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Spring Awakening (play)
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Spring Awakening (play)
Spring Awakening (German: Frühlings Erwachen) (also translated as Spring's Awakening and The Awakening of Spring) is the German dramatist Frank Wedekind's first major play and a foundational work in the modern history of theatre. It was written sometime between autumn 1890 and spring 1891, but did not receive its first performance until 20 November 1906 when it premiered at the Deutsches Theater in Berlin under the direction of Max Reinhardt. It carries the sub-title A Children's Tragedy. The play criticises perceived problems in the sexually oppressive culture of nineteenth century (Fin de siècle) Germany and offers a vivid dramatisation of the erotic fantasies that can breed in such an environment. Due to its controversial subject matter, the play has often been banned or censored.
During an argument over the length of her skirt, Wendla Bergmann confides to her mother that she sometimes thinks about death. When she asks her mother if that is sinful, her mother avoids the question. Wendla jokes that she may one day wear nothing underneath the long dress.
After school Melchior Gabor and Moritz Stiefel engage in small talk, before both confiding that they have recently been tormented by sexual dreams and thoughts. Melchior knows about the mechanics of sexual reproduction, but Moritz is woefully ignorant and proposes several hypothetical techniques (such as having brothers and sisters share beds, or sleeping on a firm bed) that might prevent his future children from being as tense and frightened as he is. As an atheist, Melchior blames religion for Moritz's fears. Before departing, Melchior insists Moritz come over to his house for tea, where Melchior will show him diagrams and journals with which he will teach Moritz about life. Moritz leaves hastily, embarrassed.
Martha, Thea, and Wendla, cold and wet from a recent storm, walk down the street and talk about how Melchior and the other boys are playing in the raging river. Melchior can swim, and the girls find his athletic prowess attractive. After Wendla offers to cut Martha's hair after noticing her braid has come undone, Martha confesses that her father savagely beats her for trivial things (e.g., wearing ribbons on her dress) and sometimes sexually abuses her. The three girls are united by the fact that they do not know why they seem to disappoint their parents so much these days. Melchior walks by; Wendla and Thea swoon. They remark on how beautiful he is and how pathetic his friend Moritz is, although Martha admits finding Moritz sensitive and attractive.
As the boys watch from the schoolyard, Moritz sneaks into the principal's office to look at his academic files. Because the next classroom only holds 60 pupils, Moritz must rank at least 60th in his class in order to remain at school (a requisite he is unsure he can manage). Fortunately, Moritz safely returns, euphoric: he and Ernst Robel are tied academically—the next quarter will determine who will be expelled. Melchior congratulates Moritz, who says that, had there been no hope, he would have shot himself.
Wendla encounters Melchior in the forest. Melchior asks why she pays visits to the poor if they do not give her pleasure, to which Wendla answers that enjoyment is not the point, and after recounting a dream she had where she was an abused, destitute child, Wendla tells Melchior about Martha's family situation. Wendla, shameful that she has never been struck once in her life, asks Melchior to show her how it feels. He hits her with a switch, but not very hard, provoking Wendla to yell at him to hit her harder. Suddenly overcome, Melchior violently beats her with his fists and then runs off crying.
Days later, Moritz has grown weary from fear of flunking out. Seeking help, he goes to Melchior's house to study Faust. There, he is comforted by Melchior's kind mother, who disapproves of reading Faust before adulthood. After she leaves, Melchior complains about those who disapprove of discussing sexuality. While Moritz idolizes femininity, Melchior admits that he hates thinking about sex from the girl's viewpoint.
Wendla asks her mother to tell her about "the stork," causing her mother to become suddenly evasive. Anxious, she tells Wendla that women have children when they are married and in love.
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Spring Awakening (play)
Spring Awakening (German: Frühlings Erwachen) (also translated as Spring's Awakening and The Awakening of Spring) is the German dramatist Frank Wedekind's first major play and a foundational work in the modern history of theatre. It was written sometime between autumn 1890 and spring 1891, but did not receive its first performance until 20 November 1906 when it premiered at the Deutsches Theater in Berlin under the direction of Max Reinhardt. It carries the sub-title A Children's Tragedy. The play criticises perceived problems in the sexually oppressive culture of nineteenth century (Fin de siècle) Germany and offers a vivid dramatisation of the erotic fantasies that can breed in such an environment. Due to its controversial subject matter, the play has often been banned or censored.
During an argument over the length of her skirt, Wendla Bergmann confides to her mother that she sometimes thinks about death. When she asks her mother if that is sinful, her mother avoids the question. Wendla jokes that she may one day wear nothing underneath the long dress.
After school Melchior Gabor and Moritz Stiefel engage in small talk, before both confiding that they have recently been tormented by sexual dreams and thoughts. Melchior knows about the mechanics of sexual reproduction, but Moritz is woefully ignorant and proposes several hypothetical techniques (such as having brothers and sisters share beds, or sleeping on a firm bed) that might prevent his future children from being as tense and frightened as he is. As an atheist, Melchior blames religion for Moritz's fears. Before departing, Melchior insists Moritz come over to his house for tea, where Melchior will show him diagrams and journals with which he will teach Moritz about life. Moritz leaves hastily, embarrassed.
Martha, Thea, and Wendla, cold and wet from a recent storm, walk down the street and talk about how Melchior and the other boys are playing in the raging river. Melchior can swim, and the girls find his athletic prowess attractive. After Wendla offers to cut Martha's hair after noticing her braid has come undone, Martha confesses that her father savagely beats her for trivial things (e.g., wearing ribbons on her dress) and sometimes sexually abuses her. The three girls are united by the fact that they do not know why they seem to disappoint their parents so much these days. Melchior walks by; Wendla and Thea swoon. They remark on how beautiful he is and how pathetic his friend Moritz is, although Martha admits finding Moritz sensitive and attractive.
As the boys watch from the schoolyard, Moritz sneaks into the principal's office to look at his academic files. Because the next classroom only holds 60 pupils, Moritz must rank at least 60th in his class in order to remain at school (a requisite he is unsure he can manage). Fortunately, Moritz safely returns, euphoric: he and Ernst Robel are tied academically—the next quarter will determine who will be expelled. Melchior congratulates Moritz, who says that, had there been no hope, he would have shot himself.
Wendla encounters Melchior in the forest. Melchior asks why she pays visits to the poor if they do not give her pleasure, to which Wendla answers that enjoyment is not the point, and after recounting a dream she had where she was an abused, destitute child, Wendla tells Melchior about Martha's family situation. Wendla, shameful that she has never been struck once in her life, asks Melchior to show her how it feels. He hits her with a switch, but not very hard, provoking Wendla to yell at him to hit her harder. Suddenly overcome, Melchior violently beats her with his fists and then runs off crying.
Days later, Moritz has grown weary from fear of flunking out. Seeking help, he goes to Melchior's house to study Faust. There, he is comforted by Melchior's kind mother, who disapproves of reading Faust before adulthood. After she leaves, Melchior complains about those who disapprove of discussing sexuality. While Moritz idolizes femininity, Melchior admits that he hates thinking about sex from the girl's viewpoint.
Wendla asks her mother to tell her about "the stork," causing her mother to become suddenly evasive. Anxious, she tells Wendla that women have children when they are married and in love.
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