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O Tempo e o Quarto
Dans sa chambre, Marie Steuber réfléchit aux dix années qui viennent de s'écouler. Elle se souvient de ses rencontres, de ses désarrois amoureux, de tous ces hommes et de ces femmes qu'elle a aimés et pour qui, en vain, elle a tant donné.
70 pages, Paperback
First published January 1, 1989
6 people want to read
About the author
Botho Strauß
105 books42 followersBotho Strauß is a German playwright, novelist and essayist.
Botho Strauß's father was a chemist. After finishing his secondary education, Strauß studied German, History of the Theatre and Sociology in Cologne and Munich, but never finished his dissertation on Thomas Mann und das Theater. During his studies, he worked as an extra at the Munich Kammerspiele. From 1967 to 1970, he was a critic and editorial journalist for the journal Theater heute (Theater Today). Between 1970 and 1975, he worked as a dramaturgical assistant to Peter Stein at the West Berlin Schaubühne am Halleschen Ufer. After his first attempt as a writer, a Gorky adaptation for the screen, he decided to live and work as a writer. Strauß had his first breakthrough as a dramatist with the 1977 Trilogie des Wiedersehens, five years after the publication of his first work. In 1984 he published his important work Der Junge Mann (The Young Man, translated by Roslyn Theobald in 1995).
With a 1993 Der Spiegel essay, "Anschwellender Bocksgesang" ("Swelling He-Goat Song"[N 1]),[2] a critical examination of modern civilisation, he triggered a major political controversy as his conservative politics was anathema to many.
In his theoretical work, Strauß showed the influence of the ancient classics, Nietzsche, Heidegger as well as Adorno, but his outlook was also radically anti-bourgeois.
His work as a writer has been recognized with numerous international awards and his dramas are among the most performed in German-language theatres.
Strauß presently lives in Berlin.
Botho Strauß's father was a chemist. After finishing his secondary education, Strauß studied German, History of the Theatre and Sociology in Cologne and Munich, but never finished his dissertation on Thomas Mann und das Theater. During his studies, he worked as an extra at the Munich Kammerspiele. From 1967 to 1970, he was a critic and editorial journalist for the journal Theater heute (Theater Today). Between 1970 and 1975, he worked as a dramaturgical assistant to Peter Stein at the West Berlin Schaubühne am Halleschen Ufer. After his first attempt as a writer, a Gorky adaptation for the screen, he decided to live and work as a writer. Strauß had his first breakthrough as a dramatist with the 1977 Trilogie des Wiedersehens, five years after the publication of his first work. In 1984 he published his important work Der Junge Mann (The Young Man, translated by Roslyn Theobald in 1995).
With a 1993 Der Spiegel essay, "Anschwellender Bocksgesang" ("Swelling He-Goat Song"[N 1]),[2] a critical examination of modern civilisation, he triggered a major political controversy as his conservative politics was anathema to many.
In his theoretical work, Strauß showed the influence of the ancient classics, Nietzsche, Heidegger as well as Adorno, but his outlook was also radically anti-bourgeois.
His work as a writer has been recognized with numerous international awards and his dramas are among the most performed in German-language theatres.
Strauß presently lives in Berlin.
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Displaying 1 of 1 review
June 23, 2016
Denne boka heter "Tida og rommet", og handler om menneskelige relasjoner, fortalt på en måte som innebærer oppløsning av begge (tid og rom). Skuespillet henger vel egentlig ikke på greip, noe som gjorde det vanskelig å lese til tider. Løsningen var å tvinge meg selv til å se bort fra enhver sammeheng mellom de ulike karakterene og situasjonene, og heller se på hver samtale for seg (og innenfor en større, tematisk sammenheng). Likevel må jeg innrømme at jeg ikke fikk særlig mye utav å lese dette skuespillet, utover en lyst til å se det oppført.
Noen av samtalene var morsomme, og det var noen poeng her og der som jeg synes var gode, men kanskje ikke utforska på en tilfredstillende måte. Det er mange klare stikk til dramatikk i seg selv, noe jeg er usikker på om var ment ironisk eller ikke. Enten er Strauss lei av mening, eller så er han lei av de som er lei av mening. Kanskje begge.
Noen av samtalene var morsomme, og det var noen poeng her og der som jeg synes var gode, men kanskje ikke utforska på en tilfredstillende måte. Det er mange klare stikk til dramatikk i seg selv, noe jeg er usikker på om var ment ironisk eller ikke. Enten er Strauss lei av mening, eller så er han lei av de som er lei av mening. Kanskje begge.
Displaying 1 of 1 review