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Word: wedekind (lookup in dictionary) (lookup stats)
Dates: during 1960-1969
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Usage:

...quiet way, Tom Babe has spent the term making a contribution to Harvard drama that will not soon be equalled. His production of Wedekind's Spring's Awakening was the most ambitious and most successful on the Loeb mainstage this spring. Soon after, he proved himself an inventive comedian in the HDC's production of The Importance of Being Earnest. A month later his article on the Loeb appeared in the Spring issue of the Harvard Review, and on the same subject, he ably represented the forces of sanity at the panel discussion on drama held at Leverett House. Last...

Author: By Tim Hunter, | Title: The Pelican | 5/23/1966 | See Source »

...know what Babe thinks of the play; one sensed an ambiguous reaction on his part. On the one hand, he has been respectful towards Frank Wedekind, leaving Springs Awakening almost uncut where cutting would have been kind. On the other hand, he has Brechtified the production with prop-changes by actors and a general milling-about on the stage and singing of songs before each of the three acts...

Author: By Donald E. Graham, | Title: Spring's Awakening | 3/4/1966 | See Source »

Lulu is indeed a spellbinder, a power ful, unrelenting tragedy of sex. Berg wrote the opera in the early '30s and shaped his libretto from two plays by the great German Dramatist Frank Wedekind (1864-1918), who was obsessed by the fury, the brevity and the desolation of the pursuit of sexual pleasure. As Wedekind's translator put it, "he dealt in 'the hellish drive out of which no joy remains alive.' " In both of his plays, Erdgeist (Earth-Spirit) and Die Büchse der Pandora (Pandora's Box), Wedekind centered this hell...

Author: /time Magazine | Title: Opera: The Hellish Drive | 8/16/1963 | See Source »

Contradictory Feminine. Berg based his tortured opera on two plays (Erdgeist and Die Büchse der Pandora) by erotic, tormented Frank Wedekind (1864-1918). In German Playwright Wedekind's mind-and in Berg's-Lulu is an amalgam of all the contradictory feminine instincts: she is innocent and worldly, timid and rapacious, sentimental and heartless. Before the garishly painted curtain rises on a circus ring, a ringmaster invites the audience to witness the spectacle of the human circus, then calls: "Bring in our snake." In comes an assistant carrying Lulu, dressed in long black stockings...

Author: /time Magazine | Title: Music: Period Piece | 1/25/1960 | See Source »

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