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La Ronde
One of the world's great plays at a great price.
128 pages, Paperback
First published January 1, 1897
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1156 people want to read
About the author
Arthur Schnitzler
1,003 books540 followersArthur Schnitzler was an Austrian author and dramatist.
The son of a prominent Hungarian-Jewish laryngologist Johann Schnitzler and Luise Markbreiter (a daughter of the Viennese doctor Philipp Markbreiter), was born in Vienna in the Austro-Hungarian Empire, and began studying medicine at the local university in 1879. He received his doctorate of medicine in 1885 and worked at the Vienna's General Hospital, but ultimately abandoned medicine in favour of writing.
His works were often controversial, both for their frank description of sexuality (Sigmund Freud, in a letter to Schnitzler, confessed "I have gained the impression that you have learned through intuition — though actually as a result of sensitive introspection — everything that I have had to unearth by laborious work on other persons")[1] and for their strong stand against anti-Semitism, represented by works such as his play Professor Bernhardi and the novel Der Weg ins Freie. However, though Schnitzler was himself Jewish, Professor Bernhardi and Fräulein Else are among the few clearly-identified Jewish protagonists in his work.
Schnitzler was branded as a pornographer after the release of his play Reigen, in which ten pairs of characters are shown before and after the sexual act, leading and ending with a prostitute. The furore after this play was couched in the strongest anti-semitic terms;[2] his works would later be cited as "Jewish filth" by Adolf Hitler. Reigen was made into a French language film in 1950 by the German-born director Max Ophüls as La Ronde. The film achieved considerable success in the English-speaking world, with the result that Schnitzler's play is better known there under Ophüls' French title.
In the novella, Fräulein Else (1924), Schnitzler may be rebutting a contentious critique of the Jewish character by Otto Weininger (1903) by positioning the sexuality of the young female Jewish protagonist.[3] The story, a first-person stream of consciousness narrative by a young aristocratic woman, reveals a moral dilemma that ends in tragedy.
In response to an interviewer who asked Schnitzler what he thought about the critical view that his works all seemed to treat the same subjects, he replied, "I write of love and death. What other subjects are there?" Despite his seriousness of purpose, Schnitzler frequently approaches the bedroom farce in his plays (and had an affair with one of his actresses, Adele Sandrock). Professor Bernhardi, a play about a Jewish doctor who turns away a Catholic priest in order to spare a patient the realization that she is on the point of death, is his only major dramatic work without a sexual theme.
A member of the avant-garde group Young Vienna (Jung Wien), Schnitzler toyed with formal as well as social conventions. With his 1900 short story Lieutenant Gustl, he was the first to write German fiction in stream-of-consciousness narration. The story is an unflattering portrait of its protagonist and of the army's obsessive code of formal honour. It caused Schnitzler to be stripped of his commission as a reserve officer in the medical corps — something that should be seen against the rising tide of anti-semitism of the time.
He specialized in shorter works like novellas and one-act plays. And in his short stories like "The Green Tie" ("Die grüne Krawatte") he showed himself to be one of the early masters of microfiction. However he also wrote two full-length novels: Der Weg ins Freie about a talented but not very motivated young composer, a brilliant description of a segment of pre-World War I Viennese society; and the artistically less satisfactory Therese.
In addition to his plays and fiction, Schnitzler meticulously kept a diary from the age of 17 until two days before his death, of a brain hemorrhage in Vienna. The manuscript, which runs to almost 8,000 pages, is most notable for Schnitzler's cas
The son of a prominent Hungarian-Jewish laryngologist Johann Schnitzler and Luise Markbreiter (a daughter of the Viennese doctor Philipp Markbreiter), was born in Vienna in the Austro-Hungarian Empire, and began studying medicine at the local university in 1879. He received his doctorate of medicine in 1885 and worked at the Vienna's General Hospital, but ultimately abandoned medicine in favour of writing.
His works were often controversial, both for their frank description of sexuality (Sigmund Freud, in a letter to Schnitzler, confessed "I have gained the impression that you have learned through intuition — though actually as a result of sensitive introspection — everything that I have had to unearth by laborious work on other persons")[1] and for their strong stand against anti-Semitism, represented by works such as his play Professor Bernhardi and the novel Der Weg ins Freie. However, though Schnitzler was himself Jewish, Professor Bernhardi and Fräulein Else are among the few clearly-identified Jewish protagonists in his work.
Schnitzler was branded as a pornographer after the release of his play Reigen, in which ten pairs of characters are shown before and after the sexual act, leading and ending with a prostitute. The furore after this play was couched in the strongest anti-semitic terms;[2] his works would later be cited as "Jewish filth" by Adolf Hitler. Reigen was made into a French language film in 1950 by the German-born director Max Ophüls as La Ronde. The film achieved considerable success in the English-speaking world, with the result that Schnitzler's play is better known there under Ophüls' French title.
In the novella, Fräulein Else (1924), Schnitzler may be rebutting a contentious critique of the Jewish character by Otto Weininger (1903) by positioning the sexuality of the young female Jewish protagonist.[3] The story, a first-person stream of consciousness narrative by a young aristocratic woman, reveals a moral dilemma that ends in tragedy.
In response to an interviewer who asked Schnitzler what he thought about the critical view that his works all seemed to treat the same subjects, he replied, "I write of love and death. What other subjects are there?" Despite his seriousness of purpose, Schnitzler frequently approaches the bedroom farce in his plays (and had an affair with one of his actresses, Adele Sandrock). Professor Bernhardi, a play about a Jewish doctor who turns away a Catholic priest in order to spare a patient the realization that she is on the point of death, is his only major dramatic work without a sexual theme.
A member of the avant-garde group Young Vienna (Jung Wien), Schnitzler toyed with formal as well as social conventions. With his 1900 short story Lieutenant Gustl, he was the first to write German fiction in stream-of-consciousness narration. The story is an unflattering portrait of its protagonist and of the army's obsessive code of formal honour. It caused Schnitzler to be stripped of his commission as a reserve officer in the medical corps — something that should be seen against the rising tide of anti-semitism of the time.
He specialized in shorter works like novellas and one-act plays. And in his short stories like "The Green Tie" ("Die grüne Krawatte") he showed himself to be one of the early masters of microfiction. However he also wrote two full-length novels: Der Weg ins Freie about a talented but not very motivated young composer, a brilliant description of a segment of pre-World War I Viennese society; and the artistically less satisfactory Therese.
In addition to his plays and fiction, Schnitzler meticulously kept a diary from the age of 17 until two days before his death, of a brain hemorrhage in Vienna. The manuscript, which runs to almost 8,000 pages, is most notable for Schnitzler's cas
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August 27, 2019
The apocryphal saying "Everything in the world is about sex, except sex, sex is about power" could stand as a review for Arthur Schnitzler's Reigen.
No wonder this was seen as quite scandalous in early 20th century Vienna! And the scandal is not the sex and the symmetry of the partner change, with characters acting out the sex act (conveniently covered in a line of dashes in each scene) in dance moves until the cycle of sex closes and we meet the first character again in the last scene.
The scandal is to which degree sex is about something else: about vanity and secrecy and fame and money and power and boredom and vengeance and embarrassment... There is very little passion, and very little purity of love involved, and that must have struck at the heart of the double standards of the Habsburg monarchy, which tended to have a quite Catholic view on love and marriage, ignoring the nature of sex as far as possible. There are no virgins and holy mothers in the Love Dance, only realistic women who know both their own bodies and those of the men they encounter.
If Schnitzler were to rewrite the Reigen today, we would probably open up the dance floor to more constellations, and we would see that sex is a unifier among human beings, linking them in their diversity.
And yet, we are all moving alone to the music, and it remains essentially a mystery what our partners really think and feel.
If I have to make a judgment on this little gem, it would be that I am happy he dared to write what he knew would cause the morality police to spit out some more antisemitic abuse.
Schnitzler was a brave individual!
No wonder this was seen as quite scandalous in early 20th century Vienna! And the scandal is not the sex and the symmetry of the partner change, with characters acting out the sex act (conveniently covered in a line of dashes in each scene) in dance moves until the cycle of sex closes and we meet the first character again in the last scene.
The scandal is to which degree sex is about something else: about vanity and secrecy and fame and money and power and boredom and vengeance and embarrassment... There is very little passion, and very little purity of love involved, and that must have struck at the heart of the double standards of the Habsburg monarchy, which tended to have a quite Catholic view on love and marriage, ignoring the nature of sex as far as possible. There are no virgins and holy mothers in the Love Dance, only realistic women who know both their own bodies and those of the men they encounter.
If Schnitzler were to rewrite the Reigen today, we would probably open up the dance floor to more constellations, and we would see that sex is a unifier among human beings, linking them in their diversity.
And yet, we are all moving alone to the music, and it remains essentially a mystery what our partners really think and feel.
If I have to make a judgment on this little gem, it would be that I am happy he dared to write what he knew would cause the morality police to spit out some more antisemitic abuse.
Schnitzler was a brave individual!
December 2, 2017
Arthur Schnitzler deemed his 1897 play 'La Ronde' too raunchy and provocative for a public audience. Understandable, seeing the year. And only kept it for the eyes of friends when printed some three years later. When it finally received its very first public viewing in Vienna some twenty years later it was shut down by the Austrian police and Schnitzler was prosecuted for obscenity. There have been many productions of his play since, and in recent years even Nicole Kidman took to the stage in her birthday suit, leaving one critic to declare it "pure theatrical viagra". Unfortunately for me, I wasn't there, or any of the other productions (had a chance to see it in London but turned down the offer). At least I can say I read it.
An example of the text,
YOUNG WIFE: But you're tearing everything!
YOUNG GENTLEMAN: Don't you wear a corset?
YOUNG WIFE: I never wear a corset. Neither does Duse, incidentally. You can unbutton my boots.
(The Young Gentleman unbuttons her boots, kisses her feet.)
YOUNG WIFE (slipping into the bed): Oooh, I'm cold.
YOUNG GENTLEMAN: It'll get warm.
YOUNG WIFE (laughing softly): You think so?
YOUNG GENTLEMAN (not liking this, to himself): She shouldn't have said that! (He undresses in the dark.)
YOUNG WIFE (tenderly): Come, come, come.
YOUNG GENTLEMAN (in a better mood at once): At once
YOUNG WIFE: It smells of violets here.
YOUNG GENTLEMAN: It's you. . . yes (close by her) . . . you.
YOUNG WIFE: Alfred . . . Alfred!!!!
YOUNG GENTLEMAN: Emma
La Ronde is made up of ten interconnected scenes, each scene contains just two characters, which are, A Whore, a Soldier, A Parlour Maid, a Young Gentleman, a Young Wife, a Husband, a Miss, a Poet, an Actress, and a Count. The moments featured are before or after a sexual encounter and By choosing characters across all levels of society, the play offers social commentary on how sexual contact transgresses through different individuals. Besides being a literal symbolisation of the play's title, this roulette wheel offers an element of excitement to a piece that has lost some of its allure in this desensitised era, where sexual preferences and perversities are no longer the taboos they were at the turn of the twentieth century. It certainly has lost the shock factor when you think of the world of today, and of the ten scenes only about four really stood out for me being excellent.
As far as I am concerned nothing beats the stage, reading a play just isn't the same as seeing it with your own eyes. This was worth reading though, and reading plays is starting to grow on me. This is the second piece of Schnitzler's work I have read and want to read more. I like him, just from this it's easy to see his talent as a dramatist.
An example of the text,
YOUNG WIFE: But you're tearing everything!
YOUNG GENTLEMAN: Don't you wear a corset?
YOUNG WIFE: I never wear a corset. Neither does Duse, incidentally. You can unbutton my boots.
(The Young Gentleman unbuttons her boots, kisses her feet.)
YOUNG WIFE (slipping into the bed): Oooh, I'm cold.
YOUNG GENTLEMAN: It'll get warm.
YOUNG WIFE (laughing softly): You think so?
YOUNG GENTLEMAN (not liking this, to himself): She shouldn't have said that! (He undresses in the dark.)
YOUNG WIFE (tenderly): Come, come, come.
YOUNG GENTLEMAN (in a better mood at once): At once
YOUNG WIFE: It smells of violets here.
YOUNG GENTLEMAN: It's you. . . yes (close by her) . . . you.
YOUNG WIFE: Alfred . . . Alfred!!!!
YOUNG GENTLEMAN: Emma
La Ronde is made up of ten interconnected scenes, each scene contains just two characters, which are, A Whore, a Soldier, A Parlour Maid, a Young Gentleman, a Young Wife, a Husband, a Miss, a Poet, an Actress, and a Count. The moments featured are before or after a sexual encounter and By choosing characters across all levels of society, the play offers social commentary on how sexual contact transgresses through different individuals. Besides being a literal symbolisation of the play's title, this roulette wheel offers an element of excitement to a piece that has lost some of its allure in this desensitised era, where sexual preferences and perversities are no longer the taboos they were at the turn of the twentieth century. It certainly has lost the shock factor when you think of the world of today, and of the ten scenes only about four really stood out for me being excellent.
As far as I am concerned nothing beats the stage, reading a play just isn't the same as seeing it with your own eyes. This was worth reading though, and reading plays is starting to grow on me. This is the second piece of Schnitzler's work I have read and want to read more. I like him, just from this it's easy to see his talent as a dramatist.
April 8, 2021
Schnitzler selbst wollte den Reigen ursprünglich nicht veröffentlichen, weil er ihn literarisch für zu wenig anspruchsvoll hielt. Dieser ersten und ursprünglichen Einschätzung des Autors muss ich bedauerlicherweise vollends zustimmen. Ich glaube, ich habe nur einen schlechteren Schnitzler als den Reigen gelesen, und ich hab sehr viele gelesen.
Wenn mal mal vom Skandal, den das Werk zu seiner Zeit verursacht hat, absieht und das Theaterstück im Lichte der heutigen Zeit betrachtet, dann bleiben nur noch extrem platte Dialoge übrig, die der Güte von Schnitzlers Fabuliertalent recht unwürdig sind.
Lediglich eine Geschichte fand ich von der Konstruktion her ansprechender: Die junge Frau und der Ehemann. Als der betrügende Ehemann von der Tugend von Frauen faselt, seine Frau sogar dazu anhält, dass sie sich sogar nicht mit Freundinnen abgeben soll, die ihrerseit ihre Ehemänner betrügen, nichts ahnend dass seine Frau ihm schon längst die Hörner aufgesetzt hat. Einerseits treibt er es selbst mit verheirateten Frauen, kommt aber nie auf die Idee, dass ein anderer Mann so etwas auch tun könnte. Wo sollen denn all diese untreuen Frauen sonst herkommen. Das ist irgendwie naiv und auch köstlich, denn er nimmt sich in der Ehe etwas heraus, was er bei seiner Frau nicht einmal zu denken wagt und bekommt hinterrücks die Rechnung präsentiert.
Ein zweiter innovativer Punkt des Dramas ist die Szenenanordnung. Wie ein Staffelholz der Liebelei oder wie eine Geschlechtskrankheit wird der sexuelle Akt von einem zum anderen weitergegeben - quer durch die Gesellschaftsschichten von Nutte auf Soldat auf Dienstmädchen auf feiner Herr auf feine verheiratete Dame auf Ehemann auf süßes Mädel ... bis wir am Ende wieder auf die Nutte der ersten Szene treffen. Das klingt nach einem seriellen Gang Bang in dem das Token (Ausdruck aus der IT) in einem Ring weitergegeben wird. Token-Ring war übrigens eine Form von Netzwerkstruktur, nicht mehr ganz aktuell aber so passend auf dieses Stück wie nur was.
Diese zwei positiven, beziehungsweise innovativen Aspekte, die ich hervorgehoben habe, sind auch der Grund, warum sich das Werk bei mir das zweite Sternderl verdient hat, ansonsten ist nix dran am Reigen. Nun werde ich mir den Reigen reloaded zu gemüte führen, der das Werk in die heutige Zeit versetzen will - ich bin schon gespannt ob der Remix von heute besser wird als das Original.
Fazit: Lest einen Schnitzler, aber einen anderen! Im Rahmen der Theaterstücke kann ich Das weite Land empfehlen bei Schnitzlers Novellen ist fast alles gut.
Wenn mal mal vom Skandal, den das Werk zu seiner Zeit verursacht hat, absieht und das Theaterstück im Lichte der heutigen Zeit betrachtet, dann bleiben nur noch extrem platte Dialoge übrig, die der Güte von Schnitzlers Fabuliertalent recht unwürdig sind.
Lediglich eine Geschichte fand ich von der Konstruktion her ansprechender: Die junge Frau und der Ehemann. Als der betrügende Ehemann von der Tugend von Frauen faselt, seine Frau sogar dazu anhält, dass sie sich sogar nicht mit Freundinnen abgeben soll, die ihrerseit ihre Ehemänner betrügen, nichts ahnend dass seine Frau ihm schon längst die Hörner aufgesetzt hat. Einerseits treibt er es selbst mit verheirateten Frauen, kommt aber nie auf die Idee, dass ein anderer Mann so etwas auch tun könnte. Wo sollen denn all diese untreuen Frauen sonst herkommen. Das ist irgendwie naiv und auch köstlich, denn er nimmt sich in der Ehe etwas heraus, was er bei seiner Frau nicht einmal zu denken wagt und bekommt hinterrücks die Rechnung präsentiert.
Ein zweiter innovativer Punkt des Dramas ist die Szenenanordnung. Wie ein Staffelholz der Liebelei oder wie eine Geschlechtskrankheit wird der sexuelle Akt von einem zum anderen weitergegeben - quer durch die Gesellschaftsschichten von Nutte auf Soldat auf Dienstmädchen auf feiner Herr auf feine verheiratete Dame auf Ehemann auf süßes Mädel ... bis wir am Ende wieder auf die Nutte der ersten Szene treffen. Das klingt nach einem seriellen Gang Bang in dem das Token (Ausdruck aus der IT) in einem Ring weitergegeben wird. Token-Ring war übrigens eine Form von Netzwerkstruktur, nicht mehr ganz aktuell aber so passend auf dieses Stück wie nur was.
Diese zwei positiven, beziehungsweise innovativen Aspekte, die ich hervorgehoben habe, sind auch der Grund, warum sich das Werk bei mir das zweite Sternderl verdient hat, ansonsten ist nix dran am Reigen. Nun werde ich mir den Reigen reloaded zu gemüte führen, der das Werk in die heutige Zeit versetzen will - ich bin schon gespannt ob der Remix von heute besser wird als das Original.
Fazit: Lest einen Schnitzler, aber einen anderen! Im Rahmen der Theaterstücke kann ich Das weite Land empfehlen bei Schnitzlers Novellen ist fast alles gut.
December 9, 2016
Da sinopse:
"Desde 1905 que circulavam rumores em Viena sobre uma obra «licenciosa» que Arthur Schnitzler teria escrito. Era A Ronda, que nenhum teatro se atreveu a encenar e começou por ser divulgada em edição de autor. Foi preciso esperar por 1921, depois do colapso do Império Austro-Húngaro, para que a peça pudesse ser representada em Viena, causando grande escândalo."
Percebo as "comichões" dos vienenses pois esta peça é uma pouca vergonha. Dez casais, em dez diálogos, que se encontram apenas pelo desejo e a sua satisfação, sem essas chatices do amor. Algumas das mulheres ainda pecam perguntando: «amas-me?», mas eles, depois de despachadinhos, vão andando ao encontro da próxima senhora; elas, sem dramas, aperaltam-se e vão até ao quarto do cavalheiro que se segue. Apesar de ser uma peça atrevida, nada na linguagem é explícito; é tudo com muito respeitinho.
Diverti-me muito a ler esta peça e a seleccionar algumas imagens para colorir cada acto com uma ligeira indecência.
I — A GALDÉRIA E O SOLDADO
(Ernst Ludwig Kirchner)
II — O SOLDADO E A CRIADA
(Patrick Procktor)
III — A CRIADA E O JOVEM CAVALHEIRO
(Henri de Toulouse-Lautrec)
IV — O JOVEM CAVALHEIRO E A JOVEM SENHORA
(Lucian Freud)
V —A JOVEM SENHORA E O MARIDO
(Felix Vallotton)
VI —O MARIDO E A DOCE DONZELA
(Jan Steen)
VII — A DOCE DONZELA E O POETA
(Theodore Gericault)
VIII — O POETA E A ACTRIZ
(Toyen)
IX — A ACTRIZ E O CONDE
(Eric Fischl)
X — O CONDE E A GALDÉRIA
(Jack Vettriano)
April 11, 2020
کتاب در سال 1897 نوشته میشه اما تا سال 1903
به علت سانسور منتشر نمیشه_
■●
فروید دربارهی آرتور شنیتسلر نوشت :
بینش شاعرانهی شنیتسلر اغلب به همان نتایجی انجامیده است که پارهای از تحقیقات علمی او و همچنین فروید گفت شنیتسلر بسیاری از عقاید و نظرات او را که قابل توصیف نبودهاند به بهترین نحو،در خلال حوادث داستانها و نمایشنامه هایش بیان کرده است...
■●
شنیتسلر یک پزشک بود و با دید یک پزشک،اجتماع بیماری را که در آن میزیست مشاهده و ثبت کرده است...
■●
درباره کتاب :
در این کتاب شنیتسلر در 10 گفتگوی جداگانه ،تسلسل روابط جنسی 10 زوج از طبقات مختلف و حوادث،و ریاکاریهای نظام اجتماعی منحط را که در آن غریزههای سالم انسانی تا سطح هیجانات شهوانی تنزل یافته،به نحوی کنایهدار و استهزا آمیز بیان کرده.
(از مقدمه کتاب)
به علت سانسور منتشر نمیشه_
■●
فروید دربارهی آرتور شنیتسلر نوشت :
بینش شاعرانهی شنیتسلر اغلب به همان نتایجی انجامیده است که پارهای از تحقیقات علمی او و همچنین فروید گفت شنیتسلر بسیاری از عقاید و نظرات او را که قابل توصیف نبودهاند به بهترین نحو،در خلال حوادث داستانها و نمایشنامه هایش بیان کرده است...
■●
شنیتسلر یک پزشک بود و با دید یک پزشک،اجتماع بیماری را که در آن میزیست مشاهده و ثبت کرده است...
■●
درباره کتاب :
در این کتاب شنیتسلر در 10 گفتگوی جداگانه ،تسلسل روابط جنسی 10 زوج از طبقات مختلف و حوادث،و ریاکاریهای نظام اجتماعی منحط را که در آن غریزههای سالم انسانی تا سطح هیجانات شهوانی تنزل یافته،به نحوی کنایهدار و استهزا آمیز بیان کرده.
(از مقدمه کتاب)
April 8, 2021
Nach etlichen Romanen/Dramen von Kraus, Marai, Musil und Roth, bei denen sich das alte Kakanien noch mal vor dem drohenden Hintergrund des Weltkriegs zum letzten Walzer und allerlei Nachspielen trifft, zeigt der Reigen die Rollenspiele im Geschlechterkampf auf dem Weg durch sämtliche Gesellschaftsschichten, ohne die geringste Ahnung vom raschen Ende der Donaumonarchie. Dabei ist der junge Soldat, der Dirne wie dem Stubenmädchen am liebsten, der alte Graf/Offizier dagegen immer am falschen Ende.
Alles in allem liest sich das ganze wie eine Einzelstimme aus einer Partitur zu einer großen Sinfonie, mehr als ein paar Ahnungen auf das Große Ganze sind (leider) nicht drin. Der soziale Sprengstoff von einst ist verflogen, die Konventionen allenfalls im Kopf des Lesers, so einigermaßen ahnungsweise vorhanden, Schnitzlers Dialoge bieten herzlich wenig, woran sich die Phantasie meines Hausregisseurs entflammen könnte. Der würde allenfalls die erste Szene mit dem Soldaten und dem Mädchen an den Schluss stellen, das Thema Alter und Jugend sticht immer, ganz egal, wie gerade bei welchen Themen gerade geheuchelt oder Toleranz vorgetäuscht wird.
Alles in allem liest sich das ganze wie eine Einzelstimme aus einer Partitur zu einer großen Sinfonie, mehr als ein paar Ahnungen auf das Große Ganze sind (leider) nicht drin. Der soziale Sprengstoff von einst ist verflogen, die Konventionen allenfalls im Kopf des Lesers, so einigermaßen ahnungsweise vorhanden, Schnitzlers Dialoge bieten herzlich wenig, woran sich die Phantasie meines Hausregisseurs entflammen könnte. Der würde allenfalls die erste Szene mit dem Soldaten und dem Mädchen an den Schluss stellen, das Thema Alter und Jugend sticht immer, ganz egal, wie gerade bei welchen Themen gerade geheuchelt oder Toleranz vorgetäuscht wird.
November 14, 2021
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071216: now i want to again see the movie 'la ronde' by max ophuls... possibly because of him- the director- it is a very adult film, a mature, bittersweet meditation, a romance that is not a romance, a series of assignations revealing two sides of each of the ten characters as they hook up in fin de siecle, decadent, romantic vienna: prostitute, soldier, housemaid, young gentleman, young woman, husband, sweet young thing, poet, actress, count... each leading to the other then starting again. the play is concise, engaging, comic, satiric. excellent portrayal of entire society. fast scenes of few pages each sketch clearly each character, each compromise, each deception, and maybe i am moved by thinking of how it might be updated for our 21st century world...
210419: recent litcrit read suggests perhaps i missed some modernist/religious etc aspect of this story as denunciation of contemporaneous mores... that the linkage is not romance but in fact venereal disease...
071216: now i want to again see the movie 'la ronde' by max ophuls... possibly because of him- the director- it is a very adult film, a mature, bittersweet meditation, a romance that is not a romance, a series of assignations revealing two sides of each of the ten characters as they hook up in fin de siecle, decadent, romantic vienna: prostitute, soldier, housemaid, young gentleman, young woman, husband, sweet young thing, poet, actress, count... each leading to the other then starting again. the play is concise, engaging, comic, satiric. excellent portrayal of entire society. fast scenes of few pages each sketch clearly each character, each compromise, each deception, and maybe i am moved by thinking of how it might be updated for our 21st century world...
210419: recent litcrit read suggests perhaps i missed some modernist/religious etc aspect of this story as denunciation of contemporaneous mores... that the linkage is not romance but in fact venereal disease...
October 10, 2010
Potentially very interesting, but a lot of the impact will really depend on the actors and actresses involved. There's loads left to the imagination when it comes to character interaction, so it could be either a disaster or really good. It's definitely easy to understand why this play caused such a scandal.. very interesting if just for that. It's just that I felt the text was rather plain, and that made it more boring to read than it would be to watch.
ETA: On reread this made a lot more sense to me, especially the relationships between the characters and the way they were treated according to the social hierachy. Very interesting.
ETA: On reread this made a lot more sense to me, especially the relationships between the characters and the way they were treated according to the social hierachy. Very interesting.
January 15, 2025
Sexual liaisons across social classes: brief intoxications and false seductions with little love.
August 15, 2015
Macht Lust auf Wien und auf Beischlaf.
November 20, 2023
PT
Esta peça teatral é realmente interessante. Desde logo, a sua estrutura original captou a minha atenção, revelando-se perfeitamente alinhada com a sua intenção final. Os encontros entre as personagens, que invariavelmente se inclinam para a erotização ou sexualização, são habilmente desenvolvidos com diálogos aparentemente descontraídos e divertidos, tornando a leitura uma experiência muito agradável. Contudo, essa leveza não obscurece uma mensagem assertiva e incisiva. Gostei imenso
ENG
This play is truly interesting. Right from the start, its original structure caught my attention, proving to be perfectly aligned with its ultimate intention. The encounters between the characters, which inevitably slide toward eroticism or sexualization, are skillfully constructed with seemingly light and enjoyable dialogues, making the reading experience extremely pleasant. However, this lightness does not overshadow a clear and biting message. I really enjoyed it.
Esta peça teatral é realmente interessante. Desde logo, a sua estrutura original captou a minha atenção, revelando-se perfeitamente alinhada com a sua intenção final. Os encontros entre as personagens, que invariavelmente se inclinam para a erotização ou sexualização, são habilmente desenvolvidos com diálogos aparentemente descontraídos e divertidos, tornando a leitura uma experiência muito agradável. Contudo, essa leveza não obscurece uma mensagem assertiva e incisiva. Gostei imenso
ENG
This play is truly interesting. Right from the start, its original structure caught my attention, proving to be perfectly aligned with its ultimate intention. The encounters between the characters, which inevitably slide toward eroticism or sexualization, are skillfully constructed with seemingly light and enjoyable dialogues, making the reading experience extremely pleasant. However, this lightness does not overshadow a clear and biting message. I really enjoyed it.
September 2, 2023
Um devaneio divertido de sexo, luxúria e traição.
Aqui fica o comentário:
https://www.instagram.com/p/Cwrt6wjsX...
Aqui fica o comentário:
https://www.instagram.com/p/Cwrt6wjsX...
May 19, 2022
In der Reclam XL-Ausgabe ist in Auszügen Felix Saltens Rezension des Texts wiedergegeben & Ich finde, das hier trifft den Text extrem gut:
„Von einer lautlosen, unmerklichen, man müsste sagen von einer liebenswürdigen Grausamkeit ist der ‚Reigen‘.“
Die Ausgabe enthält einiges an Quellenmaterial aus der Entstehungszeit, fast komplett auf den sexuellen Aspekt & Geschlechtertheorien der Zeit fokussiert. Mir hat dagegen eine sozialhistorische & eine literaturwissenschaftliche Einordnung gefehlt, denn was vom Reigen bleibt, ist ja weniger der Sittenspiegel (der schon auch & der ist auch interessant), sondern die Virtuosität, mit der Schnitzler gesprochene Sprache evoziert, aber das komplette Verstehen des Textes daran hängt, dass es ein geschriebener Text ist, an den Bindestrichen.
„Von einer lautlosen, unmerklichen, man müsste sagen von einer liebenswürdigen Grausamkeit ist der ‚Reigen‘.“
Die Ausgabe enthält einiges an Quellenmaterial aus der Entstehungszeit, fast komplett auf den sexuellen Aspekt & Geschlechtertheorien der Zeit fokussiert. Mir hat dagegen eine sozialhistorische & eine literaturwissenschaftliche Einordnung gefehlt, denn was vom Reigen bleibt, ist ja weniger der Sittenspiegel (der schon auch & der ist auch interessant), sondern die Virtuosität, mit der Schnitzler gesprochene Sprache evoziert, aber das komplette Verstehen des Textes daran hängt, dass es ein geschriebener Text ist, an den Bindestrichen.
August 10, 2020
Funny, irreverent, licentious, light, removed, spicy (yes, many qualifiers), these sketches will not leave you indifferent.
June 2, 2021
Nu man ir divkārt žēl, ka savulaik neaizgāju uz Baņutas Rubesas iestudēto "Rondo" JRT. Tas bija vēl pirms "Revidenta", kad biļetes dabūt nebija problēmas. Iespējams, sakautrējos. Žēl. Oriģināls ir brīnišķīgs - asredzīgs un izaicinošs stāsts par dažādiem cilvēkiem pirms un pēc akta. Nezinu, kā ir citās grāmatas kopijās, bet manā elektroniskajā kopijā TĀ vieta dialogā nekā nebija atzīmēta. Nācās saprast un ieraudzīt, kurā brīdī viss mainās.
P.S. Noskatījos 1950. gada ekranizāciju. Mīlīga.
P.S. Noskatījos 1950. gada ekranizāciju. Mīlīga.
September 9, 2021
I have wanted to read this play for many years and finally tracked a copy down. La Ronde (or Reigen as it was originally titled in German) is a controversial play by Viennese playwright, Arthur Schnitzler. Written in 1897, the play was not able to be publicly performed for more than 20 years due to the explicit sexual nature of the work and was the subject of an obscenity trial. Although the work was officially cleared, the furore it had caused, none the less, led to its author being publicly attacked and vilified.
Schnitzler’s play is a fairly frank study of sexual relations in fin de siècle Vienna which drew heavily on the contemporaneous work of Freud and his burgeoning theories of psychoanalysis becoming popular at that time. It sought to emphasise the licentious nature of sexual interaction across all walks of life regardless of station by drawing characters from different classes and social circles; a prostitute, a poet, an actress and a count, among others all feature in different acts. The play intended to highlight the hypocrisy of a society which refused to admit the existence of this underworld of sexual interaction, an underworld that knew no bounds of position or status.
The action is broken into ten vignettes all centring around a different sexual encounter, beginning with a prostitute and a soldier. The next scene features the soldier again and a maid. The next, the maid and a young gentleman and so on, until we return again to the play’s final character, the count and his affair with the prostitute from the opening scene, moving full circle.
I really did enjoy this work and can appreciate how it’s controversial subject matter would have scandalised and shocked the society Schnitzler lived in. As a modern reader, however, it is difficult to regard the issues of class and gender so innocently as did Schnitzler. It appears superficially as if all characters are, for the most part, willing participants and indicative of some kind of underground sexual revolution. I think the work really fails to examine way sexual relations are often corrupted by power, coercion and control. The play does little to explore the nature of sexual exploitation or sexual servitude, even though it is more than obvious that some of Schnitzler’s characters clearly have no choice but to be a part of this sexual circle because of economic dependency. This aspect of the work is clearly dated. Yes this work is now more than a hundred years old and and the idea of publishing a work at this time which discussed gender outside heterosexuality would’ve been almost unheard of, but as a modern reader this element also kind of feels missing.
The other issue I had with this work was the number of acts. I know Schnitzler was attempting to include members of all class groups, but this means that each act was very short and the characters felt very cardboard cut-out. Perhaps even a couple less acts could’ve meant we got to know these characters and their motivations a little better.
Schnitzler’s play is a fairly frank study of sexual relations in fin de siècle Vienna which drew heavily on the contemporaneous work of Freud and his burgeoning theories of psychoanalysis becoming popular at that time. It sought to emphasise the licentious nature of sexual interaction across all walks of life regardless of station by drawing characters from different classes and social circles; a prostitute, a poet, an actress and a count, among others all feature in different acts. The play intended to highlight the hypocrisy of a society which refused to admit the existence of this underworld of sexual interaction, an underworld that knew no bounds of position or status.
The action is broken into ten vignettes all centring around a different sexual encounter, beginning with a prostitute and a soldier. The next scene features the soldier again and a maid. The next, the maid and a young gentleman and so on, until we return again to the play’s final character, the count and his affair with the prostitute from the opening scene, moving full circle.
I really did enjoy this work and can appreciate how it’s controversial subject matter would have scandalised and shocked the society Schnitzler lived in. As a modern reader, however, it is difficult to regard the issues of class and gender so innocently as did Schnitzler. It appears superficially as if all characters are, for the most part, willing participants and indicative of some kind of underground sexual revolution. I think the work really fails to examine way sexual relations are often corrupted by power, coercion and control. The play does little to explore the nature of sexual exploitation or sexual servitude, even though it is more than obvious that some of Schnitzler’s characters clearly have no choice but to be a part of this sexual circle because of economic dependency. This aspect of the work is clearly dated. Yes this work is now more than a hundred years old and and the idea of publishing a work at this time which discussed gender outside heterosexuality would’ve been almost unheard of, but as a modern reader this element also kind of feels missing.
The other issue I had with this work was the number of acts. I know Schnitzler was attempting to include members of all class groups, but this means that each act was very short and the characters felt very cardboard cut-out. Perhaps even a couple less acts could’ve meant we got to know these characters and their motivations a little better.
May 26, 2016
I think I have a new favorite play.
I've never seen a play this unique before. La Ronde follows a free-flowing narrative between multiple characters as they go out and have sex with their different partners. It paints a very unique picture on sex, as if Schnitzler is saying that love is very untrustworthy. That love is two-sided and easy to change as time goes on. And this infidelity isn't something that only streetwalkers and simple soldiers partake in, as the play introduces, but it carries on to the nobility, the wealthy, and the artists of the world. It's a cynical approach, but it's so effortlessly and simply executed that the play is a truly seamless experience, flowing between one couple and another.
Each couple is also incredibly fleshed out. The fact that Schnitzler writes each character in two scenes, shows two sides to them- they're more "honest" side or their more "secret" side, but whether that side is truly honest or secret is blended into a faded grey for certain characters, like the Poet, who feigns pure romance between his partners.
La Ronde is a truly unique and unforgettable play, and a definite must-read if ever there was one. And this is going high up as one of my favorite plays I've read.
I've never seen a play this unique before. La Ronde follows a free-flowing narrative between multiple characters as they go out and have sex with their different partners. It paints a very unique picture on sex, as if Schnitzler is saying that love is very untrustworthy. That love is two-sided and easy to change as time goes on. And this infidelity isn't something that only streetwalkers and simple soldiers partake in, as the play introduces, but it carries on to the nobility, the wealthy, and the artists of the world. It's a cynical approach, but it's so effortlessly and simply executed that the play is a truly seamless experience, flowing between one couple and another.
Each couple is also incredibly fleshed out. The fact that Schnitzler writes each character in two scenes, shows two sides to them- they're more "honest" side or their more "secret" side, but whether that side is truly honest or secret is blended into a faded grey for certain characters, like the Poet, who feigns pure romance between his partners.
La Ronde is a truly unique and unforgettable play, and a definite must-read if ever there was one. And this is going high up as one of my favorite plays I've read.
December 23, 2015
I read this a while back in English class cuz my teacher has an unhealthy obsession with oversexualized mid 19th century Austria-Hungary
Fun.
Fun.
September 20, 2023
Zehn Szenen, zehn Dialoge zwischen Mann und Frau. Mehr oder weniger geht es immer um dasselbe, immer um die eine Sache. Jeder mit jeder. Je nach Stand ziert sich die eine oder andere mehr oder weniger. Menschen sind so. Manchmal hat die Frau deutlich weniger positionelle Macht und Stand, dann gibt sie sich eben leichter hin. Damals. Und heute? Ja, heute gibt es natürlich noch die anderen 100 Geschlechter und die, die gar nicht das sein wollen, was sie sind. Und Me too. Aber geht es nicht immer noch ausschließlich um die eine Sache? Menschen sind so.
"Das skandalöste Theaterstück des 20. Jahrhunderts" wurde dieses Stück genannt. Schnitzer hat richtig Ärger dafür bekommen, ihm wurde seine Aufführungserlaubnis entzogen. Unter Kollegen errang er allerdings Anerkennung und bekam unmittelbar den Vorsitz des österreichischen PEN Clubs. Bis in die 80er Jahre - des 20. Jahrhunderts! - war das Stück gesperrt. Der Sohn von Schnitzler hatte die Aufführung nicht erlaubt. Erst nachdem er verstarb, kam das Stück wieder zur Aufführung.
Aus heutiger Sicht mit ubiquitär verfügbarem Porno im Internet, Selbstobjektifizierung, Simps, Sugar Daddies, OnlyFans und dem immerwährenden Fleischmarkt auf Insta und ähnlich sind das alles nur lahme Dialoge verklemmter Altvorderen. Nicht der Rede der Wert für abgestumpfte Millenials und jünger. Aber die haben ja sowieso keine Zeit für sowas, die müssen ja angeblich die Welt retten...
"Das skandalöste Theaterstück des 20. Jahrhunderts" wurde dieses Stück genannt. Schnitzer hat richtig Ärger dafür bekommen, ihm wurde seine Aufführungserlaubnis entzogen. Unter Kollegen errang er allerdings Anerkennung und bekam unmittelbar den Vorsitz des österreichischen PEN Clubs. Bis in die 80er Jahre - des 20. Jahrhunderts! - war das Stück gesperrt. Der Sohn von Schnitzler hatte die Aufführung nicht erlaubt. Erst nachdem er verstarb, kam das Stück wieder zur Aufführung.
Aus heutiger Sicht mit ubiquitär verfügbarem Porno im Internet, Selbstobjektifizierung, Simps, Sugar Daddies, OnlyFans und dem immerwährenden Fleischmarkt auf Insta und ähnlich sind das alles nur lahme Dialoge verklemmter Altvorderen. Nicht der Rede der Wert für abgestumpfte Millenials und jünger. Aber die haben ja sowieso keine Zeit für sowas, die müssen ja angeblich die Welt retten...
September 18, 2024
Having read this again after a few years it still was as I remembered: a round dance full of sex. But this time I discovered a little more nuance. Before the action there is another small dance happening, a tug-of-war of desire and refusal, some convincing, some coercion which eventually still ends in sex. While the process itself is decidedly not the focus, the aftermath once again is highlighted. Once more there is a tug of war between staying and going. The only time of mutual agreement seems to be during intimacy, but we can't even see that.
I thought, that this makes the people seem sad and lost. The sex is often forced and the aftermath filled with disappointment. The characters are driven by pure lust, lie to get their way and are cheating. There seems to be no cure, not even the illusion of monogamy helps. But what should you do? There is no answer offered, so beneath the sensational premise lie depressing people. Very cool!
I thought, that this makes the people seem sad and lost. The sex is often forced and the aftermath filled with disappointment. The characters are driven by pure lust, lie to get their way and are cheating. There seems to be no cure, not even the illusion of monogamy helps. But what should you do? There is no answer offered, so beneath the sensational premise lie depressing people. Very cool!
February 5, 2025
People having intercourse with absolutely everyone regardless of their social status. Seduction really IS a kind of dance/game? And at least it was entertaining although a little repetitive in my opinion? 🤔 I wouldn't know, I still have to "analyse" it I think
I would highlight the quote:
"La Vida resulta tan fatua... y además... tan breve, tan condenadamente breve... Solo hay una felicidad... encontrar una persona que te ame."
I would highlight the quote:
"La Vida resulta tan fatua... y además... tan breve, tan condenadamente breve... Solo hay una felicidad... encontrar una persona que te ame."
April 4, 2024
"Komm, mein schöner Engel."
Dosłownie Reigen należałoby przetłumaczyć jako "korowód", taniec w kole - i to dobre nawiązanie do średniowiecznego motywu dance macabre - korowodu śmierci. W wersji średniowiecznej kontekst był raczej wanitatywny, związany może bardziej z zarazami i zagrożeniem śmiercią, ale w czasach Schnitzlera raczej z dekadentyzmem i przekonaniem, że życia należy użyć, bo śmierć jest blisko. Ale przecież u Boccacia mamy tę samą sytuację i ten sam erotyczny dekadentyzm. (...)
Cała recenzja na stronie: https://nakanapie.pl/recenzje/co-cie-...
Dosłownie Reigen należałoby przetłumaczyć jako "korowód", taniec w kole - i to dobre nawiązanie do średniowiecznego motywu dance macabre - korowodu śmierci. W wersji średniowiecznej kontekst był raczej wanitatywny, związany może bardziej z zarazami i zagrożeniem śmiercią, ale w czasach Schnitzlera raczej z dekadentyzmem i przekonaniem, że życia należy użyć, bo śmierć jest blisko. Ale przecież u Boccacia mamy tę samą sytuację i ten sam erotyczny dekadentyzm. (...)
Cała recenzja na stronie: https://nakanapie.pl/recenzje/co-cie-...
March 15, 2019
کتاب بدی نبود. ایده ی جالبی داشت (ملاقات چرخشی دو نفره بین دسته ای از آدمها که از یک روسپی شروع و به همان روسپی ختم می شد) فقط مکالمات خیلی پیش بینی پذیر و سطحی بود. کتاب راحتی برای گذران وقت.
September 21, 2023
Had to read this for German class. Major weird. Super sexy tho 😂😂😂😂 Jk
Read
May 4, 2012My review
Arthur Schnitzler’s play La Ronde (Reigen in German), written in 1897 but not performed until the winter of 1920/21, looks at a chain of ten sexual encounters. While known by several names depending on the language of translation, the title, named after a circular dance, often goes by La Ronde since France was the one country Schnitzler allowed the play to be performed after the initial riots and complaints in Berlin and Vienna. An English version, translated as Hands Around, can be found here (no translator noted other than it was ‘authorized’).
In general each of the ten scenes focus on a pair of lovers, fades out for their sexual encounter, then returns for a post-coital conversation. Each character appears in consecutive scenes, except for the prostitute who starts and ends the play. The scenes as listed using the linked translation's names are as follows:
1. The Girl of the Streets [Prostitute] and the Soldier
2. The Soldier and the Parlor Maid
3. The Parlor Maid and the Young Man
4. The Young Man and the Young Wife
5. The Young Wife and the Husband
6. The Husband and the Sweet Young Miss
7. The Sweet Young Miss and the Poet
8. The Poet and the Actress
9. The Actress and the Count
10. The Count and the Girl of the Streets
As you would guess from such a topic and structure, Schnitzler was very open on sexuality despite the veiled language used at times. The structure goes well beyond the alternating couples. The one licit coupling appears at the center of the play between the wife and husband, but even that scene involves the exertion necessary in a marriage (as opposed to the exertion needed for…other things) in addition to the baggage that is brought into a marriage. In a sense, this is the most complicated pairing in the entire play.
There are other devices used in the structure that adds to the play. Generally there is a rise in class from scene to scene until we get to the count and a shift back to the lower class with the prostitute--we have come full circle. To complicate that pairing with her and the count, the sex happened the night before, or so she says…the count can’t remember. Another part of the structure I found interesting was the transition between male dominance in the pairings early on that transitions to female dominance in the latter pairs. Or maybe it would be more correct to say the female dominant sexual power is better disguised in the early pairings.
The play is fun to read to see how each pairing unfolds. It’s clear both parties are willing participants early in each scene, the woman sometimes putting up the appearance of resistance for propriety’s sake. Her actions usually don’t match her protestations, though. The resistance is more pronounced in the earlier scenes, less so in the latter ones. There’s more to explore in the pairings, especially the similarity between scenes with the common character. Often there is a hitch in the pairing, the funniest (to me) is the temporary impotence of the young man in Scene Four. His discussion of Stendhal after the disappointment leads to a successful conclusion. So to speak.
Highly recommended. It would be easy to dismiss the play as simple fun that Schnitzler intended for his friends but the deceptions, and more importantly the self-deceptions, lend themselves to deeper meaning. The married couple provides the most philosophical pairing as the husband waxes eloquently on friendship, love and passion while the wife provides a wistful counterpoint, sardonic at times. His simultaneous understanding and ignorance yields some of the funniest lines of the play. The wife complicates things by bringing up past lovers while the husband does his best to evade the topic. For all his bluster, the husband sums things up rather well:
Arthur Schnitzler’s play La Ronde (Reigen in German), written in 1897 but not performed until the winter of 1920/21, looks at a chain of ten sexual encounters. While known by several names depending on the language of translation, the title, named after a circular dance, often goes by La Ronde since France was the one country Schnitzler allowed the play to be performed after the initial riots and complaints in Berlin and Vienna. An English version, translated as Hands Around, can be found here (no translator noted other than it was ‘authorized’).
In general each of the ten scenes focus on a pair of lovers, fades out for their sexual encounter, then returns for a post-coital conversation. Each character appears in consecutive scenes, except for the prostitute who starts and ends the play. The scenes as listed using the linked translation's names are as follows:
1. The Girl of the Streets [Prostitute] and the Soldier
2. The Soldier and the Parlor Maid
3. The Parlor Maid and the Young Man
4. The Young Man and the Young Wife
5. The Young Wife and the Husband
6. The Husband and the Sweet Young Miss
7. The Sweet Young Miss and the Poet
8. The Poet and the Actress
9. The Actress and the Count
10. The Count and the Girl of the Streets
As you would guess from such a topic and structure, Schnitzler was very open on sexuality despite the veiled language used at times. The structure goes well beyond the alternating couples. The one licit coupling appears at the center of the play between the wife and husband, but even that scene involves the exertion necessary in a marriage (as opposed to the exertion needed for…other things) in addition to the baggage that is brought into a marriage. In a sense, this is the most complicated pairing in the entire play.
There are other devices used in the structure that adds to the play. Generally there is a rise in class from scene to scene until we get to the count and a shift back to the lower class with the prostitute--we have come full circle. To complicate that pairing with her and the count, the sex happened the night before, or so she says…the count can’t remember. Another part of the structure I found interesting was the transition between male dominance in the pairings early on that transitions to female dominance in the latter pairs. Or maybe it would be more correct to say the female dominant sexual power is better disguised in the early pairings.
The play is fun to read to see how each pairing unfolds. It’s clear both parties are willing participants early in each scene, the woman sometimes putting up the appearance of resistance for propriety’s sake. Her actions usually don’t match her protestations, though. The resistance is more pronounced in the earlier scenes, less so in the latter ones. There’s more to explore in the pairings, especially the similarity between scenes with the common character. Often there is a hitch in the pairing, the funniest (to me) is the temporary impotence of the young man in Scene Four. His discussion of Stendhal after the disappointment leads to a successful conclusion. So to speak.
Highly recommended. It would be easy to dismiss the play as simple fun that Schnitzler intended for his friends but the deceptions, and more importantly the self-deceptions, lend themselves to deeper meaning. The married couple provides the most philosophical pairing as the husband waxes eloquently on friendship, love and passion while the wife provides a wistful counterpoint, sardonic at times. His simultaneous understanding and ignorance yields some of the funniest lines of the play. The wife complicates things by bringing up past lovers while the husband does his best to evade the topic. For all his bluster, the husband sums things up rather well:
Husband: If we hadn’t sometimes forgotten that we are in love with each other during the five years we have been married—we might not be in love any longer.
Young Wife: That’s beyond me.
Husband: The case is simply this. We have had perhaps ten or twelve love-affairs with each other [in five years of marriage]…. Doesn’t it seems that way to you, too?
Young Wife: I haven’t counted them!
Husband: If we had enjoyed the first one to the last drop, if I had from the very beginning surrendered without restraint to my passion for you, the same thing would have happened to us that has happened to millions of other lovers. We would be tired of each other.
Update: I've added some comments on the play in my post on Max Ophuls' 1950 movie version of La Ronde.
January 6, 2023
Mit Fieber im Bett eine leicht bekömmliche Hörspiel-Unterhaltung einer koketten Reihung ambivalenter Liebeleien.
Nicht weit davon entfernt, Audio-Erotik zu sein.
Teilweise aber unbehagliche Momente, wenn aus den Dialogen nicht klar hervorgeht, ob die Geschehnisse einvernehmlich sind.
Nicht weit davon entfernt, Audio-Erotik zu sein.
Teilweise aber unbehagliche Momente, wenn aus den Dialogen nicht klar hervorgeht, ob die Geschehnisse einvernehmlich sind.
December 9, 2024
Having read that in 2024, it doesn't say much. But since this was written 200 years ago and it still applies to today, I may say that it's very intriguing.
June 13, 2021
Puanım 3/5 (%65/100)
Çok ucuza aldığım ve Instagram hesabımdan sorduğumda 1 kişinin bile okumadığı gizemli bir kitap. İnternetten araştırdığımda da çok fazla bilinmediğini fark ettim özellikle bizim ülkemizde. Ben de alırken arkasındaki yazıdan bir tiyatro oyunu olduğunu öğrenince almaya karar vermiştim. Kitap genel olarak hoşuma gitti diyebilirim ama bazı yerlerde "ee yani?" dediğim de oldu. Olay olarak aslında çok bir şey olduğunu söyleyemem. Zaten oyun olduğu için izlemek büyük ihtimal çok daha fazla keyif verecektir. Yine de ilginç ve çok bilinmeyen bir kitap olduğu için güzel bir deneyim oldu benim için.
Gelelim kitap ne anlatıyor. İsminden de anlaşılacağı gibi 10 bölüm/perdeden oluşan bir kitap. Her bölüm 2 karakter üzerinden gidiyor ve bölümler birbiri ile bağlantılı diyebilirim. Mesela ilk bölüm "Fahişe ve Asker" üzerinden giderken bir sonraki bölüm "Asker ve Hizmetçi Kız" üzerinden gidiyor. Kitabın sonuna kadar bu şekilde bütün karakterler tekrar tekrar ortaya çıkıyor. Kitapta sevdiğim için bu diyalogların çok gerçekçi, yani herhangi bir yerde duyabileceğiniz şeyler olması. Schnitzler aşk, seks ve ikili ilişkilerin sınıf ve meslek üzerinden ne kadar farklılık gösterdiğini işlemiş. Mesela Hizmetçi Kız Asker'le farklı konuşurken, bir sonraki bölümde Genç Adam ile çok daha farklı bir şekilde konuşuyor, aralarındaki statü farkından dolayı. Benim özellikle hoşuma giden bölüm "Genç Adam ve Genç Adam" oldu, sanıyorum ki en uzun bölüm de buydu.
Çok ucuza aldığım ve Instagram hesabımdan sorduğumda 1 kişinin bile okumadığı gizemli bir kitap. İnternetten araştırdığımda da çok fazla bilinmediğini fark ettim özellikle bizim ülkemizde. Ben de alırken arkasındaki yazıdan bir tiyatro oyunu olduğunu öğrenince almaya karar vermiştim. Kitap genel olarak hoşuma gitti diyebilirim ama bazı yerlerde "ee yani?" dediğim de oldu. Olay olarak aslında çok bir şey olduğunu söyleyemem. Zaten oyun olduğu için izlemek büyük ihtimal çok daha fazla keyif verecektir. Yine de ilginç ve çok bilinmeyen bir kitap olduğu için güzel bir deneyim oldu benim için.
Gelelim kitap ne anlatıyor. İsminden de anlaşılacağı gibi 10 bölüm/perdeden oluşan bir kitap. Her bölüm 2 karakter üzerinden gidiyor ve bölümler birbiri ile bağlantılı diyebilirim. Mesela ilk bölüm "Fahişe ve Asker" üzerinden giderken bir sonraki bölüm "Asker ve Hizmetçi Kız" üzerinden gidiyor. Kitabın sonuna kadar bu şekilde bütün karakterler tekrar tekrar ortaya çıkıyor. Kitapta sevdiğim için bu diyalogların çok gerçekçi, yani herhangi bir yerde duyabileceğiniz şeyler olması. Schnitzler aşk, seks ve ikili ilişkilerin sınıf ve meslek üzerinden ne kadar farklılık gösterdiğini işlemiş. Mesela Hizmetçi Kız Asker'le farklı konuşurken, bir sonraki bölümde Genç Adam ile çok daha farklı bir şekilde konuşuyor, aralarındaki statü farkından dolayı. Benim özellikle hoşuma giden bölüm "Genç Adam ve Genç Adam" oldu, sanıyorum ki en uzun bölüm de buydu.
January 26, 2025
c’était fun
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