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PRINCESS. My existence, my being is sleep, therefore life is my logical limit. But maybe my being is waiting for the kiss. Waiting for the kicks, the free kick into a different way of being. Then it’s time out for being? No, it’s overtime! Any one of you princes, step up, time to score!
- At The Centre of The Female Inferno
- The Mute Kingdom of The Body
- The Nazi Past
- Political Mud-Slinging and Everyday Racism
- The Voices of The Dead
- The War on Lies
One such pattern is that life and the world is most often viewed from a male perspective. Against this male view of the world Jelinek posits her own singular outlook. In her books and plays, this view appears highly divergent from the normative male patterns of thought about how one should experience, think and act as a human being. In her early te...
With cruel consistency Jelinek exposes the abuse of power through the infernal mother-daughter relationship in the above quoted, controversial novel The Piano Teacher (1988; Die Klavierspielerin, 1983; filmed as The Pianist, directed by Michael Haneke). In this novel, the protagonist Erika Kohut lives with her mother but is cut off both from her in...
The power structure of society is reflected most clearly in Jelinek through sexuality, but it is also seen in her attacks on the language of advertizing and the media and, most of all, in her criticism of political clichés and empty phrase-making. She reveals ways of thinking which are characteristic of those who would deny the Nazi past, and who h...
“The Children of the Dead” provoked strong reactions. Jelinek was defamed from all directions: the gutter press rhymed Jelinek with Dreck (dung) and the right-wing populist politician Jörg Haider, during his election campaign of 1995, had large posters put up bearing the text: “Do you want culture or Elfriede Jelinek?” The author’s eloquent answer ...
Once again Jelinek makes her own connections between the present and past in the play with the idyllic title “In The Alps” (In den Alpen, 2002). The accident in the mountain railway tunnel at Kaprun in the year 2000 in which 150 people died, and the great dam project in exactly the same place which was started by the Nazis, cause Jelinek to reflect...
What is upsetting about Jelinek’s texts is not just that she is able to agitate and provoke with the subjects she treats, but rather that she, as it were, dissolves the personalities she depicts. She shows sarcastically that they are nothing more than empty shells lacking content. They consist of nothing more than fragments out of newspapers, telev...
Jul 19, 2007 · A dramatic dialogue entitled Sleeping Beauty (2003) has the female sleeper reluctant to be woken and immediately in conflict with the presumptuous prince who has kissed her into life.
Elfriede Jelinek "Sleeping Beauty" Published in Theater magazine 36.1. Elfriede Jelinek interviewed by Gitta Hoenegger. I have to start from the beginning. How did they come about. Did the project start with the short essay you wrote in response to the death of Princess Diana? Not really.
Jelinek’s Sleeping Beauty, ‘daher ist Leben meine logische Grenze’ [therefore life is my logical limit]. 1 Given her brutally reductive melodramatic sensibility, life, in all its rich ambiguity, might at first glance appear to lie outside Jelinek’s
Analyzing Jelinek's rewritings of Snow White and Sleeping Beauty, the first two of a cycle of Princess Plays (1998-2003), I demonstrate how the author exploits the fairy tale reservoir of German High Romanticism and how she scrutinizes its popularization. Furthermore, she appropriates poetic techniques of Early Romanticism.
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Analyzing Jelinek's rewritings of Snow White and Sleeping Beauty, the first two of a cycle of Princess Plays (1998-2003), I demonstrate how the author exploits the fairy tale reservoir of German
