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Schnitzler’s Hidden Manuscripts


Edited By Lorenzo Bellettini and Peter Hutchinson

This volume, which takes its title from an international conference held at the University of Cambridge in November 2006, aims to shed new light on Schnitzler’s œuvre and his period by focusing on his as yet largely unpublished literary remains, his ‘hidden manuscripts’. Among the key topics covered in this collection are: the reconstruction of the adventurous rescue of the manuscripts from Vienna in 1938 and a description of their current locations; an overview of the author’s life, in its historical context, on the basis of such private documents as his diaries and letters; the plethora of existing variants, both published and unpublished, and their usefulness for our understanding of Schnitzler’s work, from the Anatol cycle to the ‘scandalous’ Reigen – in the light of the discovery of its original manuscript – and Schnitzler’s planned (but never completed) work on the historical figure of Emperor Joseph II; Schnitzler’s difficult relationship with one of the most influential journalists of his time, Karl Kraus, and his literary friendship with a close but hitherto neglected contemporary, Gustav Schwarzkopf; the network of intertextual references ‘hidden’ in the revolutionary monologue novella Lieutenant Gustl against the background of Hermann Bahr’s modernist theory of literature; and finally, Schnitzler’s ‘hidden legacy’ in our own epoch. This book contains contributions in both English and German.


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MARIANO D’AMORA Schnitzler’s Hidden Legacy. An English Playwright Rewrites Reigen 169


MARIANO D’AMORA Schnitzler’s Hidden Legacy An English Playwright Rewrites Reigen Schnitzler began writing Reigen during the winter of 1896–97. He initially considered his collection of “dialogues” too scandalous to ever be staged, and preferred simply to have them printed at his own expense and distributed to friends for their amusement. It was not until 23 December 1920 that he allowed a publicly staged performance of the play, and even then it opened out of town. The production met with demonstrations, riots, and the arrest of the cast on charges of obscenity (they were later acquitted). The follow- ing year, on 1 February, the Kammerspiele des Deutschen Volkstheaters hosted the Viennese premiere. Once again the show was by closed by police, who considered the performance a form of public pornography. Even though the author and the actors were again acquitted in all cases, Schnitzler prohibited any further productions. In the course of a century things have changed radically. A hundred years after Dr Schnitzler shocked his society with Reigen, the first production of English playwright David Hare’s 1998 adaptation of the work, The Blue Room,1 was greeted by a very dif ferent kind of disturbance: ticket riots.2 Publicity for 1 The play opened in London at the Donmar Warehouse on 10 September 1998 and was staged with the same cast in New York at the Cort Theater on 13 December. That same year David Hare was staged on Broadway with three other plays: The Judas Kiss, Amy’s View, and...

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