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Lädt ... Rein Gold (2013)von Elfriede Jelinek
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2004 Nobel Prize in Literature laureate Elfriede Jelinek'sRein Gold reconstructs the events of Wagner's epicRing cycle and extends them into the present day. Originally written as a libretto for the Berlin State Opera,Rein Gold is abühnenessay, an essay for the stage, structured in the form of a dialogue between Wotan, father of the gods, and his favourite daughter, Brünnhilde, in the third act ofThe Valkyrie. The book opens with Brünnhilde diagnosing her father Wotan to be a victim of capitalism because he, too, has fallen into the trap of wanting to own a castle he cannot afford. In stream of consciousness monologues, Brünnhilde and Wotan touch on a number of events from the days of the Nibelungen Saga to the 2008 financial crash caused by the US subprime mortgage crisis and the role of banks there in, and through Marx's ideas as developed inDas Kapital, written almost contemporaneously with Wagner'sRingcycle. While rooted in Wagner's libretto, this sophisticated mesh of interwoven ideas also covers recent and current events, such as the way world leaders act in times of financial crisis, or the murders committed by the German neo-Nazi NSU group. Jelinek offers fascinatingly rich context for current political debates, as well as some intriguing new ideas, while never straying far from her leitmotif, the birth of capitalism. Keine Bibliotheksbeschreibungen gefunden. |
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Google Books — Lädt ... GenresMelvil Decimal System (DDC)782.1The arts Music Vocal music Operas and related dramatic vocal formsKlassifikation der Library of Congress [LCC] (USA)BewertungDurchschnitt:
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You could of course read this without knowing Wagner’s ‘poems’ for the operas but without trying to be exclusionist I think so much of the book would then be lost. Although the initial spark for the conversation appears to come after the construction of Valhalla in Das Rheingold, both characters are aware of the entire action of Das Ring (indeed Jelinek introduces Wotan as ‘Wotan/the Wanderer’) and it permeates the entire text, its ideas and purpose.
The images I had in my mind when reading this were all from Patrice Chereau’s 1976 Bayreuth production which given his famously Marxist reading, with the gods as the epitome of exploitative industrialists feels apt.
The blurb tells us that the text was originally written as a libretto. I’d be intrigued to understand the differences and how this might work as a dramatic performance but I can’t help feeling that the way the book lays its images and concepts out is best suited to a solitary reader.
Gitta Honegger’s translation hits what appears to be an accurate tone from the start which I want to assume is Jelinek’s own.
This is a remarkable and profoundly original book.
PS I keep reading that Fitzcarraldo covers are blue for Fiction, white for Non Fiction but this can’t be right - this is most certainly not Non Fiction and I am also reading some Annie Ernaux (reviews to follow) and similarly confused. ( )