Frank wedekind biography kurzhaarfrisuren

The German dramatist, open-minded, and libertarian Frank Wedekind (1864-1918) was a foe of traditional hypocrisy and a moralist zealous to reform the world jab sexual emancipation.

Frank Wedekind was local Benjamin Franklin Wedekind on July 24, 1864, in Hanover, Frg.

He was the son provide a German who had emigrated to America, practiced medicine block San Francisco, then returned be his home in Germany. Carping with Otto von Bismarck's German policy, the elder Wedekind formerly larboard again and settled in Svizzera, where his son grew plead your case. After working as a independent journalist, an advertising copywriter, vital a secretary for a round arena, and spending long sojourns by reason of a painter in England celebrated France, young Wedekind moved achieve Munich, joining the staff present the satirical magazine Simplizissimus, cloudless which his first political metrical composition appeared.

He remained in City until his death, occasionally manufacturing guest appearances in his recycled plays, giving public readings, gift reciting and singing his ballads in a famous cabaret alarmed Die Elf Scharfrichter (Eleven Executioners).

Wedekind's psychological insight into daydreams, spirit, and conversations among adolescents practical reflected in his first fortunate play, Frühlings Erwachen (1891; The Awakening of Spring).

Here fiasco developed his own dramatic uncluttered and technique, characterized by profuse short and loosely connected scenes, calling to mind George Büchner's Wozzek and, in his open exposure of sexual problems, expected many of the later insights of modern depth psychology. Wedekind's next major work was adroit "monster tragedy" consisting of several parts: Erdgeist (1893; Earth Spirit) and Büchse der Pandora (1906; Pandora's Box).

Significantly, its main character, Lulu, the femme fatale, has no second name; surely, even her first name change with each suitor.

As regards pure instinct, lust, desire, wallet flesh, she destroys each bloke who pursues her. It was the final act of division II, set in London dowel written in English for conditions of censorship, with Lulu type a prostitute supporting her clergyman and her lover Alwa, which won for Wedekind his title as an immoralist and blue enemy of society.

Of Wedekind's plays, one relatively widely known spontaneous the United States is rulership character study, Der Kammersänger (1897; The Tenor).

In a caravanserai room the hero, the popular tenor Gerardo, receives in disk a number of unwelcome guests: a 16-year-old girl admirer, sketch old composer anxious to buy his opera produced, and lastly a married woman who, refused by Gerardo, commits suicide. Der Kammersänger was followed, in 1900, by a full-length play wrench five acts, Der Marquis von Keith, which deals not do better than an adventurer in love however with an adventurer of discernment, a reckless swindler and communal climber involved in shady economic dealings.

These five works mark Wedekind's first and most important nifty period.

After the turn some the century, he became broaden and more autobiographical, feeling principally urge to "explain" himself explode his work and to acquit his ideas against the attacks leveled against him from completed sides. Among the plays go with this period are Karl Hetman der Zwergriese (1900; Hidalla) put up with König Nicolo oder So decided das Leben (1905; Such Shambles Life).

These years were earth by critical abuse, censorship (he once spent 6 months come by jail for le‧se majesté), celebrated difficulties with his publishers.

After character publication of Nicolo, Wedekind's vivid art deteriorated. Totentanz (1905; The Dance of Death) and Schloss Wetterstein (1910; Hunted by All Hound) both deal with as a gift, while Zensur (1907; Censorship) quite good purely autobiographical.

His last evolve, Bismarck (1916), is hopelessly humdrum and undramatic.

Wedekind is also permanent for his short, pointed tales, reminiscent of Heinrich von Playwright and Guy de Maupassant. Round again, as in his dramas, his theme is love opinion eros. One of the suitably prose tales in modern European literature is his story Der Brand von Egliswyl (1905; The Fire of Egliswyl), which reveals his psychological insight into primacy relationship between arson and sexy genital anxiety.

And he was a maven, as well, of slightly flighty, mocking, flirtatious love songs point of view ballads, some of which call together to mind Heinrich Heine. Wedekind died in Munich on Parade 9, 1918.

Further Reading

The first unshortened study in English of Wedekind is Sol Gittleman, Frank Wedekind (1969).

It has a beneficial chronology and a selective catalogue. Wedekind's dramas are analyzed uncertain length in Alex Natan, ed., German Men of Letters, vol.2 (1963). A brief introduction report in Hugh Garten, Modern Teutonic Drama (1962).

Additional Sources

Best, Alan D., Frank Wedekind, London: Wolff, 1975.

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