Pandora's box; a tragedy in three acts

Lulu #2

by Frank Wedekind

Reprint of: Pandora's box; a tragedy in three acts,Frank Wedekind, New York, Boni and Liveright, 1918.

Genres: Plays, Drama, Classics, German Literature

76 pages, Kindle Edition

First published January 1, 1904

About the author

Frank Wedekind was a German dramatist whose bold, unconventional plays reshaped modern theatre by challenging social norms and exposing the hypocrisies of bourgeois morality, especially around sexuality. Raised between Germany and Switzerland and drawn early to travel, performance, and satire, he lived an eclectic life that included work in advertising, time with a circus, and a celebrated stint as a cabaret performer with the influential troupe Die elf Scharfrichter. His fearlessness as both writer and performer made him a central figure in the artistic circles of Munich, where his sharp wit and provocative themes influenced a new generation of socially critical satirists. His early play Spring Awakening caused an uproar for its frank depictions of adolescent sexuality, repression, and violence, while his two-part “Lulu” cycle introduced a character whose rise and fall exposed society’s fascination with desire and destruction. These works challenged censorship, pushed theatrical boundaries, and later inspired films, operas, and adaptations across decades. Wedekind’s personal life was intense and often turbulent, marked by complicated relationships, creative restlessness, and brushes with authority, including a prison sentence for lèse-majesté after publishing satirical poems. His marriage to the actress Tilly Newes brought both devotion and strain, reflected in the emotional swings of his later years. Even near the end of his life, recovering from surgery, he returned to the stage too soon, driven by the same energy that fueled his art. His influence extended well beyond his death, resonating through the Weimar era and shaping the development of expressionism and later epic theatre. Many of his works were translated, staged, or adapted by major artists, ensuring that his confrontational spirit and fearless exploration of human desire would remain part of the theatrical canon.

Reviews

[Jim Dooley · Rating 4 out of 5]

Having recently seen the Louise Brooks silent film again, I noticed the writing credits and wanted to enjoy the source material. This play greatly enhanced my understanding of the story with the film and the play filling in each other's gaps. Fascinating.

When the film was made, there was a Teutonic outcry when it was revealed that the director had chosen an American actress to portray the famous Lulu. Fortunately, many of those criticisms were silenced when the final product was revealed.

It always threw me as to how people seemed to intuitively know both the backstory and the character motivations. Now, I understand that audiences were familiar with the play and, therefore, had been privy to the inner thoughts of most of the characters. They were watching the film version of a well-known theatrical production they'd already seen.

This is not a play that I would recommend to the modern, casual reader. There is a great deal of moralizing contained in the dialogue. Even at the time when it was written, people would not have spoken that way outside of a lecture hall. They express extensive thoughts not only about their lot in life, but also about a world-view in general that keeps them where they are.

That said, if the reader makes allowances for the extended pronouncements, these are fascinating characters. Their actions don't appear motivated by whim, but by a force greater than themselves. Central among them is the genuinely disturbing and intriguing character, Lulu. Her innocent persona shields a worldly-wise perspective that is haunting. As a youth, she sought to end her life, yet survived to develop an understanding of men in general and what they needed to possess to emotionally touch her. Consequently, Lulu moves through her conquests as a solitary figure, occasionally drawn like a moth to a candle.

This play presents a disturbing view of the human condition, with under-currents that change behavior constantly. Despite all the despair, double-dealings and intrigues, something keeps them going. It may be one last taste of a Christmas pudding, or a forbidden kiss to ease a longing.

One thing that I will ever understand from audiences of both the play and the movie is the belief that a famous murderer makes an appearance during the proceedings. However, the murderer cited is from an entirely different era and would have aged considerably if transported into this story.

Initially, I wasn't sure that I would care for this play. However, it has sparked so many ideas that keep swirling around. I want to read more.

I recommend this one.

[Rebecca Gransden · Rating 4 out of 5]

Delightful. Unhinged.

[Illiterate · Rating 1 out of 5]

Wedekind’s lurid tragedy of desire suggests a distaste for sexuality as much as a concern about exploitation.

[j]

I didn't find this as engaging as the first play, but it has a great fuck-you-go-home ending.

[musi · Rating 4 out of 5]

q viva el dramuki y los asesinatos si señor my girl dinner preferida

[Umi · Rating 4 out of 5]

I'm familiar with the film version of this, so it's interesting to see how full of colour and dialogue the play is. Lulu seems to have more agency due to her ability to express herself on her own; the film emphasises her innocence and the way in which others lay claim to her. Not that it's really fair to compare the two, of course, but interesting to experience the source material for an adaptation I know so well.

[Jesse · Rating 4 out of 5]

This is actually more like Lulu: a tragedy in 7 acts, because it can't be comprehended without also reading that which it is a sequel to, Earth Spirit, another play by Wedekind. A grim, gritty, hypersexual morality play, that read a little bit like a gender-flipped version of Picture of Dorian Grey. I've never read any German drama before, so I don't know if this is typical. But it sure was nasty.

It's the tale of a girl who lives only for herself, while inspiring love and devotion in others. Needless to say, it's not a romance. Not for the faint of heart.

[maria ✿ · Rating 5 out of 5]

Initially did not realise this had a lesbians in it! 5 stars immediately, what a read…

[XAVIER JOAN · Rating 3 out of 5]

Castellano

[Nick · Rating 3 out of 5]

That was okay, now I watch the movie

[Roo the kangaroo · Rating 4 out of 5]

Listened to the audiobook. Might try read it later.

[Blake Shafer · Rating 3 out of 5]

I didn’t know when I started this it was part 2 of a story. It’s the Lulu story that was inspiration for the infamous Lou Reed/ Metallica album. It also reminds me of Jose from Twin Peaks.

[Scott Harris · Rating 2 out of 5]

This play is a deeply strange experience, with a cast of unusual characters, strange events and unpredictable outcomes. I am certain that much has been made in the analysis of the themes of the piece but it seemed very bohemian to the point of being unnecessarily strange and undecipherable. I don't think I would recommend it to anyone.

[Tslyklu · Rating 2 out of 5]

"the closest alternation between my sensuality and mental creativeness. So towards you, for example, I have only the choice of regarding you artistically or of loving you." Apparently the inspiration for Sternberg's Lola Lola, fits, Lulu is also exactly where she belongs.