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تروتسکی در تبعید: یک نمایش نامه و پنج نوشته ی دیگر
«لئون داویدوویج تروتسکی»، انقلابی بلشویک و متفکّر مارکسیست اهل روسیه بود. نمایشنامه «تروتسکی در تبعید» به قلم «پیتر وایس»، نمایشنامهنویس برجسته اروپایی نوشتهشده که در آن تصویری هنری از نقش و موقعیت لئون تروتسکی در انقلاب اکتبر روسیه و روند رشد استالین در آن کشور ارائه داده است. پنج نوشتة دیگر نیز در این کتاب درجشده که شامل سه مقاله از تروتسکی در موضوع نقد ادبی و یک مقاله از او درباره «وصیت نامة پایمال شدة لنین» و مقالهای از «ایزاک دویچر» تاریخنگار برجسته، درباره تروتسکی و انقلاب روسیه است. در آغاز کتاب نیز، خلاصهای از نظرها و خاطرههای برخی از معاصران درباره مترجم کتاب و اندیشه هنر درج شده است.
394 pages, Hardcover
First published January 1, 1969
2 people are currently reading
127 people want to read
About the author
Peter Weiss
201 books116 followersPeter Ulrich Weiss was a German writer, painter, and artist of adopted Swedish nationality. He is particularly known for his play Marat/Sade and his novel The Aesthetics of Resistance.
Weiss' first art exhibition took place in 1936. His first produced play was Der Turm in 1950. In 1952 he joined the Swedish Experimental Film Studio, where he made films for several years. During this period, he also taught painting at Stockholm's People's University, and illustrated a Swedish edition of The Book of One Thousand and One Nights. Until the early 1960s, Weiss also wrote prose. His work consists of short and intense novels with Kafkaesque details and feelings, often with autobiographical background. One of the most known films made by Peter Weiss is an experimental one, The Mirage (1959) and the second one - it is very seldom mentioned - is a film Weiss directed in Paris 1960 together with Barbro Boman, titled Play Girls or The Flamboyant Sex (Schwedische Mädchen in Paris or Verlockung in German). Among the short films by Weiss, The Studio of Doctor Faust (1956) shows the extremely strong link of Weiss to a German cultural background.
Weiss' best-known work is the play Marat/Sade (1963), first performed in West Berlin in 1964, which brought him widespread international attention. The following year, legendary director Peter Brook staged a famous production in New York City. It studies the power in society through two extreme and extremely different historical persons, Jean-Paul Marat, a brutal hero of the French Revolution, and the Marquis de Sade, for whom sadism was named. In Marat/Sade, Weiss uses a technique which, to quote from the play itself, speaks of the play within a play within itself: "Our play's chief aim has been to take to bits great propositions and their opposites, see how they work, and let them fight it out." The play is considered a classic, and is still performed, although less regularly.
Weiss was honored with the Charles Veillon Award, 1963; the Lessing Prize, 1965; the Heinrich Mann Prize, 1966; the Carl Albert Anderson Prize, 1967; the Thomas Dehler Prize, 1978; the Cologne Literature Prize, 1981; the Bremen Literature Prize, 1982; the De Nios Prize, 1982; the Swedish Theatre Critics Prize, 1982; and the Georg Büchner Prize, 1982.
A translation of Weiss' L'instruction (Die Ermittlung) was performed at London's Young Vic theater by a Rwandan company in November 2007. The production presented a dramatic contrast between the play's view on the Holocaust and the Rwandan actors' own experience with their nation's genocide.
http://literaturkritik.de/public/reze...
http://literaturkritik.de/public/reze...
Weiss' first art exhibition took place in 1936. His first produced play was Der Turm in 1950. In 1952 he joined the Swedish Experimental Film Studio, where he made films for several years. During this period, he also taught painting at Stockholm's People's University, and illustrated a Swedish edition of The Book of One Thousand and One Nights. Until the early 1960s, Weiss also wrote prose. His work consists of short and intense novels with Kafkaesque details and feelings, often with autobiographical background. One of the most known films made by Peter Weiss is an experimental one, The Mirage (1959) and the second one - it is very seldom mentioned - is a film Weiss directed in Paris 1960 together with Barbro Boman, titled Play Girls or The Flamboyant Sex (Schwedische Mädchen in Paris or Verlockung in German). Among the short films by Weiss, The Studio of Doctor Faust (1956) shows the extremely strong link of Weiss to a German cultural background.
Weiss' best-known work is the play Marat/Sade (1963), first performed in West Berlin in 1964, which brought him widespread international attention. The following year, legendary director Peter Brook staged a famous production in New York City. It studies the power in society through two extreme and extremely different historical persons, Jean-Paul Marat, a brutal hero of the French Revolution, and the Marquis de Sade, for whom sadism was named. In Marat/Sade, Weiss uses a technique which, to quote from the play itself, speaks of the play within a play within itself: "Our play's chief aim has been to take to bits great propositions and their opposites, see how they work, and let them fight it out." The play is considered a classic, and is still performed, although less regularly.
Weiss was honored with the Charles Veillon Award, 1963; the Lessing Prize, 1965; the Heinrich Mann Prize, 1966; the Carl Albert Anderson Prize, 1967; the Thomas Dehler Prize, 1978; the Cologne Literature Prize, 1981; the Bremen Literature Prize, 1982; the De Nios Prize, 1982; the Swedish Theatre Critics Prize, 1982; and the Georg Büchner Prize, 1982.
A translation of Weiss' L'instruction (Die Ermittlung) was performed at London's Young Vic theater by a Rwandan company in November 2007. The production presented a dramatic contrast between the play's view on the Holocaust and the Rwandan actors' own experience with their nation's genocide.
http://literaturkritik.de/public/reze...
http://literaturkritik.de/public/reze...
Ratings & Reviews
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Displaying 1 - 3 of 3 reviews
January 13, 2022
تروتسكي ❤️ الرجل الحكيم والشجاع أخُ الثورة العالمية ومؤسس جناحها العسكريّ. لو حكم هذا الرجل عوضاً عن دكتاتور التخوين ستالين لما حصل ما حصل من تشويه و قمع و اخطاء و بلطجة وقومية مزيفة.
June 6, 2017
Ενδιαφέρον αλλά ξεπερασμένο απο την πτώση του τείχους το `89.
"Θεμελιώνουν τη δύναμη του καθεστώτος αντί να θεμελιώνουν τον σοσιαλισμό. Πιστεύουν πώς η παγκόσμια επανάσταση μπορεί να στηριχθεί στο Πενταετές Σχέδιο."
"Ο αγώνας για την ελευθερία αρχίζει εκεί πάντοτε που η κατάσταση έχει γίνει ανυπόφορη. Στα πιο σκοτεινά, σχεδόν ξεχασμένα μέρη."
"Καταργήσατε τις ταξικές διαφορές, ναι. Αλλά εμποδίσατε την απελευθέρωση των ανθρώπινων συνειδήσεων."
"Όταν είναι δύσκολο να καταλάβουμε ωρισμένα πράγματα, τότε είναι η στιγμή που πρέπει να στηριχθούμε στη λογική μας."
"Θεμελιώνουν τη δύναμη του καθεστώτος αντί να θεμελιώνουν τον σοσιαλισμό. Πιστεύουν πώς η παγκόσμια επανάσταση μπορεί να στηριχθεί στο Πενταετές Σχέδιο."
"Ο αγώνας για την ελευθερία αρχίζει εκεί πάντοτε που η κατάσταση έχει γίνει ανυπόφορη. Στα πιο σκοτεινά, σχεδόν ξεχασμένα μέρη."
"Καταργήσατε τις ταξικές διαφορές, ναι. Αλλά εμποδίσατε την απελευθέρωση των ανθρώπινων συνειδήσεων."
"Όταν είναι δύσκολο να καταλάβουμε ωρισμένα πράγματα, τότε είναι η στιγμή που πρέπει να στηριχθούμε στη λογική μας."
September 26, 2024
The play attempts to trace the story of Trotsky's exile from 1903 to his death in 1940. Weiss has made a good effort, but I think fails. Perhaps by trying to do too much, and with no firm aim.
Whether or not such a huge scope is right for the play, or a play the right medium to cover such a huge scope, I'm not sure. Especially as I struggle to grasp who is the intended audience. There is so much prior knowledge assumed, and a huge cast of minor characters, and yet so little new to take in or learn for anyone who already knows the basic 'story' and the 'players'. It is neither bold nor educational enough to serve any political purpose.
And so little serves the drama. Characters are made to say things without intention or motive, just so historical or political points can be made. The plot must advance at such a pace (so we can finish act two in 1940) that so much feels hollow.
It is no strong literary work either. The lines are made up almost entirety of incredibly short bits which, across such a lengthy and wordy play, must feel unrelenting, almost uncomfortable, to watch, and yet I’m not sure adds anything worthwhile or intentional. Some of the imagery of the scenes is thoughtful, but with the words there is not much playfulness, irony, metaphor.
The political content is dealt with somewhat over-simply, which adds a little ultra-left feeling to everything. And some bits are quite misunderstood.
Whether or not such a huge scope is right for the play, or a play the right medium to cover such a huge scope, I'm not sure. Especially as I struggle to grasp who is the intended audience. There is so much prior knowledge assumed, and a huge cast of minor characters, and yet so little new to take in or learn for anyone who already knows the basic 'story' and the 'players'. It is neither bold nor educational enough to serve any political purpose.
And so little serves the drama. Characters are made to say things without intention or motive, just so historical or political points can be made. The plot must advance at such a pace (so we can finish act two in 1940) that so much feels hollow.
It is no strong literary work either. The lines are made up almost entirety of incredibly short bits which, across such a lengthy and wordy play, must feel unrelenting, almost uncomfortable, to watch, and yet I’m not sure adds anything worthwhile or intentional. Some of the imagery of the scenes is thoughtful, but with the words there is not much playfulness, irony, metaphor.
The political content is dealt with somewhat over-simply, which adds a little ultra-left feeling to everything. And some bits are quite misunderstood.
Displaying 1 - 3 of 3 reviews