By Michael Frayn
The Tony Award—winning play that soars on the intersection of technology and paintings, Copenhagen is an explosive re-imagining of the mysterious wartime assembly among Nobel laureates to debate the atomic bomb.
In 1941 the German physicist Werner Heisenberg made a clandestine journey to Copenhagen to determine his Danish counterpart and good friend Niels Bohr. Their interact on quantum mechanics and the uncertainty precept had revolutionized atomic physics. yet now the area had replaced and the 2 males have been on contrary facets in an international struggle. Why Heisenberg went to Copenhagen and what he desired to say to Bohr are questions that experience vexed historians ever when you consider that. In Michael Frayn’s formidable, fiercely clever, and bold new play Heisenberg and Bohr meet once more to debate the intricacies of physics and to examine the metaphysical—the very essence of human motivation.
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58 20 Meyerhold A Revolution in Theatre But wbüst remaining within the limits of orthodox theatre, Meyerhold contri¥ed to introduce the works of a number of dramatists who at that time were little known in Russia, still less in Georgia; they included The Father by Strindberg and The Concert-Singer by Wedekind, which Meyerhold himself translated. On 15 February 1905 he staged Gorky's Summer Folk, barely five weeks after the Bloody Sunday massacre in St Petersburg and immediately following Gorky's release from prison for his involvement in that event.
Right from the first act, but especially later, one sensed the sisters* anxiety for their little brother in every phrase they uttered, every gesture of thek submissive hands. But most of all one felt it in the moments of silence; one felt energy concentrated in their frozen poses. In this way an almost unbearable dynamism was créât«! beneath an outward cato. The Queen's three maidservants entered one after the other, their index fingers hooked like claws, thek faces hidden by grey hoods. One recalls mem motionless: unlike the other characters» they never once altered thek pose.
Bryusov's italics} An actor OH the * See pp. 150151 below. The Theatre-StwBo 31 stage m the same as a sculptor before his clay: he must embody in tangible form the same content as the sculptor - the impulse of his soul» his feelings. . The theatre's sole task is to help the actor reveal his soul to the audience. Citing the Russian poet Tyutehev's dictum 'A thought expressed becomes a Me*, Bryusov defines the eternal paradox of the theatre: The subject of art lies always in the conceptual world, but all the means of art lie in the material world.