简介
"Faust has been called the fundamental icon of Western culture, and Goethe鈥檚 inexhaustible poetic drama is the centrepiece of its tradition in literature, music and art. In recent years, this play has experienced something of a renaissance, with a surge of studies, theatre productions, press coverage and public discussions. Reflecting this renewed interest, leading Goethe scholars in this volume explore the play鈥檚 striking modernity within its theatrical framework. The chapters present new aspects such as the virtuality of Faust, the music drama, the modernization of evil, Faust鈥檚 blindness, the gay Mephistopheles, classic beauty and horror as phantasmagoria, and Goethe鈥檚 anticipation of modern science, economics and ecology. The book contains an illustrated section on Faust in modern performance, with contributions by renowned directors, critics and dramaturges, and a major interview with Peter Stein, director of the uncut 鈥檓illennium production鈥?of Expo 2000"--
目录
Cover 1
Half-title 3
Title 5
Copyright 6
Contents 7
Illustrations 9
Contributors 10
Preface 13
Abbreviations 15
Introduction 17
Notes 29
Part I: Modernity 31
Chapter 1: Faust \u2013 today 33
Chapter 2: Mephisto and the modernization of evil 48
Chapter 3: Mephisto is the devil \u2013 or is he? 56
Chapter 4: \u2018Schwankende Gestalten\u2019: virtuality in Goethe\u2019s Faust 70
Mephistopheles 71
Faust 77
Female figures 79
Form 81
Notes 83
Chapter 5: Amnesia and anamnesis in Goethe\u2019s Faust 84
Notes 93
Chapter 6: Magicians of modernity: Cagliostro and Saint-Simon in Goethe\u2019s Faust II 94
Notes 106
Chapter 7: The blind Faust 110
Notes 127
Chapter 8: From Faust to Harry Potter: discourses of the centaurs 129
Notes 142
Chapter 9: Mistra and the Peloponnese in Goethe\u2019s Faust II 145
Introduction 145
The year 1204 and the Frankenburg of Mistra 145
Goethe and Mistra 145
The centaur Chiron and Helena 146
The meaning of Sparta\u2013Mistra 146
Building the Frankish fortress, according to Goethe 147
Mistra and the Franks 148
The partition of the Peloponnese 149
The landscape of Arcadia 150
Helena and Euphorion 151
Notes 151
Chapter 10: Goethe and the grotesque: the \u2018Classical Walpurgis Night\u2019 154
Introduction 154
Goethe\u2019s understanding of the grotesque 155
The ornamental grotesque in the \u2018Classical Walpurgis Night\u2019 157
Inter-medial figurations of the ornamental grotesque 159
Faust\u2019s perspective in the \u2018Classical Walpurgis Night\u2019 161
Mephistopheles\u2019 experience of the aesthetic grotesque 162
Aesthetic grotesque, ornamental grotesque and their inter-medial integration 164
Conclusion 167
Notes 168
Chapter 11: Re-defining classicism: antiquity in Faust II under the sign of the Medusa 172
Notes 188
Chapter 12: Diabolical entrapment: Mephisto, the angels and the homoerotic in Goethe\u2019s Faust II 190
Notes 204
Part II: Theatre 211
Chapter 13: Goethe\u2019s Faust: theatre, meta-theatre, tragedy 213
Notes 224
Chapter 14: Faust beyond tragedy: hidden comedy, covert opera 225
Part one 225
Part two 240
Notes 249
Chapter 15: Theatricality and experiment: identity in Faust 251
The subject\u2013object problem in the essays 253
Identity as a problem in Faust 254
Theatrical identity and reflection in Faust 259
Notes 266
Chapter 16: Rhetorical action Faust between rhetoric, poetics and music 269
Goethe\u2019s rhetoric 269
The question of \u2018performance\u2019 272
Topoi and genera in Faust 274
The question of \u2018musical theatre\u2019 277
Faust \u2013 paratexts, frames, medializations 278
Notes 281
Chapter 17: Directing Faust: an interview 283
Notes 295
Chapter 18: A contradictory whole: Peter Stein stages Faust 296
Notes 307
Chapter 19: Re-thinking and staging Goethe\u2019s Faust at the State Theatre Stuttgart 2005-6 309
The point of departure: why faust today? 309
The structure of the performances 310
Faust i \u2013 the cast of characters: faust and mephistopheles 310
The Earth Spirit 312
Wagner 312
Margarete and her world 313
From Faust i thinspto Faust ii 315
Faust ii \u2013 the chorus 316
The set: contemporizing faust 317
The texts of the performances: faust i 318
Faust ii = Faust 21? 319
Notes 321
Chapter 20: Strehler\u2019s Faust in performance 322
A project for a new theatre 322
The production in progress 325
A dramaturgy of fragments 327
The arrow and the spiral 329
Strehler and his company of actors 332
Gretchen\u2019s stream of consciousness 334
The last act 336
Notes 338
Select bibliography 340
Index 346
Half-title 3
Title 5
Copyright 6
Contents 7
Illustrations 9
Contributors 10
Preface 13
Abbreviations 15
Introduction 17
Notes 29
Part I: Modernity 31
Chapter 1: Faust \u2013 today 33
Chapter 2: Mephisto and the modernization of evil 48
Chapter 3: Mephisto is the devil \u2013 or is he? 56
Chapter 4: \u2018Schwankende Gestalten\u2019: virtuality in Goethe\u2019s Faust 70
Mephistopheles 71
Faust 77
Female figures 79
Form 81
Notes 83
Chapter 5: Amnesia and anamnesis in Goethe\u2019s Faust 84
Notes 93
Chapter 6: Magicians of modernity: Cagliostro and Saint-Simon in Goethe\u2019s Faust II 94
Notes 106
Chapter 7: The blind Faust 110
Notes 127
Chapter 8: From Faust to Harry Potter: discourses of the centaurs 129
Notes 142
Chapter 9: Mistra and the Peloponnese in Goethe\u2019s Faust II 145
Introduction 145
The year 1204 and the Frankenburg of Mistra 145
Goethe and Mistra 145
The centaur Chiron and Helena 146
The meaning of Sparta\u2013Mistra 146
Building the Frankish fortress, according to Goethe 147
Mistra and the Franks 148
The partition of the Peloponnese 149
The landscape of Arcadia 150
Helena and Euphorion 151
Notes 151
Chapter 10: Goethe and the grotesque: the \u2018Classical Walpurgis Night\u2019 154
Introduction 154
Goethe\u2019s understanding of the grotesque 155
The ornamental grotesque in the \u2018Classical Walpurgis Night\u2019 157
Inter-medial figurations of the ornamental grotesque 159
Faust\u2019s perspective in the \u2018Classical Walpurgis Night\u2019 161
Mephistopheles\u2019 experience of the aesthetic grotesque 162
Aesthetic grotesque, ornamental grotesque and their inter-medial integration 164
Conclusion 167
Notes 168
Chapter 11: Re-defining classicism: antiquity in Faust II under the sign of the Medusa 172
Notes 188
Chapter 12: Diabolical entrapment: Mephisto, the angels and the homoerotic in Goethe\u2019s Faust II 190
Notes 204
Part II: Theatre 211
Chapter 13: Goethe\u2019s Faust: theatre, meta-theatre, tragedy 213
Notes 224
Chapter 14: Faust beyond tragedy: hidden comedy, covert opera 225
Part one 225
Part two 240
Notes 249
Chapter 15: Theatricality and experiment: identity in Faust 251
The subject\u2013object problem in the essays 253
Identity as a problem in Faust 254
Theatrical identity and reflection in Faust 259
Notes 266
Chapter 16: Rhetorical action Faust between rhetoric, poetics and music 269
Goethe\u2019s rhetoric 269
The question of \u2018performance\u2019 272
Topoi and genera in Faust 274
The question of \u2018musical theatre\u2019 277
Faust \u2013 paratexts, frames, medializations 278
Notes 281
Chapter 17: Directing Faust: an interview 283
Notes 295
Chapter 18: A contradictory whole: Peter Stein stages Faust 296
Notes 307
Chapter 19: Re-thinking and staging Goethe\u2019s Faust at the State Theatre Stuttgart 2005-6 309
The point of departure: why faust today? 309
The structure of the performances 310
Faust i \u2013 the cast of characters: faust and mephistopheles 310
The Earth Spirit 312
Wagner 312
Margarete and her world 313
From Faust i thinspto Faust ii 315
Faust ii \u2013 the chorus 316
The set: contemporizing faust 317
The texts of the performances: faust i 318
Faust ii = Faust 21? 319
Notes 321
Chapter 20: Strehler\u2019s Faust in performance 322
A project for a new theatre 322
The production in progress 325
A dramaturgy of fragments 327
The arrow and the spiral 329
Strehler and his company of actors 332
Gretchen\u2019s stream of consciousness 334
The last act 336
Notes 338
Select bibliography 340
Index 346
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