Hauptmann, Wedekind and Schnitzler by Peter N. Skrine
By Peter N. Skrine
This learn appears to be like on the paintings of 3 German language dramatists, Gerhart Hauptmann, Arthur Schnitzler and Frank Wedekind. those 3 figures are considered as crucial German-language dramatists among Ibsen and Brecht. jointly, their paintings offers a consultant photo of drama in Germany/Austria within the interval 1889-1914, while Vienna and Berlin loved a heyday of literary and cultural task. those dramatists handled the the most important social questions of the interval, and during this research Peter Skrine seems at their therapy of youngster, intercourse, marriage, conversation, urban existence, technological swap and the ethical, social and private offerings dealing with the pondering individual within the past due nineteenth and early twentieth century.
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She senses the breath of fresh air al ready blowing in from the twentieth century (as she teIls Johannes in Act IV), yet she also realises more clearly than he does that the freedom of thought and action for wh ich they both long is still far off. A homeless outsider herself (her parents were sent to Siberia), 35 Hauptmann. Wedekind and Schnitzler she is drawn to the cosy German domesticity of the Vockerats' horne, whereas Johannes is drawn to her because he feels stifled by the household's normality and stability, personified in his over-possessive mother and his wife, whose debilitated physical state and intellectual inferiority complex conceal underlying strengths of character which will prove a match even for Anna.
I've got so fond of you all. KÄ THE. I'm not sure that I have. ANNA. Oh Käthe, do have a look! - Is that one? - That one there? KÄ THE. Yes, there 's one left. ANNA. Can I have it? KÄ THE. Yes, Anna, take it. ANNA (quickl)' taking it and putting it in her packet). And now you'll all forget all about me. Oh, Käthe! ) KÄ THE. No, I won 't, really, 1'11 always remember you and ... ANNA. Love me? KÄTHE. Yes, Anna, of course. ANNA. Do you really love me? KÄTHE. What do you mean? ANNA. Aren't you just a little bit glad I'm going?
Wilhelm, growing tenser by the minute, senses that his girlfriend Ida feels hurt 32 Gerhart Hauptmann by the behaviour of his family; his nervousness erupts as he teils the carol-singers to shut up; the siblings quarrel; father, as usual, intervenes; tempers snap; and Wilhelm's efforts to pour oil on troubled waters have the opposite effect. When his hand happens to touch his father's arm, the latter's reflex action is symptomatic. Relapsing into the past under the pressure of the moment, he once again assurnes that his own son is assaulting hirn.