Es que no s lo que me pasa. Adieu, Alfred, djeme marchar. Por favor Uno ms, un beso ms. El ltimo ella besa y ella contesta a su beso: sus labios permanecen largo tiempo unidos. Puedo decirle algo, Emma?
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However, if the dialogues do not blow to the ceiling, we can quickly detect the main motif of the piece: a taboo-free social critique of Viennese society at the end of the 19th century - even if the vein is essentially comic. And in the case of The Round, the context of the piece is at least as important as the piece itself. The round - of which you may be familiar with the film adaptation of Max Ophuls - is organized in ten sketches, each featuring two characters, a woman and a man, in a different district of Vienna each time.
The thing is symbolically represented by a dashed line, which inevitably reminds us of a censored text. And censored, this one was, and not just a little! In short, after this line of dashes summarizing the sexual act, the dialogue between the two characters resumes, then they leave. Saynese: we keep one of the two characters of the past sketch, another appears, and everything starts again: we turn around, we play the fierce, or layer together, we promise to see each other again, and hop, next sketch, on the same pattern.
In ten variations in total. You will understand that it is the form that Schnitzler gave to the piece that makes it effective and interesting. For all these characters exchange their roles and texts constantly, while travelling through all the districts of the city, from the most unfamed to the richest: the social partitioning perfectly in place in Vienna in the date of writing of the play flies to pieces. It is these repetitions and constant exchanges that make this piece a social critique, more overtly comic than acerbic.
However, we do not bend with laughter when reading it, especially since today it has lost part of its satirical effectiveness. Not even intended to be sold, it was already blithely appalled, and then again in when it was officially published. Then it was banned in Vienna was more lenient with a simple ban on representation for a year This proves that what may seem at first glance a simple adornment says many things about his time and that it would be a shame to miss out.
But we will certainly talk about it with the biography of a famous Viennese painter
La ronda (obra de teatro)
"360" ("La ronda"): Arthur Schnitzler, una vez más