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La cacatua verda
Arthur Schnitzler (Viena 1862-1931), neuròleg, narrador i dramaturg austríac, pertanyia a una familia acomodada de la burgesia jueva, d'influència tan determinant a la vida cultural vienesa. El seu pare i el seu germà foren metges de prestigi ben reconegut, i ell mateix cursà la carrera de medicina; un cop doctorat, però, aviat deixà d'exercir la professió per dedicar-se a l'escriptura. Com el seu compatriota i coetani Sigmund Freud (ambdós psicoanalistes i fortament protestats) esdevingué un gran coneixedor de l'ànima humana. A les seves novel·les, narracions, drames, comèdies i monodrames (el gènere preferit per l'autor) descobreix la «miserable realitat moral, sexual, social i política, resumida en la paraula decadència, sota les aparences meravelloses de l'Imperi Austro-hongarès en els seus darrers temps», i el seu humor i la seva versatilitat mai no amaguen la profunda desil·lusió, el nihilisme i la desesperança. De l'obra dramàtica d'Arthur Schnitzler destaquem: Anatol, la seva primera peça; Flirteig; Professor Bernhardi, on s'oposa a l'antisemitisme, El personatge sobreexcitat; Dos quarts de dues; El camí solitari; El gran teatre de Wurstel, i La ronda, publicada per l'Institut del Teatre.
Cacatua Verda és una obra mestra de Schnitzler que s'ha fet famosa especialment pel moment històric triat i més encara pel joc que s'estableix entre la realitat històrica i el teatre. L'acció transcorre en una gruta, que Schnitzler presenta en forma de taverna, una taverna parisenca on uns quants actors representen escenes de crims per a diversió dels espectadors. Prospère, l'hostaler, que havia estat director de teatre i ara ho torna a ser, rep els clients nobles amb insults en lloc de donar-los la benvinguda. Fins i tot, els desitja que siguin ajusticiats pel poble irat. Això passa la vigília del 14 de juliol de 1789, el dia de la presa de la Bastilla. Les referències a La tempestat de Shakespeare són constants; tant en l'obra de Shakespeare com en la de Schnitzler hi ha una intensa nostàlgia per la felicitat perduda. Al pròleg podem llegir: «Sigui com sigui, i salvant les distàncies, ambdues són obres sobre el poder, les desigualtats socials, la injustícia, la violència, el crim.» Publiquen en aquest volum La Cacatua Verda en la traducció catalana de Feliu Formosa, precedida d'un pròleg de Josep M. Carandell.
66 pages, Paperback
First published March 1, 1899
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About the author
Arthur Schnitzler
1,011 books541 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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Displaying 1 - 10 of 10 reviews
February 14, 2025
Revolution and theater - reality and illusion - blur into one another.
September 26, 2019
"Rollin: (...) O que é verdade e o que é mentira faz tudo parte da mesma coisa, acaba por nem valer a pena estar a distinguir entre uma coisa e outra. O que é real é só mais uma faceta do que é a fingir. (...)"
March 19, 2019
Der grüne Kakadu is een bar in Parijs en decor voor dit toneelstuk, dat zich afspeelt tijdens het begin van de Franse revolutie. Een normale bar is het echter niet. Zoals aan het begin van het toneelstuk wordt uitgelegd komen toneelspelers er om zich als criminelen voor te doen, terwijl criminelen er komen om niet op te vallen en gewone burgers en zelfs adellijke mensen, om het gevoel van gevaar en criminaliteit op te wekken. Het probleem is echter dat de aanwezigheid van criminelen en toneelspelers de grenzen tussen spel en werkelijkheid, feit en fictie, vervagen. Men kan het enigszins vergelijken met de wijze waarop de grens tussen ironie en ernst door de introductie van post-ironie verdwenen lijkt, hetgeen vooral online door de alt-right is gebruikt om extreemrechts gedachtegoed te verspreiden. Enfin, terug naar het toneelstuk. In het stuk wordt steeds duidelijker hoe spel tot ernst verwordt, zonder dat iemand het doorheeft. Doordat de criminelen de rol van een hofnar aangenomen hebben kunnen ze in aanwezigheid van de politie alles vrij bespreken en de adel beledigen. En daardoor blijft de adel lange tijd blind voor het naderend onheil van de Franse revolutie.
May 28, 2025
Me ha gustado pero era muy lioso a la hora del teatro dentro del teatro, no sabías cuando hacían teatro y cuando no. Pero aún así recomendada, Albin me encantó, desubicado de donde estaba pero buen personaje ❤️
June 29, 2021
Amusing, but a bit formulaic.
August 16, 2025
Nachdem ich jüngst eine Darbietung dieses Stücks erleben durfte, bin ich nun auch dazu gekommen, es zu lesen: ein großer Spaß.
September 26, 2021
grandios!
February 22, 2017
In this shabby little bar fiction becomes reality and reality becomes fiction, the prostitute loves one man, but it is not who one might think and the French Revolution makes the coward raise the knife.
August 20, 2015
Er hat ihn umgebracht, den zufälligen Herzog, und auch noch zufällig in der Nacht der Bastille. Nein, es ist nur Komödie. Doch, es ist wahr. Ein bisschen zuviel Sein und Schein, ein bisschen zuviel Verkleidung, ein bisschen zu durchdacht dieses Revolutionsdramachen, aber amüsant zu lesen ("Dantons Tod" ist besser).
October 10, 2019
cacatua ,es el mejor libro
Displaying 1 - 10 of 10 reviews