Production Meeting # 2: Images and Thoughts

Here are the images Keith shared with the group today. Below I have included (from my notes) the things Keith would like us to think about before our next meeting. Happy Pondering!

* How do we frame Reigen around what concerns us today?

* Think about what we identify as privileges vs.rights? Does this make sense to us?

*Think about the family unit. What does this mean today? How does our culture reflect this?

*What do we do to create facade?

* Where do we find fulfillment? What is selling out?

De L'Amour

I have attached a link to a pdf of Chapter 60-"Failures" by Stendhal. This is the chapter that the Young Man references after his failure with the Young Wife. I hope this is helpful and interesting. 

Chapter 60- De L'Amour (On Love) by Stendhal

William Hogarth- "Before" and "After"

Keith wanted to bring these paintings by William Hogarth (c.1730's) to your attention. They are entitled "Before" and "After" which speaks to the before and after conversations which are present in the ten scenes of Reigen.

Keith also wanted to highlight this quote from a review by Joan Bunke, used in the article "The Reception of Arthur Schnitzler's Reigen" by Gerd K. Schneider:

"Vienna's glossy, phony veneer and the rot spreading under it were Schnitzler's targets. Ruta's production is too much corruption and too little veneer," (85).

Performance History and Images

Attached is a PowerPoint (which you should be able to download to your own computer) that touches on the performance history or La Ronde. Images are from notable and recent productions as well as some film adaptations.

PERFORMANCE HISTORY POWERPOINT

Round One/Round Two and Eric Bentley

Eric Bentley first translated and published Reigen in the 1950's and later published his same translation under the title: Round One in the 1980's. Round One became Bentley's inspiration for a similarly styled and themed piece set in 1970's New York City highlighting gay culture and relationships. In each play he included a preface which explores themes and ideas in Schnitzler's Reigen.

HERE IS A LINK TO THE PREFACE OF ROUND ONE

Pay close attention to the quote found on page xi:

"The play opens with the encounter of Whore and Soldier. The latter is the most crudest character in the play, a man who has almost totally given up his humanity. Other people exist just to provide him with a physical release. Thus in the interplay of body and soul which is the life of this play and the characters in it, he stands at one extreme, and the Count in the last scene stands at the other. The Count is so intent on proving that the sould is more real than the body that he actually forgets he has had sex with the whore and fantasized about a conceivable relation, even with  a whore (!), that is 'romantic', i.e. spiritual. Thus REIGEN has what most commentators seem to have denied it; a development of plot and theme from one extremity to another."

HERE IS A LINK TO THE PREFACE OF ROUND TWO

Schnitzler's Vienna- Map and Key

Here is a map and key which will aid in your understanding of the different locations and neighborhoods mentioned in Reigen.

FOLLOW THIS LINK FOR A CLOSER LOOK AT THIS MAP.

Süße Mädel

The Süße Mädel is a strictly Viennese term referring to a certain type/class of young woman at the turn of the century. She is a character that shows up in many of Schnitzler’s works including Reigen and in autobiographical accounts of his own life.  Eric Bentley has translated this to ‘The Little Miss’ in his translation of Reigen and yet, it is more the understanding of the term that can get in the way for a modern audience as opposed to the literal translation. Below is an excerpt from the introduction of Schnitzler’s autobiography, My Youth in Vienna. Here Frederic Morton tried to capture the importance and the essence of the süße madel and how it reflects the overall themes within the work of Arthur Schnitzler.

“But, the most memorable Schnitzler character is das süße mädel, the Sweet Girl, who in one guise or another appears not only in these reminiscences but in Anatol, in Liebelei, and other plays frequently revived today. The Sweet Girl’s secret lies in her very vulnerability. Because of it she is no sooner bedded than betrayed. But because of it she also fascinates her betrayers—and us. In her willingness to be victimized there is an innocence and an odd strength, a dumb sensuous faith which none of her seducers can tap no matter how furiously they thrust themselves through her. For they, the smoothies, swingers before their time, are really the empties; they have given up on the world, while for the Sweet Girl the world continues sweetly—at least for a while. Such faith scrapes the jadedness off our nerve ends, it even attunes us, perversely, to the possibility of renewal. 
At his best Schnitzler talked not just about old Vienna but about the aging of any culture; about the late, the very late, the maybe too late hour in search of dawn. Which may be our time of night right now”(xiv).

Morton, Frederic. “Foreword.” in My youth in Vienna, by Arthur Schnitzler, x-xiv. New York: Holt, Rinehart and Winston, 1970.

Reoccurring Themes and the Depiction of a Society

Arthur Schnitzler set almost all of his writings in Vienna at the turn of the century. With this setting he also explored many of the same themes emphasized by his depiction of Viennese society. Schnitzler, a doctor by profession, wrote  in a scientific way, exploring the psychology of its people logically and with emotion at a distance. Reigen specifically has often been criticized for being a “clinical study of the game of sex,” (Schneider, 82) and Schnitzler broke his themes down so that he could easily examine the people and their actions, highlighting his view on these matters.  Below is a brief overview of some of these themes and the depiction of Viennese society laid out by Gerde Schneider and Bruce Thompson. 

Sex in the City of Vienna

Schnitzler is interested in the social implication that sex has on a society and the façades that the Bourgeoisie created when partaking in these actions. He highlights the hypocrisy of this culture and how, in order to keep up appearances, truth, honesty, and moral correctness went out the window. He created his own brand of social realism, writing about the actions of a society through common acts and the conflict between a person’s psychology and outward appearance. Schnitzler knows firsthand about this type of behavior, documenting his own behavior in his diary entries and autobiography.

 In La Ronde, Schnitzler wrote ten short scenes that revolve around the act of intercourse, as these characters then revolve around the city, all the time revolving through the established social classes—managing to keep up the clean appearance they all desire. About La Ronde, Bruce Thompson states:

“There are recurrent motifs: intricate preparations for the act, coded signals of intention and encouragement, intermingled with false protestations, anxious calls for reassuring expressions of love, hasty departures from the scene in the moment of subsequent disillusionment…whilst the act promises so much, it is preceded by a period of anxious uncertainty, and the pleasure it affords is momentary and fragile, the aftermath a feeling of desolation,” (57).

This theme is repeated in his works, and though it is a comment on the fact that sexuality is a universal activity, it is more about sex in this social context and how in Vienna at this time, sex was the great equalizer, blurring lines between social codes of conduct.  It was common for men to have extra-marital affairs and, though contrary to the code of social correctness, only women felt the pressure to keep a pure and pristine appearance. As long as affairs were conducted with discretion then the social façade of a pristine middle-class could be kept up. “The hypocrisy of the bourgeois façade can be seen in the fact that despite the availability of sexual pleasure, the subject was not to be mentioned within the sanctity of the bourgeois home,” (Thompson, 59-60). It is tempting to label Schnitzler as an advocate for an early 20^th century version of “free love”, but Schnitzler is mostly interested in presenting a cynical view of sexual relationships and how they often rest in hypocrisy and leave the participants unsatisfied. 

Schneider, Gerd K. 1986. "The Reception of Arthur Schnitzler's Reigen in the Old Country and the New World: A Study in Cultural Differences." Modern Austrian Literature 19, no.3/4: 75-89. 

Thompson, Bruce. 1990. Schnitzler's Vienna: image of a society. London: Routledge.

Schnitzler's Vienna

Below is in overview of  the book Schnitzler's Vienna, by Bruce Thompson, which explains Vienna during the era that Arthur Schnitzler set Reigen.


Le Fin de Siècle Vienna

The years from 1880 to end of the century is often referred to as “le fin de siècle” and can be literally translated to: the end of the century. Though this phrase denotes a specific time period, in Vienna it represents a particular way of life. Vienna at this time is known for its decadent citizens, social facades that hid morally loose ways of living, distinct class structures, and the beginning of the end for Hapsburg rule. This is the Vienna most strongly re-created and reflected upon in the works of Arthur Schnitzler.

At this time Vienna was still part of the Austro-Hungarian Empire ruled by members of the Hapsburg family, the Emperor Franz Josef and his wife Elizabeth. Franz Josef ruled conservatively and, though a parliament was in existence, maintained ultimate power. His family hoped for a progressive and liberal empire, but Franz Josef maintained order and ruled conservatively for nearly 70 years, devoted to his empire and its people. In 1889 Franz Josef’s son committed suicide and in 1898 the Empress Elizabeth was assassinated. After these tragedies the Emperor withdrew from the public eye and grew more and more feeble and his empire followed suit. His main goal was to keep the empire in-tact but was forced to declare war in 1914 when his successor, Franz Ferdinand was assassinated in Sarajevo.
            In Vienna at the end of the 19^th century there were strong distinctions between the classes and though there was opportunity to rise in social status, the groups tended to stay within their own class. The Aristocracy, which also included officers of the Imperial Army, lived within the palaces of the inner city, the Bourgeoisie (middle class) in what was known as the Ring districts, the lower-middle classes in the Vorstadt or the inner districts, and the Proletariat (lowest classes) to the outer suburbs. The Aristocracy retained certain privileges including the privilege to fight duels to solve their problems and to establish a extravagant repuation. Dueling had lost its popularity and was illegal in other parts of the world, but remained legal for the higher classes until 1911. Even then, it only forbade dueling over problems that were not of the utmost seriousness.

Though there were distinct classes in Vienna, this was essentially the time of the Bourgeoisie or middle classes. This class was wide ranging and was made up of  artists, merchants, government officials, and doctors. This middle class patronized the arts and built up areas of the city attempting to compete with and mingle within the higher class. Viennese life, at this time, was very theatrical and many of the citizens participated in a sort of social game playing. Preserving an outer appearance that contradicted the extravagant and often sexually promiscuous life they led. Competition within the classes, as well as competition with the classes above one own, was common and this outer appearance the Bourgeoisie was used to putting on often rivaled the upper-classes in its grand nature and interests. This allowed for Vienna to become somewhat progressive in the arts, ways of thinking, and technology (such as electric light and the motor car). Artists like the painter Gustav Klimt, musicians like Mahler, and writers like Schnitzler emerged out of Vienna at this time representing this culture as well as creating an influence throughout the world.

At the end of the century there was a distinct cultural and artistic influence felt in other parts of the world coming out of Vienna. At this time there was another, less positive, movement coming out of Vienna as well. Anti-Semitism began to rise and it was felt in the legislation that banned Jewish citizen from diplomatic services, high ranks in government, and high ranks of the military. Much of this hatred and prejudice started in 1873 when the Stock Exchange crashed and Jewish financiers were blamed. After the turn of the century, a young Adolf Hitler spent time in Vienna. He was impressed by some of the more violent acts of anti-Semitism and it has been said by scholars that this is where his own breed of anti-Semitism began to take root.

All of these aspects of Viennese life, at the turn of the century Vienna affected Arthur Schnitzler. He was the son of a prominent middle-class Jewish doctor and as a student and one-time military officer he lived a typical but prominent middle class life. Schnitzler moved within his class structure, participated in the game playing, lived a fast paced and culturally rich lifestyle, and was at times affected by the anti-Semitism that was around him.  It is this culture and life-style that Schnitzler continually comments on and documents throughout his work. Through Schnitzler, the world has begun to understand the inner workings of this rich culture, and has been able to catch a glimpse inside the minds (and bedrooms) of the citizens of le fin de siècle Vienna.

Thompson, Bruce. 1990. Schnitzler's Vienna: image of a society. London:                 Routledge

Translations, Locations, and Definitions

Below is a list of terms taken directly from the script, that are important to know and understand. As the work progresses this list will grow and develop. There are also links to images, explanations, and pictures throughout the list, please explore these and let me know if they are helpful or lead you to new questions you would like answered or terms you would like defined.

I will make sure you all are aware any time anything is added to this post. Here is the work in progress...

Translations:

Wien: German for Vienna –Oxford Reference Online

Gasse: Lane or narrow street- Oxford Reference Online

The Schwind Gasse, Strozzi Gasse, Schiff Gasse, Porzellen Gasse, and Spiegel Gasse mentioned within La Ronde, are all different locations throughout Vienna.

Strasse: Street

Herr: German equivalent for Mr.

                                             

Fraulein: German equivalent for Miss.

Frau: German equivalent for Mrs. These titles are very specific in Germany and a German audience hearing a character called Frau, let’s them know immediately that the is married or an older woman. We can assume Schnitzler also used these deliberately to set up the implications within the scene.

Young Gentleman: Come in, dear lady…come in, Frau Emma (Schnitzler, 18).

Locations:

Augarten Bridge:

 The Augarten Bridge stands where the former Maria Theresia Bridge was built in 1872-1873. The Maria Theresia was located over the Danube and was a chain suspension bridge connecting Leopoldstadt and Alsergrund. The current Augarten Bridge was constructed between 1929-1931 and still stands today. When Schnitzler was writing La Ronde, the Maria Theresia Bridge would have been in use.

Maria Theresia Bridge  and the  Augarten Bridge

Danube:

(Donau) River in central and SE Europe. Europe's second-longest river (after the Volga), it rises in SW Germany, flows NE then SE across Austria to form the border between Slovakia and Hungary. It then flows S into Serbia, forming part of Romania's borders with Serbia and Bulgaria. It continues N across SE Romania to the Black Sea. It is an international waterway, run by the Danube Commission. Length: c.2,859km (1,770mi).

"Danube"  World Encyclopedia. Philip's, 2008. Oxford Reference Online. Oxford University Press.  Central Washington University.   

Burg Theater:

(the former imperial court theatre), one of the most important theatres in Europe, is the second-oldest theatre still in existence after the Comédie Francaise. Its all-German program includes all the variety of spoken theatre: classics and contemporary pieces, as well as experimental theatre and readings.  http://www.burgtheater.at/Content.Node2/home/eninfo/English_Information.en.php

Steinamanger:

Also known as Szombathely, Hungary.   Savaria, Steinamanger ‘Saturday Place’ from szombat ‘Saturday’ and hely ‘place’; this was a reference to the Saturday market.

 Founded as Savaria in 43 by Claudius I (10 BC–AD 54), Roman emperor (41–54). In the 8th century the Franks took control and the German name Steinamanger came into use.

"Szombathely"  Concise Dictionary of World Place-Names. John Everett-Heath. Oxford University Press 2010. Oxford Reference Online.        Oxford University Press.  Central Washington University.  

Definition of Terms:

Leocadia: The name The Whore gives on page 7.

[Venus symbol]   (Spanish) Latinate derivative of Greek leukas (genitive leukados), poetic feminine form of leukos ‘bright, clear’.

 St Leocadia (d. c.303) was a virgin martyr of Toledo. Saints day is 9^th of December.

"Leocadia"  A Dictionary of First Names. Patrick Hanks, Kate Hardcastle, and Flavia Hodges. Oxford University Press,2006.  Oxford Reference Online. Oxford University Press.  Central Washington University.  

Virginia Cigar:

“Virginia is a cigar originating in the alpine countries. The construction includes a short mouth-piece and an “Alicante” straw rolled into the structure. The straw is withdrawn before lighting-up. This produces an air channel through the length of the cigar to cool the smoke”.

 http://www.villiger.ch/en/villiger-virginia-cigarillo.html

Cotillion:  an elaborate 18th-century French dance based on the contredanse. 

Video 1 Video 2

Cavalleria Rusticana:

(Rustic Chivalry).  Opera (melodramma) in 1 act by Mascagni to lib. by Menasci and Targioni‐Tozzetti based on play (1884) by Verga adapted from his short story (1880).

Won prize for 1‐act opera in competition organized by Sonzogno, 1889.  Prod. Rome 1890, London 1891. Usually performed as double bill with Leoncavallo's Pagliacci, hence the vernacular ‘Cav. and Pag.’

 "Cavalleria rusticana" The Concise Oxford Dictionary of Music. Michael Kennedy and Joyce Kennedy. Oxford University Press, 2007. Oxford Reference Online. Oxford University Press.  

 Intermezzo Preludio  Pavarotti- Cavalleria Rusticana- Addio alla Madre

Polecat:

A weasel-like Eurasian mammal with mainly dark brown fur and a darker mask across the eyes, noted for its fetid smell.

([vulgar]Genus Mustela, family Mustelidae: three species, in particular the European polecat (M. putorius), which is the probable ancestor of the domestic ferret.)

"polecat noun"  Oxford Dictionary of English. Edited by Angus Stevenson. Oxford University Press, 2010. Oxford Reference Online.  Oxford University Press.  Central Washington University.  

Stendhal (1783–1842):

Pseudonym of Henri Beyle, French novelist, who spent his early years in his native Grenoble and later lived for long periods in Italy. He is best known for two masterpieces: Le Rouge et le noir(1830: The Red and the Black), which follows the rise and fall of the young provincial Julien Sorel in the France of the Restoration (1814–30); and La Chartreuse de Parme (1839: The Charterhouse of Parma). First translated into English at the turn of the 20th century, these novels are remarkable for their political dimension, for the detail and variety of the experience portrayed, for the dynamism of the principal characters, and for their penetrating psychological analysis. Stendhal also wrote studies of music, art history and much occasional journalism. De l'amour (1822: On Love) considers love both psychologically and in relation to historical and social conditions.

"Stendhal"  The Oxford Companion to English Literature. Edited by Dinah Birch. Oxford University Press Inc. Oxford Reference  Online                             Oxford University Press.  Central Washington University.  

What Are We All About?

Welcome to the blog for CTE's 2011 production of Reigen, adapted from the play by Arthur Schnitzler: a storage room for all your dramaturgical needs!

The intention for this blog is to create a community and a resource for the designers, cast, and crew. You will find images, ideas, inspiration, and suggestions housed in one place to make for easy access to the information that will help you take this journey.

As the production grows, so will this blog. I invite you all to engage with these resources and offer up suggestions of your own. It is my hope that through this medium, all your questions about Schnitzler's work can be answered.

And now...A brief  introduction to your Dramaturg:

My name is Tess McIntyre and I am a Graduate Student at Central Washington University pursuing an MA in Theatre Studies. I am originally from San Diego, CA and have my BA in Theatre with an emphasis in Performance from San Diego State University.Through this work, I hope to explore my interest in dramaturgy and my understanding of the term dramaturg itself.  I am excited to take this journey will you all and intend to serve this production as best I can.


...I told you... brief !