The Plays in Translation

Almost all the Hauptmann plays discussed in this book exist in more or less acceptable English translations, though some are more easily available than others. Most of his plays up to 1925 are contained in Ludwig Lewisohn's 'authorized edition' of the Dramatic Works, in translations by different hands: its nine volumes appeared between 1912 and 1929 (New York: B.W. Huebsch; and London: M. Secker). Some of the translations in the Dramatic Works had been published separately beforehand or have been reprinted since: examples are Mary Morison's fine renderings of Lonely Lives (1898) and (1899), and Charles Henry Meltzer's dated attempts at Hannele (1908) and (1899). More recent collections are Five Plays, translated by Theodore H. Lustig with an introduction by John Gassner (New York: Bantam, 1961), which includes The Beaver Coat, Drayman Henschel, Hannele, Rose Bernd and The Weavers; and : Three Plays, translated by Horst Frenz and Miles Waggoner (New York: Ungar, 1951, 1980), which contains

150 The Plays in Translation renderings into not very idiomatic English of The Weavers, Hannele and The Beaver Coat. Recent translations are Peter Bauland's Be/ore Daybreak (Chapel HilI: University of North Carolina Press, 1978), which tends to 'improve' on the original, and Frank Marcus's The Weavers (London: Methuen, 1980, 1983), a straightforward rendering with little or no attempt to convey the linguistic range of the original.

Wedekind's can be read in two lively modem translations, one made by Tom Osbom for the Royal Court Theatre in 1963 (London: Calder and Boyars, 1969, 1977), the other by (London: Methuen, 1980). The plays are available in a translation by Stephen Spender: The Lulu Plays and Other Sex Tragedies (London: Calder, 1977; New York: Riverrun, 1978). This collection (wh ich also includes two minor works, Death and Devil and Castle Wetterstein) was originally published in 1952. The stage adaptation of both Lulu plays into one by Peter Barnes was published by Heinemann in 1971; his stage version of The Tenor can be found in The Frontiers 0/ Farce (London: Heinemann, 1977) as The Singer. There is a translation of King Nicolo; or, Such is Li/e in Martin Esslin's The Genius 0/ the German Theater (New York: New American Library, 1968).

Many attempts have been made to translate the famous Schnitzler plays into English. GranvilIe Barker's stage paraphrase of Anatol (first published in London and New York in 1911 and reprinted several times since) remains an outstanding achievement and gives the play a convincing Edwardian flavour, while the version by Frank Marcus (London: Methuen, 1982) provides greater accuracy. Aversion by Charles Osborne figures in his The Round Dance and Other

151 Hauptmann, Wedekind and Schnitzler Plays (Manchester: Carcanet, 1982), which also includes Games (Liebelei). Another recent version of Liebelei, entitled Flirtations (translated by Arthur S. Wensinger and Clinton J. Atkinson) is to be found in : Plays and Stories, which is vol. 55 of The German Library (New York: Continuum, 1982). This volume also contains Countess Mitzi, or The Family Reunion in a revised translation by Edwin Bjorkman, and Eric Bentley's translation of Reigen, here called , wh ich had previously appeared under the title Round Dance in Bentley' s The Classic Theater (New York: Doubleday, 1959) and elsewhere. Another version which has made several appearances in print is by Frank and Jacqueline Marcus; most recently this has been published as La Ronde (London; Methuen, 1982). earl Richard Mueller's 1967 translation has been reprinted in An Anthology of Austrian Drama, ed. Douglas A. Russell (East Brunswick, NJ: Farleigh Dickinson University Press, 1982) along with The Game of Love, his version of Liebelei. The stage adaptation by John Barton of Sue Davies' translation of Reigen has been published by Penguin (Harmondsworth, 1982) as La Ronde. There are at least five other English translations of this notorious play. The Green Cockatoo can be found along with six of the Anatol playlets and The Lady with the Dagger, Last Masks and Literature from the Living Hours quartet in Grace Isabel Colbron's translation in Schnitzler: One-Act Plays (Great Neck, NY: Core, 1977). There is also an older translation in Horace B. Samuel, The Green Cockatoo and Other Plays (London and Edinburgh: Gay and Hancock, 1913), which also includes The Companion (here called The Mate) and Paracelsus. The English version of Professor Bemhardi used for the 1936 production was published by Victor Gollancz (London, 1936), and is also included in the same publisher's Famous Plays of 1936. Tom Stoppard's Dalliance, his stage-version of Liebelei, has been published by Faber and Faber (London, 1987) in the same

152 7he Plays in Translation volume as Undiscovered Country, his masterly English adaptation of Das weite Land. While his adaptations may not always be quite accurate and may offend the purist, they succeed in capturing the essence of Schnitzler's subtle and elusive plays for today's audiences and readers.

153 The Personalities

A number of distinguished names associated with the Austrian and German theatre and with the plays ofHauptmann, Wedekind and Schnitzler have been mentioned in the course of this book. These brief notes are provided to help readers place them in context.

Producers

Otto Brahm (1856-1912). Academically trained critic and literary biographer, he campaigned for the new during the 1880s. Founder ofthe 'Freie Bühne' Association in , 1889-94, then director of the Deutsches Theater in Berlin, he became director of the Lessing-Theater from 1904 until his death. 's leading Naturalist producer, exponent of authentie milieux and situations, he saw it as his duty to allow the gifts of his actors to reveal themselves naturally and to preserve the artistic integrity of the works he produced. He was noted for the emphasis he gave to ensemble work and to the

154 The Personalities creation of a consistent atmosphere on stage. He enjoyed dose working relationships with both Hauptmann and Schnitzier , but plans to direct the premiere ofWedekind's Hidalla fell through. During the legendary Brahm era some 3000 performances were given, of which 1169 were of plays by Hauptmann: in all, twenty-two Hauptmann productions were staged, of which thirteen were 'firsts'. His fifteen productions of Schnitzier were equally famous: eleven were of new plays. He also put on thirteen productions of Ibsen.

Paul Schienther (1854-1916). Friend of and dramatic critic ofthe Berlin liberal daily Vossische Zeitung from 1886 to 1898. An ardent Ibsenite, he became director of the in 1898 and in the same year Hauptmann's first biographer. He quarrelIed with Schnitzler in the 1900 - I season with the result that Schnitzler went over to Brahm in Berlin. His wife, the actress Paula Conrad-Schlenther, created Hannele and Frau Flamm (in Hauptmann's Rose Bernd).

Max Reinhardt (1873 -1943). Discovered by Brahm and brought to Berlin from Salzburg in Austria in 1894, he acted at the Deutsches Theater until 1902, specialising in older men and creating the role of Michael Kramer in Hauptmann's play of the same name. He then left Brahm' s ensemble to take charge of the new Kleines Theater and open his own Neues Theater. He was soon Brahm's competitor in Berlin, and in 1905 took over his Deutsches Theater. He went on to become the most successful theatre producer of the period. In 1920 he founded the Salzburg Festival. He emigrated to the United States in 1933, and died in Hollywood. A brilliant producer, he stressed the visual and the evocative, and insisted on darity of diction, even favouring the use of a chorus. A noted producer of Wedekind and Hauptmann, he never attempted Schnitzler, owing to an early misunderstanding.

155 Hauptmann, Wedekind and Schnitzler Viktor Barnowsky (1875 -1952). Influential Berlin director and producer at theatres such as the Kleines Theater and Lessing­ Theater. EspeciaJly noted for his Wedekind.

Actresses and actors

Adele Sandrock (1864 - 1937). Star of the Vienna Volkstheater and of the Burgtheater. She created many major roles, including Christine in Liebelei and Countess Geschwitz in the first Vienna production of Pandora 's Box. A famous Annie in Schnitzler's Anatol and Princess in Wedekind's Love Potion, she had a whirlwind romance with Schnitzler and was the original of the actress in The Round Dan ce .

Agnes Sorma (1865 -1927). A classical actress who was also a noted interpreter of roles by Ibsen, Sudermann, Hauptmann and Schnitzler: she was a particularly lovely Christine in Liebelei. Based in Berlin and associated for a time with the Brahm ensemble, she broke away in 1897, performing in New York (Rautendelein in The Sunken Bell, a role she had created). She joined 's ensemble in 1904. Ambitious, rich and beautiful, she became a celebrated Candida in Shaw and Mrs Alving in Ibsen's Ghosts. She later enjoyed a second career in films, specialising in character parts as an elderly lady.

Else Lehmann (1866-1940). The outstanding Naturalist actress in Berlin and star of the Deutsches Theater and Lessing­ Theater. The epitome of the Hauptmann woman, she created Helene Krause and Rose Bemd, Frau John and Hanne Schäl. She retired from the stage after Brahm's death in 1912.

Gertrud Eysoldt (1870 -1950). A Reinhardt actress much

156 The Personalities praised for her fascinating interpretations of Strindberg and Wedekind roles; she was a celebrated Lulu.

Tilly Newes (1886 -1970). An Austrian actress who attracted attention as Leontine in Hauptmann's The Beaver Coat. Wedekind promoted her career and married her in 1906. She became a famous exponent of his major female roles and often played them opposite hirn.

Ida OrlotT (1889-1945). A Brahm discovery. Played Lulu, and Klara in Wedekind's Music. Hauptmann was captivated by her portrayal of Hannele and created his Pippa for her in 1906 when she was sixteen. Her affair with Hauptmann was short-lived. She moved from Berlin to Vienna in 1910. By then her brief career as an enchantingly popular actress was almost over.

Paula Wessely (born 1907). Vienna-based actress. A fine Christine in Schnitzler's Liebelei (in 1933) and Genia Hofreiter in The Vast Domain (in 1959). She was also a noted Wendia in Wedekind's Spring Awakening and Rose Bernd in Hauptmann's play.

Emanuel Reicher (1849 -1924). Germany' s first great Naturalist actor. Closely associated with the breakthrough of Ibsen in Germany, he became a mainstay ofBrahm's ensemble. A fine Ibsen actor, he created Johannes Vockerat In Hauptmann's Lonely Li ves , and produced The Weavers in English (New York, 1915).

Oscar Sauer (1856-1918). A leading member of Brahm's ensemble, with a particular gift of bringing out character and making even minor roles interesting. A noted Wehrhahn in Hauptmann's The Beaver Coat, he suffered from spinal

157 Hauptmann, Wedekind and Schnitzler paralysis, which later in his career forced hirn to act in a sitting position.

Josef Kainz (1858 -1910). Famous actor associated with the Deutsches Theater in Berlin until 1899, when he moved to the Vienna Burgtheater to become the most highly regarded German classical actor of his day. Though less happy in contemporary drama, he created Wilhelm Scholz in The Reconciliation, Bäcker in The Weavers and Heinrich in The Sunken Bell. He also played the titIe role in Schnitzler's Paracelsus and had hoped to create those of Hofreiter in Schnitzler's The Vast Domain and the Marquis von Keith in Wedekind's play. Hauptmann echoed the general opinion when he called hirn 'a prince among actors'.

Albert Bassermann (1867-1952). Joined Brahm's ensemble in 1900 but went over to Reinhardt in 1909. Especially successful in Ibsen, he was also a notable Crampton in Hauptmann's comedy Colleague Crampton, and created the part of Sala in Schnitzler's The Lonely Way (Berlin, 1904). After the death ofKainz in 1910 he was widely regarded as the leading German actor. He starred in Leopold Jessner's Erdgeist film of 1923 opposite Asta Nielsen. He later emigrated to the United States, but returned to Germany after the war.

Rudolf Rittner (1869 -1943). Actor closely associated with Brahm's ensemble at the Deutsches Theater, and with the Lessing-Theater in Berlin. Germany's leading Naturalist actor, he created and played many important Hauptmann roles (Florian Geyer, Henschel, Flamm, and the forest goblin in The Sunken Bell). He gave up acting in 1907 at the height of his powers to take up farming in .

Werner Krauss (1884 -1959). Often played under Reinhardt

158 The Persona/ities in Berlin. A noted SchigoIch in Wedekind's Lulu plays, he also created the part of Clausen in Hauptmann' s Before Sunset, playing it in London in 1933 in Miles Malleson's English adaptation.

159 The Theatres

Berlin

Deutsches Theater (opened 1883). Set up by a group of actors in 1883 with a view to performing the classics free from conventional melodramatic pathos. Owned and managed by the popular playwright Adolph L' Arronge, its policy stressed careful casting and production, rehearsal and ensemble work. Under Otto Brahm (1894-1904) it became the horne of German . In 1905 it was taken over by Max Reinhardt.

Lessing-Theater (opened 1888). Managed by Oscar BlumenthaI, it concentrated on contemporary problem-plays, opening with Ibsen's A Doll's House. BlumenthaI was quick to see the financial advantages ofthe new Naturalism (especially Sudermann and Duse) , and provided space for the Freie Bühne. From 1904 to 1912, under Otto Brahm, it became the Naturalist house. It was taken over by Viktor Barnowsky in 1913.

160 The Theatres Residenz-Theater (founded 1871). Specialised in light entertainment and social comedy in the French manner and excelled in the conversational style. It later backed Ibsen and Strindberg.

Kleines Theater. From 1902 run by Max Reinhardt and from 1905 by Barnowsky. The first Berlin production ofWedekind's took place there in 1902.

Kammerspiele. A small experimental theatre (1906) associated with Reinhardt. The premiere ofWedekind's Spring Awakening was given there in 1906.

Neues Theater. Another Reinhardt house wh ich played Wedekind.

Freie Bühne (Berlin Free Stage Society). Set up in April 1889, it was modelled on Andre Antoine's experimental TMätre Libre (1887) in Paris. Its first season consisted often Sunday matinees in the Lessing-Theater; it then moved to the Residenz-Theater. Its stage activities were sporadic after 1891.

Vienna

Burgtheater (Imperial Court Theatre). Was and still is the principal theatre in Vienna. Founded in 1776, it moved to its new location in the Ringstrasse in 1888. Under Max"Burckhard (1890-8) it broadened its repertoire to inc1ude modern drama (lbsen, Hauptmann and Schnitzier), but Burckhard's pioneering zeal led to conflict with the authorities and to his resignation. He was succeeded by Paul SchIenther (1898-1910). Thirteen Schnitzler plays were premiered at the Burgtheater between 1895 and 1931.

161 Hauptmann, Wedekind and Schnitzler Theater in der Josefstadt. From 1899 this venerable theatre promoted modern drama and was later associated with Max Reinhardt and Schnitzler's producer son Heinrich Schnitzler. It played Wedekind and was an early promoter of Schnitzler's Anatol.

Deutsches Vo\kstheater. Opened in 1889. Its policy was to provide high-quality, middle-of-the-road entertainment. Its repertoire embraced classical and modern plays.

Munich

Schauspielhaus. Under the direction of Georg Stolberg this theatre was closely associated with Wedekind as actor, producer and literary adviser. The first 'Wedekind season', with the playwright and Tilly Newes in all the leading roles, was put on there in 1906.

Künstlertheater . Opened in 1908 and aimed to renew the German theatre by rejecting the Naturalist tradition. Plays were to be presented as such; the auditorium was an amphitheatre facing a shallow stage on which the action could be presented like a stylised fresco or bas-relief.

162 Select Bibliography

Critical Works in English

HAUPTMANN H. F. Garten, Gerhart Hauptmann (Cambridge: Bowes and Bowes, and New Haven: Yale University Press, both 1954); and 'Gerhart Hauptmann', in German Men of Letters, ed. Alex Natan (London: Wolff, 1961) pp. 235-49. Margaret Sinden, Gerhart Hauptmann: The Prase Plays (Toronto: University of Toronto Press, 1957): remains the best academic study of Hauptmann's drama in English.

WEDEKIND Alan Best, Frank Wedekind (London: Wolff, 1975). Elizabeth Boa, The Sexual Circus: Wedekind 's Theatr.e of Subversion (Oxford: Basil Biackwell, 1987). Sol Gittleman, Wedekind, Twayne's World Author Series no. 55 (New York: Twayne, 1969). Alex Natan, 'Frank Wedekind', in German Men of Letters 11, ed. Natan (London: Wolff, 1963) pp. 103-29.

163 Hauptmann, Wedekind and Schnitzler SCHNITZLER H. B. Garland, 'Arthur Schnitzier' , in German Men ofLetters 11, ed. Alex Natan (London: Wolff, 1963) pp. 57-75. Martin Swales, Arthur Schnitzler: A Critical Study (Oxford: Clarendon Press, 1971). Reinhard Urbach, Arthur Schnitzler (New York: Ungar, 1973). See too the informative articles by Stephanie Hammer and Gerd Schneider on the American stage-history of Anatol, Liebelei and The Round Dance in Modem Austrian Literature, 19 (1986).

GENERAL Horst Claus, The Theater Director Otto Brahm (Ann Arbor: University of Michigan Press, 1981). John Osborne, The Naturalist Drama in Germany (Manchester: Manchester University Press, 1971). Leroy R. Shaw, The Playwright anti Historical Change: Dramatic Strategies in Brecht, Hauptmann, Kaiser and Wedekind (Madison: University of Wisconsin Press, 1970).

Critical Works in German

HAUPTMANN Roy C. Cowen, Hauptmann-Kommentar zum dramatischen Werk (: Winkler, 1980): a detailed study of the sources, composition and critical reception of each play. Karl S. Guthke, Gerhart Hauptmann: Weltbild im Werk (Göttingen, 1961; 2nd, rev. edn Berne: Francke, 1980): a major study of the writer's evolving world view. F. W. J. Heuser, Gerhart Hauptmann. Zu seinem Leben und Schaffen (Tübingen: Niemeyer, 1961): a collection of reminiscences and essays containing an account of Hauptmann's relationship with Wedekind. Eberhard Hilscher, Gerhart Hauptmann (Berlin: Verlag der

164 Select Bibliography Nation, 1969): still the authoritative critical biography. Sigfrid Hoefert, Gerhart Hauptmann, Sammlung Metzler 107 (Stuttgart: Metzler, 1974; 2nd, rev. edn 1982): an essential bibliographical handbook. --, Internationale Bibliographie zum Werk Gerhart Hauptmanns, voI. I (Berlin: Erich Schmidt, 1986): lists aII the English and American translations and editions of Hauptmann's works. Rolf Michaelis, Der schwarze Zeus: Gerhart Hauptmanns zweiter Weg (Berlin: Argon Verlag, 1962): a sensitive exploration ofthe 'other' Hauptmann and his less weII-known . Peter Sprengel, Gerhart Hauptmann: Epoche - Werk­ Wirkung (Munich: Beck, 1984): a weII-informed account of many of the major works. K. L. Tank, Gerhart Hauptmann in Selbstzeugnissen und Bilddokumenten (Reinbek: Rowohlt, 1959): an illustrated paperback biographical study. H. D. Tschörtner, Ungeheures erhofft: Zu Gerhart Hauptmann ~ Werk und Wirkung (Berlin: Buchverlag Der Morgen, 1986): a GDR publication wh ich brings together interesting essays on the relationship of Hauptmann to Brecht and James Joyce.

WEDEKIND H.-J. Irmer, Der Theaterdichter Frank Wedekind (Berlin: Henschelverlag, 1975; 2nd edn 1979): the major general survey of the dramatist's work. , Wedekind, Leben und Werk (Munich: List, 1964): 2nd, rev. edn of the standard critical biography of 1922-31. Günter Seehaus, Frank Wedekind und das Theater (Munich: Laocoon Verlag, 1964): authoritative German stage-history of Wedekind's plays.

165 Hauptmann, Wedekind and Schnitzler -, Frank Wedekind mit Selbstzeugnissen und Bilddokumenten (Reinbek: Rowohlt, 1974): an illustrated paperback biographical survey. Hartinut Vin~on, Frank Wedekind, Sammlung Metzler 230 (Stuttgart: Metzler, 1986): the first comprehensive biblio­ graphical guide to the life and works.

SCHNITZLER H.-V. Lindken, Arthur Schnitzler: Aspekte und Akzente­ Materialien zu Leben und Werk (Berne: Lang, 1984): an important collection of material concerning Schnitzler's life and works. Michaela L. Perlmann, Arthur Schnitzler, Sammlung Metzler 239 (Stuttgart: Metzler, 1987): the first comprehensive bibliographical guide to the life and works. Heinz Rieder, Arthur Schnitzler: Das dichterische Werk (Vienna: Bergland, 1973). Hartmut Scheible, Arthur Schnitzler in Selbstzeugnissen und Bilddokumenten (Reinbek: Rowohlt, 1976): an illustrated paperback biographical survey. Heinrich SchnitzIer , Christian Brandstätter and Reinhard Vnger, Arthur Schnitzler: Sein Leben, sein Werk, seine Zeit (-am-Main: Fischer, 1981): an illustrated account of the writer's life and times. Reinhard Vrbach, Schnitzler-Kommentar zu den erziihlenden Schriften und dramatischen Werken (Munich: Winkler, 1974): a commentary on the genesis and reception of the individual works. Renate Wagner, Arthur Schnitzler (Frankfurt-am-Main: Fischer, 1984): the up-to-date biography. Renate Wagner and Brigitte Vacha, Wiener Schnitzler­ Aufführungen 1891-1970 (Munich: Prestel, 1971): a Viennese stage history of Schnitzler's plays.

166 Select Bibliography GENERAL H.-P. Bayerdörfer, K. O. Conrady, H. Schanze (eds), literatur und Theater im Wilhelminischen Zeitalter (Tübingen, Niemeyer, 1978): a collection of wide-ranging essays on the stage in Germany between 1871 and 1914. Norbert Jaron, Renate Möhrmann, Hedwig Müller, Berlin­ Theater der lahrhundertwende (Tübingen: Niemeyer, 1978): a stage- between 1889 and 1914 as reflected in contemporary play reviews. Gernot Schley, Die Freie Bühne in Berlin (Berlin: Haude und Spener, 1967).

167 Index abortion 78, 109 Bassermann, Albert 158 adolescence 78-82 Beerbohm, Max 63 Alberti, Conrad 23 Berg, Alban, Lulu 5 alcoholism 25-6 Berlin 2-3, 6-7, 10, 17, 19, allegory 59, 69, 80, 99 30,46-7,52-9 passim, Anouilh, lean, 84,95, 101, 108, 131, L 'Orchestre 11, 102 134-5, 140, 155-6 anti-German attitudes 18 Berlin theatres Antoine, Andre 41,161 Deutsches Theater 10, 41, Archer, William 46 49, 54, 61-2, 114, art and the artist 8, 17, 22, 142, 154-5, 158, 160 59-62, 85, 102, 136 Freie Bühne 24, 28, 40, Ashcroft, Peggy 63 154. 161 Austria 7, 9, 94, 143, 148-9 Kammerspiele 76, 161 Kleines Theater 83, 105, 155-6, 161 Bab, lulius 49 Lessing-Theater 24, 56, Barnes, Peter 84 154, 156, 158, 160 Barnowsky, Viktor 105, 156, Neues Theater 102, 155, 160-1 161 Barrie, 1. M., Mary Rose 6 I; Residenz-Theater 96, 161 Peter Pan 79 Bernard, Tristan 138 Barrymore, Ethel 50 Berne: Municipal Theatre 67

168 Index

Bernhardt, Sarah 4 deus ex machina 79 big city 17, 19,54,56 dialect 20,29,41,45-52, Blumenthai, Oscar 160 94 Brahm,Ouo 3, 10, 17,28, Dickens, Charles 54 41,154-6Opassim doctors 86, 113 Brecht, Berthold 5, 18, 19, 93 40,41, 55-6, 75-6 Dostoyevsky, Fyodor 40 Brieux, Eugene, Damaged Drama of the unspoken 34, Goods 132-3 51 Britain 4, 13, 84 drug abuse 59 Brooks, Louise 95 duels 9, 126, 145 Brüning, Heinrich 65 Dumas, Alexandre, fils, La Büchner, Georg 10, 18, 75-6 Dame aux cametias 87 Burckhard, Max 161 DürrenmaU, Friedrich 18, 75; Burgtheater, see Vienna theatres The Visit 69 Duse, Eleonore 4, 160

Campbell, Mrs Patrick 4 capitalism 85, 98 egoism 81, 91 censorship 40, 77, 83 Eliot, T. S. 58, 64 Chekhov, Anton 1,5,6, 18, emancipation of women 8, 36,61,87, 143; The 35-9 passim, 74 Cherry Orchard 143 English Stage Society 77 child abuse 46 environment 21-2,31,41, children 10, 46, 78-82 46, 54, 56 35,47,61 eternal triangle 135 cinema 45, 61 129 circus 95, 106-7 Eysoldt, Gertrud 83,95, 131, comedy 9, 53-5, 80, 92, 108 156-7 Comedy of menace 64 communication 34, 39 Conrad-Schlenther, Paula 155 fairytale 48, 52 Coronation Street 133 farce 59, 75, 92, 96, 100 costume plays 69-70 femininity and the eternal coup de theatre 33, 104 feminine 93, 95, Coward, Noel 47 115-17 Feydeau, Georges I, 130 Forel, Auguste 25 Darrieux, Danielle 13 Freud, Sigmund 47, 113 Dean, Basil 47 Frisch, Max, Andorra 19 death 61, 93 Fuchs, Robert 123

169 Index Galsworthy, John, Strife 43 Before Sunrise 8, 21-30, GaskeIl, Elizabeth 42 118, 159 generation gap 17, 61, 78 Before Sunset 62-7, 144, 3, 18,21, 159 73,85 7he Black Mask 68 Giacosa, Giuseppe, Tristi Colleague Crampton 59, 158 Amori 124 7he Conflagration 55-6 Glümer, Mizi 142 Darknesses 70 Goethe, Johlinn Wolfgang von Drayman Henschel 45-6, 49 3, 49, 64, 66, 73, 117 7he Fool in Christ 11 grand guignol 92 Gabriel Schilling 's Grillparzer, Franz 91 Flight 60-1 grotesque, the 8, 79-80, 108 Hannele 46, 80 Gründerzeit, the 85 Lonely Lives 34-40, 142, Gussman, Olga 142 157 Magnus Garbe 68-9 Habsburg Empire 7, 18, 143, Michael Kramer 61-2 147 Peter Brauer 60 Rats 53, 56-9 Halbe, Max, Jugend 82 2, 131 7he Reconciliation 10, 30, Hardy, Thomas 51 158 Hartleben, Ouo Erich, Rose Bernd 46, 50-2, 110 Rosenmontag 127 7he Sunken Bell 48-9, 62, Hauff, Wilhelm 125 156, 158 7he Weavers 8, 40-5 Hauptmann, Gerhart 1-12 passim, 15-71,75,87, heredity 21-2,26,31,46,56 110, 143, 148 Heuberger, Richard 123 detachment in 19, 22, 70 Hitler, Adolf 65, 101, 107, dramatic technique 15, 22 109 exposition 22, 51 Hochwälder, Fritz, Das heilige on Schnitzler I11 Experiment 18 on theatre 15, 58 Hofmannsthai, Hugo von 88, on Wedekind 73 112 stagecraft 22,28,41,43, Hofmannswaldau, Christian H. 47 von 88 use of language 9, 19-20, hypnosis 120-1 29, 34, 58 Works: Ibsen, Henrik I, 5, 23, 27, And Pippa Dances! 99 43, 87, 96, 148, 155, 7he Beaver Coat 53-5, 157 156, 158, 161

170 Index

A Doll's House 3, 160 Phoenix 149 An Enemy of the People 43 Royal Court 4, 53, 77 Ghosts 3, 24, 132, 156 Shaftesbury 63 The Pillars of Society 3 loneliness 29, 36, 39, 142 Rosmersholm 35 industrialisation 7, 23-4, 42 Maddern-Fiske, Minne 4 industrial contlict 42-3 Maeterlinck, Maurice 51 ; irony 11,34,59,60,81, 109 Monna Vanna 108 Mahler, Gustav 82 85, 90, 92 male psychology 91, 115-24 lessner, Leopold, Erdgeist passim film 158 Malleson, Miles 63, 159 lews 66,107,113-14,136, Manchester 42; Gaiety 147-9 Theatre 53; Royal Jhering, Herbert 133 Exchange Theatre 4, Joyte, James 62, 112 133 Mann, Thomas 50 marriage 24-5,31,35,86, Kainz, loser 49, 141, 158 139 Kraus, Karl 84 melodrama 79 Krauss, Werner 63, 158-9 Meltzer, Charles Henry 49 middle class in Germany and L'Arronge, Adolph 160 Austria 8, 35, 66, 78, Lawrence, Gertrude 47 86, 101, 134 Lehar, Franz 113 middle-class public 17, 48, Lehmann, Else 49, 50, 56, 87 156 Millöcker, Karl 113 Leipzig 83, 102, 131 Milwaukee 4 Lenin 40,45 Modjeska, Helena 4 Lesage, Alain Rene 98 Moliere, Le Tartuffe 96 Lessing, Gotthold Monroe, Marilyn 90 Ephraim 2-3 morality 82, 95 Lewisohn, Ludwig 20, 150 Morison, Mary 43, 150 lighting 28-9, 46, 143 Munich 74,96, 105, 131, Liverpool Playhouse 47 136; Ibsen-Theater 83; London 4, 87, 90 Künstlertheater 162; London theatres Schauspielhaus 162 Duke of York's 43 music and musicians 102-3, Embassy 149 124-5 National 77, 129, 144 myth 67, 93

171 Index National Socialism 65-7, 107, 88, 89 109, 114 Pinero, Arthur Wing 133 Naturalism 8, 11,21-3,24, Pinkus, Max 70 27,31-4,41,44,47, Pinter, Harold, 1he Binhday 74, 80, 84, 129, 160 Pany 33,64 Naturalist drama 40, 132, Piscator, Erwin 3 154, 160, 162 Porto-Riche, Georges de 138 Neo- 48-9, 52 pressure of the moment 22, Nethersole, Olga 4 56 Newcastle-upon-Tyne 53 Priestley, J. B., Time and the New York 149, 157; Irving Conways 64 Place Theater 4; Long problem plays 8, 134 Acre Theater 50 Protestantism 7, 29 Newes, Tilly 75, 84, 95, 157, psychology 10, 25, 47, 113, 162 146 Nielson, Asta 158 63 Realism 9, 33, 48, 75, 124 Nuremberg 84, 107, 109 Reicher, Emanuel 157 Reinhard, Marie 142 Reinhardt, Max 3, 61, 63, O'Neill, Eugene, Desire under 83, 102, 110, 133, 155, the Elms 50 156, 160-2 One-act plays by Rilke, Rainer Maria 62, 135 Hauptmann 68; by Rittner, Rudolf 49 Schnitzler 11, 59, Robertson, T. W., Caste 28 134-41; by Roman Catholicism 7, 113, Wedekind 101-4 148 Ophuls, Max, La Ronde 13 Rossiter, Leonard 10 I Orloff,Ida 61,95, 157 Rothenstein, Sir William 63 Orska, Maria 89, 95 Rubin, Leon 84 Osborn, Tom 77 Russia 18,35,40,61,70 Osborne, Charles 133 outsider figure, the 61 Sachs, Hans 75 Sachs, Leonard 149 Salzburg Festival 68, 144, 155 Pabst, G. W. 95 Sandrock, Adele 4, 142, 156 Paris 140; Theatre Libre 41, Sardou, Victorien 96 46, 161 Sartre, Jean-Paul 70 Penderecki, Krzysztof 68 satire 8, 53, 74, 75, 80, 86, Philipe, Gerard 13 99, 134 piece a these 51 Sauer, Oscar 157

172 Index Schell, Maria 144 The Lonely Way 123, 141-3 Schiller, Friedrich von 2, 3, Mementoes 117, 122 28, 58, 125-6 Paracelsus 115, 158 SchIenther, Paul 155, 161 114, Schnitzier ,Arthur 1-11 146, 148-9 passim, 18, 75, 111-49 A Question to Destiny 118, on Hauptmann 16 120 on theatre 111 The Round Dance 4, 27, on Wedekind 73 94, 129-33, 134, stagecraft 119 140, 156 use oflanguage 133,135 Ueber funktionelle Works: Aphonie 118 Anatol 11, 59, 115-24, 156 The Vast Domain 140, Anatol 's Megalomania 119 143-7, 158 Anatol's Wedding The Veil of Beatrice 108, Morning 123 115 The Call of life 144 While the Summer Breezes Christmas Shopping 117 Play 147 Comedy of Seduction 147 Young Medardus 115, 147 The Companion 135 Schnitzler, Heinrich 149, 162 Countess Mitzi 139-40 Schoenberg, Arnold 103 Death Pangs 122-3 Scholz, Wilhelm von 101 Episode 121 Schubert, Franz 125 A Farewell Supper 117, 122 sex 27,73,76-82,91-4, Fräulein Else II 130-3 Free Game 10, 134 Shakespeare, William 28, The Green Cockatoo 135,140 72-3 HalJ-past One 134 Shaw, George Bernard 1, 18, The Hysterical Person 134 28, 58, 80, 99, 156; The Intermezzo 144 Doctor's Dilemma 149; The Lady with the Heartbreak House 100; Dagger 142 Pygmalion 87 Last Masks 135 Silesia 10, ll, 16, 17, 18, The Legacy 134 19,41,45-52,59,70 Leutnant Gustl 11 slice of Iife 32, 44 liebelei 101, 114, 124-9, social attitudes 27, 42, 73, 156, 157 77-9, 86, 99, 102, 109, literature 11, 59, 135, 147 138-9 social change 8, 9, 21-3, 50, living Hours 135 147

173 Index social drama 3, 20, 23, 26, 26, 89, 95 34,49, 87 social mobility 8, 16 social order 16, 56 theatre and theatrical tradition social problems 21,42,53, in Austria and 54,56-7,69,77-9 Germany 2,7,75 social realism 79, 92 Theatre of the absurd 92 social tensions 17, 18, 26, 69 Theatre of cruelty 92 Socialist realism 45 ThetIre of silence 92 Sorma, Agnes 4, 49, 156 Thimig, Helene 63 45 Thorel, lean 41 St Louis 4 tragedy 8, 9, 19, 50, 52, stage directions 28, 41, 79, 58-9,70,79 100. 105 tragicomedy 57, 59, 73, 107 stage performance in Austria translation xi, 9, 150-3 and Germany 12; in Tutin, Dorothy 144 Britain and the United States 13 Stein, Peter 3 United States 4,7,49,53, Sternheim, earl 10 1 63, 73, 145, 155, 158 Stoppard, Tom 5; Dalliance 5, 14, 124, Verdi, Giuseppe 87, 125, 12~ 129; Undiscovered Vienna 2, 6, 9, 18, 84, Country 5, 14, 144 112-14,141-2 Straus, Oscar 14 Viennese theatres Strauss, lohann, Die Burgtheater 7, 72, 114, Fledermaus 112-13 124, 135, 140, 155, Strauss, Richard, 156, 158, 161 Feuersnot 103; Der Theater in der Rosenkavalier 112 losefstadt 162 Strindberg, August 47,61, Volkstheater 131, 139, 156, 74, 96, 102, 157, 161 162 Sturm and Drang 75 Sudermann, Hermann 3, 4, 27, 160; Fritzchen 101; Wagner, Richard 5, 102, 104 Honour 27-8, 127; Waissnix, Olga 142 Magda 3,33 Watford: Palace Theatre 84 suicide 34, 38, 46, 50, 57, Wedekind, Frank 1-11 61, 65, 66, 78. 98 passim, 18, 30, 72-110, Switzerland 7,21,64,67, 69, 155, 156, 157, 158, 73.94 161-2 174 Index and experimental theatre 75. The Tenor 11, 83 77,96 Wedekind, Kadidja 83 on Hauptmann 16 Wedekind, Pamela 101 on Schnitzier 112 63, 73 on theatre 72-3, 100 Wessely, Paula 157 stagecraft 77, 80, 84, 100 Wilde, Oscar 1; A Florentine use of language 9, 73, 80, Tragedy 102; The 94 Importance 0/ Being Works: Eamest 122; Children and Fools 74 Salome 11, 101-2 Earth Spirit 59, 82-96, 161 Wilhelm 11, Emperor of The Fast Painter 74 Germany 7, 40, 42, Hidalla 10, 105-8 96 King Nicolo 108-9 women, attitudes to 35, 39, The Love Potion 13, 156 91,95 Lulu 8, 27, 59, 74, 82-96 Wood, lohn 144 The Marquis von Keith 86, World War, First 69, 75, 147 96-101 Music 109-10, 157 Pandora 's Box 10, 82-96, Zola, Emile 26, 27, 40, 74 156 Zuckmayer, earl, The Captain Spring Awakening 4, 10, 0/ Köpenick 101 74, 76-82, 157, 161 Zurich 21. 25, 30, 35

175