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A thorough interpretation of Schnitzler's dramas, published after World War I, shows a distinct development toward maturity. This can be seen in the complexity of his characters, especially women who manifest personal freedom of choice in their lives. The idea of equating «home or returning home» with «love» is new and indica- tive of the maturing process. The theme of age or aging is inter- preted differently. Recurring «Leitgestalten» and «Leitmotive» emphasize Schnitzler's process of ethical and moral revaluation in his late dramatic works. Contrary to common assumptions, these dramas continue to demonstrate the importance Schnitzler's as a dramatist.
Foreword by Stanley Elkin Flirtations -- La Ronde -- Countess Mitzi, or The family reunion -- Casanova's homecoming -- Lieutenant Gustl.
This is a unique collection of seven of Schnitzler's best known plays in a new English translation. They explore love, sexuality, and death in various guises, against the backdrop of turn-of-the-century Viennese decadence. The introduction explores the plays in relation to Schnitzler's life, to the culture of late twentieth-century Vienna, and to Modernism in general. - ;Flirtations * Round Dance * The Green Cockatoo * The Last Masks * Countess Mizzi * The Vast Domain * Professor Bernhardi The playwright Arthur Schnitzler is best known as the chronicler of fin de si--egrave--;cle Viennese decadence. Round Dance, written in the late 1890s, exposes sexual life in Vienna with such witty frankness that it could not be staged until after the First World War, when it provoked a riot in the theatre and a prosecution for indecency. The other plays in this collection explore love, sexuality, and death in various guises, always with a sharp, non-judgemental awareness of the complexity and mystery of the psyche. Acquainted with Freud and his circle, Schnitzler probes beneath the surface of his characters to uncover emotions they barely understand. And in the tragicomedyProfessor Bernhardi, Schnitzler addresses the growing anti-Semitism of the period. - ;Davies's translation once again brings us closer to a masterpiece of modern drama written before the twentieth century had even begun. - Leo A Lensing, TLS
Austrian playwright Arthur Schnitzler (1862-1931), one of the seminal forces in world drama, was also a novelist and practicing physician. His four dramatic works in this volume (La Ronde, Anatol, The Green Cockatoo, and Flirtation) are among the most celebrated plays of the 20th century. Much like his contemporary Sigmund Freud, Schnitzler's work is inextricable from the social and intellectual milieu, which accompanied the decline of the Austro-Hungarian Empire. This was the age of the "Viennese Secessionists", exemplified by composers such as Berg, Webern, and Schoenberg, painters Gustav Klimt and Oskar Kokoschka, the foundations of modern architecture, and Zionism. To add to the ferment, Freud introduced his theories of sexuality. It was from within this maelstrom that Schnitzler wrote his plays. He wrote with charm and grace and with great compassion for the fraility of humankind. These plays are regularly performed throughout the world and are acclaimed as masterpieces of modern theater. Mueller's translations of plays include works by Brecht, Buchner, Wedekind, Hauptmann, Strindberg, and Sophocles.
New translations of works by the master playwright, including scenes and entire works not available elsewhere
This second volume of Austrian Folk Plays gives further evidence of the popularity of this form among contemporary writers. In the late nineteenth century the folk play had fallen into disrepute as trivial literature but in the 1920 it began to be restored to prominence and after World War II writers rediscovered the form and believed that it was ideally suited to treat contemporary social problems.
First English publication of a recently rediscovered novella by one of the greatest European writers One seemingly ordinary evening, Eduard Saxberger arrives home to find the fulfilment of a long-forgotten wish in his sitting room: a visitor has come to tell him that the youth of Vienna have discovered his poetic genius. Saxberger has written nothing for thirty years, yet he now realises that he is more than merely an Unremarkable Civil Servant, after all: a Venerable Poet, for whom Late Fame is inevitable - if, that is, his new acolytes are to be believed... Arthur Schnitzler was one of the most admired, provocative European writers of the twentieth century. The Nazis attempted to burn all of his work, but his archive was miraculously saved, and with it, Late Fame. Never published before, it is a treasure, a perfect satire of literary self-regard and charlatanism. Arthur Schnitzler (b. 1862 in Vienna) was one of the most influential European writers of the twentieth century, perhaps best known here for his novellas Dream Story and Fräulein Else. He qualified as a doctor but was increasingly driven to a career in writing, resulting in several celebrated plays, novellas and novels which explore the great existential subjects of the modern age: relationships, love, sex, ageing and death. Because his work dealt with subjects considered taboo, he frequently attracted the hostility of the authorities, consequently losing his position as Chief Medic in the Reserve Army and being tried for disorderly conduct. Schnitzler was close friends with Stefan Zweig and Sigmund Freud, who both admired him greatly, and a member of the 'Young Vienna' circle of writers who regularly met at a café nicknamed 'Café Megalomania' - the very same clique and café he satirises so deliciously in Late Fame. Schnitzler died in 1931. Pushkin Press also publishes his novellas Fräulein Else, Dying and Casanova's Return to Venice.