"I began to write without a plan, intending to write what amuses me. The plan of the piece came after the third stage and combined personal experiences and those of my comrades class. Almost every scene is a real event. "
F. Wedekind, Correspondence Address
Spring Awakening is not pull the thread of a story, but more is to confront a language and writing that allow themselves everything : tragedy, poetry, pathos, humor ...
In Spring Awakening , Wedekind noted this particular period if the child moves into adulthood. He is talking about change. Mutation
bodies but also souls, the unconscious is just beginning to reveal its secrets and consciousness must accommodate the harsh reality of the mysteries of procreation. These are concrete questions. Here, every one to take his party to get by but not as he wants as he can.
Do not rely on parents to inform, to say how it happens or how it's done: a stork, and the case is in the bag!
We are in the spring, the flowers are there, not fruit.
Melchior, Wendla, Moritz, Ilse, Martha, Hans, Thea, Ernst: these are the heroes (victims?) This Kindertragödie.
Martha pray that no more than the bat, while Wendla, her dream to know the sweetness of the whip. At sunset, two boys kissing, they project into the future would be well-millionaire Hans, Ernst, her pastor with his wife and children.
Moritz admits his ignorance about the mysteries of life, "Melchior improvised sex education teacher. Ilse has been
long gone from theory to practice, but already, she regrets the sweetness birthday parties.
is that spring does not spare our characters, two of them will find death. Wedekind and yet insists Regrets "By working, I put myself in mind of not losing the humor in any scene, whether she was serious ... We do not always want to see any humor. "The humor here is a valuable indication that brings a true reading of the play.
Published in 1891, the play caused a scandal and had to negotiate with censorship, we saw a quick to implement excite the lust of the spectator. Since we understand it better.
Brecht saw in a moralist Wedekind. On the sour side of the coin, it is actually moral issue, but also information. The whole system of good Prussian education is undermined. Ignorance is the worst vice and reality must be accepted as it is, albeit not according to our desires. Yet
Wedekind is not a theorist or destroyer because he always acts like a poet. With Lulu, The awakening of spring is one of his finest dramatic poems. Like all great works, it does ceases to fascinate and reveal its secrets, or rather to keep to themselves. Embark Spring Awakening is willing to make a trip whose destination is unknown, is to take all risks, starting with getting lost.
William Vincent
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