Royal Palace A Translator's Note

Royal Palace A Translator's Note eaton of fragmented historical background and fractured spirit with a German identity that proved irresistible. The three male suitors in the opera have no names; we are encouraged to look at them as types, not individuals. Their titles clearly suggest past, present, and future. If the function of these characters is to be examined from a socially and philosophically critical point of view, and not just as elements in a psychological drama, what aspects of past, present, and future do they invoke? The answer is, challengingly, that very little is precisely suggested in the text, but much can be and, in a stage production, has to be inferred. It is logical to associate Yesterday’s Lover with a past world, perhaps a threatened, cultivated Germany, perhaps the more liberal-humanist but ultimately ineffectual side of a defeated Prussian-German state. Today’s wealthy Husband can be associated with the resurgent industrialists of the struggling Weimar Republic, the Thyssens and Krupps and Voeglers that Hitler so successfully courted. And Tomorrow’s Lover, the impassioned, strutting, and incoherent posturer, perhaps with the mad seductions of the fascist world to come. Dejanira is the only character in the piece with a name, one that suggests a http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Theater Duke University Press

Royal Palace A Translator's Note

Theater, Volume 30 (3) – Jan 1, 2000

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Publisher
Duke University Press
Copyright
Copyright 2000 by Yale School of Drama/Yale Repertory Theatre
ISSN
0161-0775
eISSN
1527-196X
DOI
10.1215/01610775-30-3-23
Publisher site
See Article on Publisher Site

Abstract

eaton of fragmented historical background and fractured spirit with a German identity that proved irresistible. The three male suitors in the opera have no names; we are encouraged to look at them as types, not individuals. Their titles clearly suggest past, present, and future. If the function of these characters is to be examined from a socially and philosophically critical point of view, and not just as elements in a psychological drama, what aspects of past, present, and future do they invoke? The answer is, challengingly, that very little is precisely suggested in the text, but much can be and, in a stage production, has to be inferred. It is logical to associate Yesterday’s Lover with a past world, perhaps a threatened, cultivated Germany, perhaps the more liberal-humanist but ultimately ineffectual side of a defeated Prussian-German state. Today’s wealthy Husband can be associated with the resurgent industrialists of the struggling Weimar Republic, the Thyssens and Krupps and Voeglers that Hitler so successfully courted. And Tomorrow’s Lover, the impassioned, strutting, and incoherent posturer, perhaps with the mad seductions of the fascist world to come. Dejanira is the only character in the piece with a name, one that suggests a

Journal

TheaterDuke University Press

Published: Jan 1, 2000

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