Der zerbrochene Krug; The Broken Jug (written , first performed , published ). Kleist once commented: 'Ich glaube, dass im Generalbass die. German stage, are Heinrich von Kleist's Der zerbrochene Krug (),. Gerhart Hauptmann's Der Biberpelz (), and Carl Zuckmayer's. Der Hauptmann von. Der zerbrochene Krug: Novelle. by Heinrich Zschokke. Publication date Publisher D.C. Heath & Co. Collection americana. Digitizing.
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1. Okt. Free kindle book and epub digitized and proofread by Project Gutenberg. Request PDF on ResearchGate | On Sep 1, , Kenneth Reinhard and others published Viktor Ullmann: Der zerbrochene Krug. PDF ✓. Der Zerbrochene Krug By Kleist - Abebooks, Von. Kleist,heinrich ( heinrich Von Kleist) - Bookfinder, Der. Zerbrochne Krug By Heinrich Von Kleist - Read.
Viktor Ullmann: February 17 and March 1, Conductor: James Conlon Director: Darko Tresnjak Set Design: Ralph Funicello Costume Design: Linda Cho Lighting Design: David Weiner Choreography: James Johnson Eva: Melody Moore Frau Marthe Rull: Elizabeth Bishop Ruprecht: Richard Cox Judge Walter: Steven Humes Court Clerk Licht: Rodrick Dixon Donna Clara, the Infanta: Mary Dunleavy Ghita: Susan B.
Anthony Don Estoban: James Johnson When James Conlon accepted the position of music director of the Los Angeles Opera two years ago, he insisted on two conditions: Access options available: Additional Information. Project MUSE Mission Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide.
But only just. Adam is a figure of monstrous vitality and that energy is displayed to the full in his coping with a situation where he has both to conduct and to subvert a trial. He explains his wounds and scratches by saying that he fell out of bed in the morning; he accounts for the missing wig by claiming that it has been sent for repair, that it caught fire, that the cat gave birth to kittens in it.
The forensic situation gives breathless pressure to the events, and that constant threat of discovery provides the plot-driven tension of the play.
That tension is compounded by the fact that, on this particular day, Gerichtsrat court councillor Walter, is monitoring the conduct of village courts. Adam is well named. Licht says:. His offence, his re-enactment of the first fall of man, is driven by sexual desire.
The sin is his alone, however; in this play his Eve is blameless. But issues of transgression and judgment are omnipresent; in the Old Testament Adam is judged by God, Dorfrichter village judge Adam is judged by the logic of legal process, underpinned by the greater authority of Walter. The last description we have of him is of a monstrous figure whipped on through the winter landscape by his wig:.
Jetzt kommt er auf die Strasse. Behind the comedy and the satisfying discomfiture of Richter Adam there vibrates the older, darker story of the loss of paradise. The language too contributes to that immense drive. At one level, the verse provides a powerful rhythmic beat which animates the great set piece speeches.
But the same is true of the other characters. Once they, as it were, get going, there is no stopping them. But there are also moments when the verse lines are broken up into short statements, often cascading single words. Verzeiht, ihr Herren. He runs away Eve: Halt ihn!
Stop him! Blast — limping devil! Hast du ihn?
Have you got him? God damn and blast it! Its particular feel can perhaps be illuminated by a seemingly far-fetched comparison. And the music replicates that breathless stream of events as, without a break, duet, trio, quartet, quintet, quartet, septet follow one another in over twenty minutes of through-composed music.
The effect in the theatre is literally breathtaking.