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.

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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

Frank Wedekind's 'Erdgeist' (Earth-Spirit) delivers a profound commentary on the shifting paradigms of sexuality and societal norms at the turn of the 20th century. Heralding expressionism, Wedekind's play stands out for its daring, non-conformist portrayal of its protagonist, Lulu, and its libertine exploration of human desires and existential despair. The literary style is underlined by its raw themes and the employment of a metaphoric 'Animal Tamer' to introduce characters, evoking a sense of predestined tragedy and the primal forces shaping human destiny. Embedded deeply within the German theatrical tradition, this work transcends its immediate context to offer universal insight into the human condition. Frank Wedekind, as an author and dramatist, brilliantly encapsulates the social and sexual tumult of his era. A contributor to the avant-garde, he leveraged his acerbic wit and intimate awareness of the social strata to craft 'Erdgeist'. Drawing perhaps on his own tumultuous relationship with social mores and authority, Wedekind's writing exemplifies the struggle between the individual's raw essence and the veneer of civilization, with Lulu as the epitome of this conflict. His works are often seen as precursory critiques of bourgeois society and its hypocrisy, which makes 'Erdgeist' a bold statement within his oeuvre. Recommended for connoisseurs of early modernist literature, 'Erdgeist' is an unflinching journey through the complex interplay of power, sexuality, and identity. The play's rich, interpretative nature makes it essential reading for scholars and students of dramatic arts and German literature, as well as those interested in the roots of feminist theory in drama. Readers will find in Wedekind's masterpiece a compelling and evocative work that continues to resonate with contemporary questions of freedom and societal constraint.

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That it is a fatal error to bring up children, either boys or girls, in ignorance of their sexual nature is the thesis of Frank Wedekind's drama "Frühlings Erwachen." From its title one might suppose it a peaceful little idyl of the youth of the year. No idea a could be more mistaken. It is a tragedy of frightful import, and its action is concerned with the development of natural instincts in the adolescent of both sexes. The playwright has attacked his theme with European frankness; but of plot, in the usual acceptance of the term, there is little. Instead of the coherent drama of conventional type, Wedekind has given us a series of loosely connected scenes illuminative of character-scenes which surely have profound significance for all occupied in the training of the young. He sets before us a group of school children, lads and lassies just past the age of puberty, and shows logically that death and degradation may be their lot as the outcome of parental reticence.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Step into the provocative world of Frank Wedekind's "Erdgeist (Earth-Spirit)," a powerful tragedy that explores the darker aspects of human desire and societal decay. As the first part of the 'Lulu' plays, this drama sets the stage for a stark portrayal of a world driven by lust and greed. In the prologue, characters are introduced by an 'Animal Tamer,' presenting them as if they are exotic creatures in a traveling circus. Lulu, described as "the true animal" and "the primal form of woman," embodies the raw, untamed essence of femininity and desire that challenges societal norms. Ever wondered how a single character could represent the primal forces of nature and human instinct? How does Lulu’s portrayal as a wild, beautiful animal reflect the tumultuous themes of the play? Immerse yourself in the unsettling drama of "Erdgeist (Earth-Spirit)," and witness Wedekind’s critique of a society consumed by its own base impulses. This play not only offers a gripping narrative but also a deep exploration of human psychology and societal constraints. Are you ready to confront the primal forces at the heart of Erdgeist (Earth-Spirit)? Experience Wedekind’s bold vision of human nature and societal dysfunction. "Erdgeist (Earth-Spirit)" is a must-read for those intrigued by powerful dramas that delve into the complexities of desire and morality. Don’t miss the chance to explore this dramatic masterpiece. Purchase "Erdgeist (Earth-Spirit)" now and immerse yourself in the raw, unfiltered depiction of humanity. Uncover the primal elements of Wedekind’s world. Buy "Erdgeist (Earth-Spirit)" today and delve into the intense drama of this groundbreaking tragedy.

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.

Pandora's Box (1904) (Die B�chse der Pandora) is a play by the German dramatist Frank Wedekind. It forms the second part of his pairing of 'Lulu' plays (the first is Earth Spirit [1895]), both of which depict a society "riven by the demands of lust and greed".G. W. Pabst directed a silent film version (Pandora's Box), which was loosely based on the play, in 1929. Both plays together also formed the basis for the opera Lulu by Alban Berg in 1935 (premiered posthumously in 1937).In the original manuscript, dating from 1894, the 'Lulu' drama was in five acts and subtitled 'A Monster Tragedy'. Wedekind subsequently divided the work into two plays: Earth Spirit (German: Erdgeist, first printed in 1895) and Pandora's Box (German: Die B�chse der Pandora). It is now customary in theatre performances to run the two plays together, in abridged form, under the title Lulu. Wedekind is known to have taken his inspiration from at least two sources: the pantomime Lulu by F�licien Champsaur, which he saw in Paris in the early 1890s, and the sex murders of Jack the Ripper in London in 1888.The premiere of Pandora's Box, a restricted performance due to difficulties with the censor, took place in Nuremberg on 1 February 1904. The 1905 Viennese premiere, again restricted, was instigated by the satirist Karl Kraus. In Vienna Lulu was played by Tilly Newes, later to become Wedekind's wife, with the part of Jack the Ripper played by Wedekind himself.