisticiate artistic director, Scott Ellis.
KIN By Bathsheba Doran; directed by Sam Gold; sets by Paul Steinberg; costumes by David Zinn; lighting by Jane Cox; sound by Matt Tierney; dialect coach, Stephen Gabis; production manager, Christopher Boll; production stage manager, Alaina Taylor.
BOSS GRADY'S BOYS By Sebastian Barry; directed by Ina Marlowe; sets, lighting and sound by Eric Nightengale; costumes by Moira Shaughnessy; dialect coach, Susan Cameron; graphic design by Steven Zeller; stage manager, Kimberly Reiss.
THE BREAK OF NOON By Neil LaBute; directed by Jo Bonney; sets by Neil Patel; costumes by ESosa; lighting by David Weiner; music by Justin Ellington; sound by Darron L West; special effects by Matthew Holtzclaw; dialect coach, Stephen Gabis; wigs by J. Jared Janas and Rob Greene.
BETRAYAL By Harold Pinter; directed by David Leveaux; sets and costumes by Rob Howell; lighting by David Weiner; sound by Donald DiNicola; dialect coach, Kate Wilson; production stage manager, Arthur Gaffin; general manager, Sydney Davolos; associate artistic dirctor, Scott Ellis.
BLOOD FROM A STONE By Tommy Nohilly; directed by Scott Elliott; sets by Derek McLane; costumes by Theresa Squire; lighting by Jason Lyons; sound by Bart Fasbender; special effects by Jeremy Chernick; dialect coach, Doug Paulson; associate artistic director, Ian Morgan; artistic associate, James Gittins.
THE GLORY OF LIVING By Rebecca Gilman; directed by Philip Seymour Hoffman; sets by Michelle Malavet; costumes by Mimi O'Donnell; lighting by James Vermeulen; original music and sound by David Van Tieghem; fight direction by Rick Sordelet; dialect coach, Kate Wilson; production stage manager, Stacy P. Hughes; production manager, Lester P. Grant.
