Elective Affinities (plays)

In films, Elective Affinities (plays) refers to theatrical renditions or adaptations of Goethe’s Elective Affinities in the form of plays.

In 1993, British playwright Tom Stoppard produced Arcadia, which is a spin on Elective Affinities.

In 2011, Claudia Meyers, at the Big House of the National Theatre Weimar, produced a play of the Elective Affinities; the following being a scene from the play: [1]

Elective Affinities (2011 play)

The following is a review of the play by writer Stefanie Grießbach: [1]

A dubious and flat staging of Goethe's novel Elective Affinities by Claudia Meyer saw her performance on DNT Weimar. One child, big eyes, sailor suit comes out of the dark and runs gracefully through the gently rolling meadow, a child will die, a doll. And always floats down from above a gazebo, white, people with Ufobrillen go in and out, talking, screaming, silent to listen. It is anticipated: Who does not know the text of Goethe's Elective Affinities, is lost in Claudia Meyers Staging of the novel, on Saturday at the Big House of the National Theatre Weimar like only a debut applauded.

What works in chemistry, is also good for human relationships. Whether love and passion based on reason, morality or pure sex, free will or living in a marriage, she collapses when travel between the laws of nature. Goethe, scientific researching, demonstrates cool and relentless in the fasting experiment, makes the hearts of Edward and Charlotte (Irina Wrona ) Such as chemical elements crosswise fly on the Captain and Ottilie and nothing, no renunciation, waiver, not a dead child, stop the love, transcends the laws of nature.

Meyers Staging searches from the beginning the futuristic image, which is conclusive, because the topic is universal. The stage (Alfons Flores ), Modern ideal landscape with floating rooms, which come and go, arouses curiosity tingling. Meyer breaks the chronology of events to complete, focuses on the perspective and motivation of the four particles and as the events rolled over again on.

The idea is not bad, it means the consequence of a tough but repeating text and scenes. But the implementation falls then questionable, if the selected text passages do not always appear plausible and if one of the key scenes of the play, the night in which the respective other have the couple making love in mind and in which the child is conceived, the provocative dance of three nudes is, with acrobatic lifts, which is present at twice with varying participation. The feelings quietly and subtly developed by Goethe in his novel, to be in this production with duplication at the expense of depth not plastic, not understandable, not touching.

If fail then even the young actors of Goethe's language, the desperation is great. The only one who has internalized his text, he is the mediator-( Nico Delpy ). The four lovers loud outbursts dominate the game, but no emotion is understandable, you see nothing, you hear only what you hear and Goethe's profound formulated phrases, memorized and sound tinny. No desire and no suffering is felt, not with Edward ( Thomas Büchel ), Not with Ottilie ( Nina Mariel Kohler ), Which does not show any character, not shy, not bold, not shattered, a smooth ironed Textaufsagerin that does not touch, decorated in yellow, as an indication of envy and falsehood, perhaps, as the captain ( Hagen Ritschel ) Comes in shades of red (costumes Ingo Krügler ), But is so pale that it is hardly noticed.

During the three-hour evening so flattens the staging, in spite of live music and puppetry really moving ( Nicola Reinmöller ), Not least because of the lack of power mimic. The beautiful scene degenerates into a mere toy, the Regiemätzchen, sometimes surprising when Luciane Charlotte's daughter, neck plunges over head into the water, or just stupid, if fir needle and Lavendelgeplapper from off interfere with the dialogue, elicit the snap-frozen acting audience sporadically laugh or shocked, "Oh God" exclamation. The desire to read the novel in the original, which probably tickled out the production."

It's a near mockery America is blind to such productions.

The following is a scene from a 2013 German play of Elective Affinities: [2]

Elective Affinities (2013 play)
English: Discreetly holding hands under the tree: Charlotte (Bettina guy) and Otto (Rainer Galke) approach shyly. In the background (left) narrator (Marianne Hoika), niece Ottilie (Mareike Beykirch) and Edward (Andreas Patton).

German: Dezentes Händchenhalten unterm Baum: Charlotte (Bettina Kerl) und Otto (Rainer Galke) nähern sich schüchtern an. Im Hintergrund (v.l.) Erzählerin (Marianne Hoika), Nichte Ottilie (Mareike Beykirch) und Eduard (Andreas Patton).

(add discussion)

1. Grießbach, Stefanie. (2011). “Elective Affinities in Weimar Makes Reading Fun” (GermanEnglish), Mar 7, 12, 26.
2. Dusseldorf, Schausppiel. (2013). “Goethe’s Elective Affinities in Fast Motion” (Goethes "Wahlverwandtschaften" im Zeitraffer), (GermanEnglish), RuhrNachrichten.de, Mar 18.

See also
Elective Affinities (film adaptations)
Elective Affinities (translations)

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