Maria Stuart (review)
2003; Johns Hopkins University Press; Volume: 55; Issue: 1 Linguagem: Inglês
10.1353/tj.2003.0037
ISSN1086-332X
Autores Tópico(s)Kierkegaardian Philosophy and Influence
ResumoAlmost 202 years to the day that Friedrich Schiller premiered Maria Stuart at the Weimar Hoftheater (June 14, 1800), Ingmar Bergman and the Royal Dramatic Theatre of Sweden (Dramaten) brought the drama to the Brooklyn Academy of Music for a limited five-day performance run. The play, which dramatizes the final days of Maria Stuart (Mary Queen of Scots) before her execution in 1587 as the culmination of an epic political, religious, and personal battle with her half sister Elizabeth I, was a curious but intriguing choice. Although representative of some of the greatest dramatic moments in German Theater, Schiller's plays are often weighted down by his philosophical musings, theoretical experiments, and bombastic prose. In short, Schiller's dramas seem perpetually in need of a director able to cut the excessive fat while retaining the theatrical greatness. Hence, the thought of Ingmar Bergman, the great choreographer of classical minimalism, confronting Schiller on the pragmatically-oriented United States stage brought a certain suspense to the event.
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