Wagner's Visions by Katherine R. Syer

By Katherine R. Syer

Wagner's Visions stories the most important affects on Wagner's dramatic variety throughout the years earlier than and simply after the failed Dresden innovative rebellion of 1849. supplying a close exam of Die Feen, Wagner's least-known entire opera, including research of Der fliegende Holländer, Tannhäuser, Lohengrin, and the 4 Ring dramas, Katherine Syer explores the interior stories of Wagner's protagonists. resources ofparticular political importance contain the fables of the eighteenth-century Venetian playwright Carlo Gozzi, the Iphigenia operas of Christoph Willibald Gluck, and the legacy of the martyr Theodor Körner, whose poetry grew to become the lingua franca of the progressive circulation to disencumber and unify Germany. Syer's e-book deals clean insights into the ancient context that gave upward push to Wagner's dramatic paintings, revealing how his detailed and robust imagery is in detail certain up with the crises and instabilities of his period.

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Meaningful musical and or dramatic connections are wanting, though. More problematic, however, is Krienitz’s failure to recognize that madness is a favored topic and exaggerated behavior type typical of the commedia scenarios in Gozzi’s play. Krienitz’s synopsis of act 1, scene 5 of La donna serpente, in which Werthes’ stage directions indicate the prince’s madness, highlights his restricted engagement with the Venetian play: “[Farruscad] agonizes over his betrayal of his wife. ”27 Despite the implication that this is a tragic solo, we discover instead in Gozzi’s play a hybrid scene including (in addition to Farruscad) stage tricks, pantomime, and the commedia character Tartaglia, as well as a woman’s voice heard from offstage.

Replacing the pseudo-physical theory of the “fluid” with the insight that unknown psychological forces were at work, his modified practice of animal magnetism spread quickly; from the late 1780s thousands of cases began to be published. indd 19 8/7/2014 7:41:00 AM 20 chapter one more controlled and could thereby be used to explore psychic functions as well as for therapy. Given that his practices and findings focused on conversations he would have with people once they were in a trance-like state, sleeptalking, and not just sleep-walking, was the especially revelatory dimension of these investigations.

This renewed consideration of his early dramatic concerns would continue through to Parsifal, in the form of Wagner’s single most complicated dramatic figure. Kundry, in living part of her life as a beast-like creature in the Grail realm, echoes Gozzi’s supernatural princess. This and other possible influences of Gozzi’s play on Wagner’s mature creative efforts are considered more closely later in this chapter. 12 His slightly more generous later account, in Mein Leben, only became publicly available for the first time in 1911.

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