(Applause Books). "The complete script to Frank Wedekind's symphony or rather a cacophony of deotic sexual rhetorics. Eric Bentley's achievement here as translator is a beautifully playable and juicy English; his larger gift is the opening to us of what must be ranked as among the supreme masterpieces of nineteenth-century theater." Donald Lyons, The New Criterion
Wedekind's play about adolescent sexuality is as disturbing today as when it was first produced Wedekind's notorious play Spring Awakening was written in 1891 but had to wait the greater part of a century before it received its first complete performance in Britain, at the National Theatre in 1974. The production was highly praised, much of its strength deriving from this translation by Edward Bond and Elisabeth Bond Pablé, 'scrupulously faithful both to Wedekind's irony and his poetry.' The Times This translation of Spring Awakening was first performed at the National Theatre, London on 24 May 1974. For this edition the translator, Edward Bond, has written a note on the play and a factual introduction to Wedekind's life and work.
Wedekind's expressionist plays influenced the whole course of modern drama A moralist who wore the mask of an immoralist, Wedekind was the terror of the German bourgeoisie. His work was censored and the original Lulu play was not even published during his lifetime; Wedekind toned it down and adapted it to make two plays: Pandora's Box and Earth-Spirit. The version in this volume, Lulu: A Monster Tragedy, is based on the first manuscript, presenting the original sexually voracious heroine to a British audience for the first time. The volume also contains Spring Awakening, "a work of great compassion that still has a lot to teach us about the dangers of battening down adolescent sex..." (Guardian). The translation of Spring Awakening ("scrupulously faithful both to Wedekind's irony and his poetry" The Times) was commissioned by the National Theatre and that of Lulu: A Monster Tragedy ("the Bonds' version is sharper and funnier than its predecessors" Guardian) was toured nationally. Both plays are complemented by the translators' historically illuminating introductions.
Wedekind's expressionist plays influenced the whole course of modern drama A moralist who wore the mask of an immoralist, Wedekind was the terror of the German bourgeoisie. His work was censored and the original Lulu play was not even published during his lifetime; Wedekind toned it down and adapted it to make two plays: Pandora's Box and Earth-Spirit. The version in this volume, Lulu: A Monster Tragedy, is based on the first manuscript, presenting the original sexually voracious heroine to a British audience for the first time. The volume also contains Spring Awakening, "a work of great compassion that still has a lot to teach us about the dangers of battening down adolescent sex..." (Guardian). The translation of Spring Awakening ("scrupulously faithful both to Wedekind's irony and his poetry" The Times) was commissioned by the National Theatre and that of Lulu: A Monster Tragedy ("the Bonds' version is sharper and funnier than its predecessors" Guardian) was toured nationally. Both plays are complemented by the translators' historically illuminating introductions.
Benjamin Franklin Wedekind (July 24, 1864 – March 9, 1918), usually known as Frank Wedekind, was a German playwright. His work, which often criticizes bourgeois attitudes (particularly towards sex), is considered to anticipate expressionism, and he was a major influence on the development of epic theatre.-Wikipedia
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Includes the Earth Spirit, The Marquis of Keith and Pandora's Box In Earth Spirit and Pandora's Box, better known as The Lulu Plays, we see Lulu's rapid descent into degradation, culminating in her violent death. She has destroyed a succession of bourgeois males, both disturbed and attracted by her lack of inhibition. In The Marquis of Keith, the eponymous hero destroys his most meaningful relationship through his single-minded pursuit of satisfaction, both sexual and financial.
(Applause Books). "The complete script to Frank Wedekind's symphony or rather a cacophony of deotic sexual rhetorics. Eric Bentley's achievement here as translator is a beautifully playable and juicy English; his larger gift is the opening to us of what must be ranked as among the supreme masterpieces of nineteenth-century theater." Donald Lyons, The New Criterion
“At the beginning stands Wedekind.” So wrote German literary critic Rudolf Kayser in 1917 of the new forms of expressionist theater that were then becoming central to German culture. In Schloss Wetterstein (Castle Wetterstein), one of his most important plays, Wedekind offers a satirical take on marriage and the bourgeois nuclear family; at the play’s center is a rebellious teenage girl who turns to prostitution after her upbringing in an unstable household. The play was published in 1912, but a performance ban was put into effect immediately, and continued until after Wedekind’s death. This new edition offers a fresh translation, an illuminating brief introduction, and a selection of background materials that help to set the play in context.
Wedekind's play about adolescent sexuality is as disturbing today as when it was first produced Wedekind's notorious play Spring Awakening was written in 1891 but had to wait the greater part of a century before it received its first complete performance in Britain, at the National Theatre in 1974. The production was highly praised, much of its strength deriving from this translation by Edward Bond and Elisabeth Bond Pablé, 'scrupulously faithful both to Wedekind's irony and his poetry.' The Times This translation of Spring Awakening was first performed at the National Theatre, London on 24 May 1974. For this edition the translator, Edward Bond, has written a note on the play and a factual introduction to Wedekind's life and work.
Without crime I became a criminal. Without payment I became a whore" Munich, 1906. Klara lives with her singing teacher and his wife. But when a backstreet abortionist is arrested, a secret emerges which theatens to destroy the household's respectability. Frank Wedekind was the great rebel of European theatre, best known for Spring Awakening and the Lulu Plays. In Musik he delivers a blistering attack on middle-class hyprocrisy and double-standards. This exhiliarating adaptation by Neil Fleming opened The Last Waltz Season at the Arcola Theatre, London in March 2005.
Without crime I became a criminal. Without payment I became a whore" Munich, 1906. Klara lives with her singing teacher and his wife. But when a backstreet abortionist is arrested, a secret emerges which theatens to destroy the household's respectability. Frank Wedekind was the great rebel of European theatre, best known for Spring Awakening and the Lulu Plays. In Musik he delivers a blistering attack on middle-class hyprocrisy and double-standards. This exhiliarating adaptation by Neil Fleming opened The Last Waltz Season at the Arcola Theatre, London in March 2005.
In recent decades, developments in research technologies and therapeutic advances have generated immense public recognition for neuroscience. However, its origins as a field, often linked to partnerships and projects at various brain-focused research centres in the United States during the 1960s, can be traced much further back in time. In A New Field in Mind Frank Stahnisch documents and analyzes the antecedents of the modern neurosciences as an interdisciplinary field. Although postwar American research centres, such as Francis O. Schmitt's Neuroscience Research Program at MIT, brought the modern field to prominence, Stahnisch reveals the pioneering collaborations in the early brain sciences at centres in Germany, Austria, and Switzerland in the first half of the twentieth century. One of these, Heinrich Obersteiner's institute in Vienna, began its work in the 1880s. Through case studies and collective biographies, Stahnisch investigates the evolving relationships between disciplines – anatomy, neurology, psychiatry, physiology, serology, and neurosurgery – which created new epistemological and social contexts for brain research. He also shows how changing political conditions in Central Europe affected the development of the neurosciences, ultimately leading to the expulsion of many physicians and researchers under the Nazi regime and their migration to North America. An in-depth and innovative study, A New Field in Mind tracks the emergence and evolution of neuroscientific research from the late nineteenth century to the postwar period.
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