By Sarah Colvin
For girls, in keeping with the modern Austrian dramatist Elfriede Jelinek, writing for the theater is an act of transgression. the concept that drama as a grand public style resists girls writers has develop into tested in fresh scholarship. yet Jelinek herself has gained the B?chner Prize, the main prestigious award in German letters, and there's a wealth of dramatic paintings by way of girls from the twentieth century and sooner than: either evidence appear to contradict the concept of women's exclusion from drama. So why has drama by means of girls seem to have been written opposed to the percentages, and why has it, till very lately, been lacking from literary histories? This ebook seems intimately at women's playwriting in German among 1860 and 1945, and at its reception by way of critics. a few of the works thought of have by no means ahead of been analyzed through glossy scholarship; others, particularly the performs of Marieluise Fleisser and Else Lasker-Sch?ler, are renowned, yet are learn the following for the 1st time within the context of previous dramatic paintings through ladies. Sarah Colvin seeks modes of studying that do justice either to the dramatic texts as functionality texts, and to the feel of "otherness" skilled through the lady author in a male-dominated literary and theatrical atmosphere. She concludes that an knowing of the concepts built through ladies playwrights of the 19th and early 20th centuries can improve our examining not just of Fleisser and Lasker, yet of up to date dramatists resembling Jelinek. If all of the world's a degree, playwrights can theoretically be noticeable as in charge of the realm they bring; this publication asks to what quantity girls dramatists be able to use the distance of the drama to mirror the area that they experience.Sarah Colvin is Reader in German on the college of Edinburgh.
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Example text
Mock is made, it is true, of the two professors, Werent and Teichert, but they are primarily associated with Alwine, and their function is to expose her foolishness and the shallowness of her academic learning, which manifests itself in her inability to recognize intellectual fraud. At those moments in the play when Alwine comes closest to wreaking real havoc, men step in to save the day. Moro saves Zelia from being forced down the academic path that terrifies her, and Moro exposes Werent as the intellectual charlatan he is, thereby rescuing Zelia from a disastrous arranged marriage.
16; Ebner’s emphasis). Unsurprisingly, given his masculine status in the play, Bothwell’s own speech is peppered with imperatives, which are generally felicitous; Bothwell is the confident owner of the language he uses, so much so that he is not afraid to take risks. In asserting his love for the Queen, he both identifies and dismisses the danger inherent in that linguistic act: Ich [. ] setze nun mein Dasein auf ein Wort — Und sprech’ es aus wär’s auch mein Untergang: Ich liebe Dich! dies Wort ist Hochverrath.
MARIA. Für Königinnen ist auch Krieg und Ruhm. (54) When the battle against the English forces is lost, the two of them take up the rhetorical cudgels again, this time implementing exactly switched categories: Maria pleads for mercy on the grounds that she is a (weak) woman, while Bothwell chooses to present her as a powerful queen: MARIA. Erbarmen, Bothwell! Gib Dein Weib nicht Preis Dem Uebermuthe siegender Empörer — BOTHWELL. Bist Du nicht Königin? Beschütz’ Dich selbst. (59) At issue throughout the play is Maria’s capacity to define herself, as opposed to the power of others to define her.
