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Act 2
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Abstract
The chapter focuses on Berg’s Act 2. Because this is the act that joins Wedekind’s plays in the opera, the second order consequences of censoring Act 3 of the Ur-Lulu could have created an acute problem. Censorship of that act had inspired Wedekind’s pronounced use of innuendo in Act 4 of Erdgeist, an example of the indirect treatment of taboo subject matter associated with censored works, but also his quarantining of offensive lines in Act 1 of Die Büchse der Pandora, an indirect consequence of censorship. Wedekind’s responses can be said ultimately to have defined the tone and shape of Berg’s Act 2, in which musical autonomy becomes an especially pronounced possibility: the “censorship effect” that William Olmsted discusses with regard to Flaubert and Baudelaire, the chapter suggests, manifests itself in Berg’s opera as an impulse toward absoluteness in his music.
Title: Act 2
Description:
Abstract
The chapter focuses on Berg’s Act 2.
Because this is the act that joins Wedekind’s plays in the opera, the second order consequences of censoring Act 3 of the Ur-Lulu could have created an acute problem.
Censorship of that act had inspired Wedekind’s pronounced use of innuendo in Act 4 of Erdgeist, an example of the indirect treatment of taboo subject matter associated with censored works, but also his quarantining of offensive lines in Act 1 of Die Büchse der Pandora, an indirect consequence of censorship.
Wedekind’s responses can be said ultimately to have defined the tone and shape of Berg’s Act 2, in which musical autonomy becomes an especially pronounced possibility: the “censorship effect” that William Olmsted discusses with regard to Flaubert and Baudelaire, the chapter suggests, manifests itself in Berg’s opera as an impulse toward absoluteness in his music.