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Conclusion
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Abstract
The conclusion discusses three factors central to the book’s arguments: the status of Wedekind’s censored plays as palimpsests, Berg’s affinity for Liebestod effects in the music he composed for Lulu, and his decision to work with, indeed to augment, the discrepancies in the plays rather than flatten them as other dramaturges chose to do in the 1920s. In focusing on the impact of repeated censorship of Wedekind’s plays on Berg’s opera, the conclusion considers potential consequences if he had decided to set the five-act Lulu published in 1913 rather than the two versions he settled on instead. The 1913 Lulu would not have allowed two of the Liebestod effects and would have weakened the concluding Liebestod.
Title: Conclusion
Description:
Abstract
The conclusion discusses three factors central to the book’s arguments: the status of Wedekind’s censored plays as palimpsests, Berg’s affinity for Liebestod effects in the music he composed for Lulu, and his decision to work with, indeed to augment, the discrepancies in the plays rather than flatten them as other dramaturges chose to do in the 1920s.
In focusing on the impact of repeated censorship of Wedekind’s plays on Berg’s opera, the conclusion considers potential consequences if he had decided to set the five-act Lulu published in 1913 rather than the two versions he settled on instead.
The 1913 Lulu would not have allowed two of the Liebestod effects and would have weakened the concluding Liebestod.
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