The Sorrows and Suffering of Young Werther: A Stage-play
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The Sorrows and Suffering of Young Werther: A Stage-play.
D. Bruno Starrs.
Copyright 2013 by D. Bruno Starrs.
ISBN: 9781301257676
(Translated and adapted for the stage by the author from Johann Wolfgang von Goethe’s 1774 novella Die Leiden des jungen Werthers)
Table of Contents.
Foreword.
Cast of Characters.
Directions from the Author.
Act One.
Scene 1.
Scene 2.
Scene 3.
Scene 4.
Scene 5.
Scene 6.
Scene 7.
Scene 8.
Act Two.
Scene 9.
Scene 10.
Scene 11.
Scene 12.
Scene 13.
Scene 14.
Scene 15.
Scene 16.
Scene 17.
Scene 18.
Scene 19.
Scene 20.
Scene 21.
Curtain.
Foreword.
Although numerous English literary translations of Johann Wolfgang von Goethe’s ‘nobility in suicide’ - themed, epistolary, psychological and therefore “untheatrical” (Atkins 1949) novel Die Leiden des jungen Werthers (1774) have been published - none of the resultant English stage translations have ever been described as faithful to the original. The various obstacles to the creation of a faithful translation for the English language stage were analysed in the author’s 2004 Master of Creative Arts thesis at the University of Melbourne, Australia (Starrs 2003).
The first obstacle identified by the author is extreme caution by Christian playwrights regarding the proscribed theme of nobility in suicide. Related to this is the second obstacle: the fear of producing ‘copycat’ or imitative suicides, which have been labeled “The Werther Effect” by sociologists (Phillips 1974) (see Starrs 2002). Other obstacles are form-related rather than theme-related and include the absence of an authoritative English literary translation and the difficulties in translating to the stage the psychological and epistolary novel.
Thus, with reference to Goethe’s own three - tiered model of translation (translated by Lefevere 1977) and cinema academic Geoffrey Wagner’s “Three modes of adaptation” (Wagner 1975) the author has attempted to write a “prosaic”, “transpositional” and un-augmented stage translation and adaptation by identifying and addressing each of the obstacles, the hypothesis being that if these obstacles were systematically addressed and overcome, then an English language stage-play closely equivalent in meaning to the prominent ideas, themes and form of the novel - that is, a work arguably faithful to the novel - could be created.
The research lead to the resultant creation The Sorrows and Suffering of Young Werther: A Stage-play which was submitted as the creative work component (30%) of the author’s Master of Creative Arts thesis entitled “Faithfully yours: Werther for the English-language stage” in September 2003 (receiving an overall grade of first class honours). This two act play was first published in the April 2004 issue of Ygdrasil: A Journal of the Poetic Arts (online, Ottawa, Canada. K. Gerken [ed]). The author duly extends his sincere gratitude to his ever-patient supervisor, Professor Angela O’Brien.
References.
Atkins, S.P. (1949), The Testament of Werther in Poetry and Drama, Cambridge: Harvard University Press, p. 2.
Lefevere, Andre (1977), Translating Literature: the German Tradition from Luther to Rosenszweig, Assen: Van Corcum.
Phillips, D.P. (1974), “The influence of suggestion on suicide: substantive and theoretical implications of the Werther effect”, American Sociological Review, 39, pp. 340-54.
Starrs, D. Bruno (2002), “The Werther effect and you”, Postgraduate Review, Carlton, Vic.: University of Melbourne Postgraduate Association, 8(4):pp. 36-39.
Starrs, D. Bruno (2003), Yours Faithfully; Werther for the English Language Stage, Masters Research thesis, Faculty of Arts, School of Creative Arts, The University of Melbourne.
Wagner, Geoffrey (1975), The Novel and the Cinema, New Jersey: Associated University Presses Inc.
Cast of characters in order of appearance.
(The roles of the supporting characters - indicated by * - may beshared)
WERTHER (A handsome young man of around 24)
SERVANT GIRL* (A poorly dressed but pretty young woman of around 16 to 20)
MIDDLE-AGED WOMAN* (A poorly dressed mother)
FARMHAND* (An ordinary looking young man of the working class)
MISS A. * (A beautiful aristocratic young woman)
LOTTE’S AUNT* (A middle-aged, conservative woman)
LOTTE (CHARLOTTE) (A beautiful young woman, perhaps 18 to 24)
VICAR* (An elderly man of at least 60 years)
VICAR’S WIFE* (A woman of around 50 years)
ALBERT (A middle-aged, conservative man of around 45 years)
AMBASSADOR* (A middle-aged, conservative man of around 45 years)
COUNT* (A middle-aged, conservative man of around 45 years)
ADELIN* (A beautiful and flirtatious young woman)
MISS B.* (Another beautiful and flirtatious young woman)
VILLAGER (A man or woman of the working class)
INSANE MAN* (An ordinary-looking young man)
INSANE MAN’S MOTHER* (An elderly woman)
SERVANT* (A middle-aged man)
THE EDITOR* (Voice over only - a middle-aged, male, ‘news-readerly’ voice)
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Directions from the Author.
Delivery of the Dialogue.
Although the language of the dialogue spoken by the characters is not quite the heightened poetic prose of 18th Century Europe, the play should still convey a ‘sense of period’. The actors could speak with English ‘upper class’ accents. The servants, farmhands and other ‘lower classes’ can speak with rural English accents. WERTHER should speak with an accent somewhere between the classes, thus emphasising his sense of social isolation. The long voice overs of WERTHER and THE EDITOR may be pre-recorded and delivered over an electronically amplified public address system.
Costumes.
WERTHER is to be dressed flamboyantly in yellow breeches, buckled shoes, yellow vest and blue frockcoat, as indicated by Goethe in the original novel. He may be long-haired if it is tied back and braided or otherwise secured. LOTTE should be dressed in cleavage-revealing but otherwise modest white dresses with pink ribbons, while ALBERT is to be dressed in similar costume to WERTHER, albeit more conservatively coloured.
Setting and Scenery.
Fundamental to the success of this stageplay is the use of video projection onto a large cyclorama at the rear of the performance area. Black and white images would be appropriate except for the red of the ending. Rear projection is to be preferred to prevent lights appearing on the actors or their shadows appearing on the cyclorama. Scene changes should be quick and indicated by the dimming of lighting in one area and the brightening of the lighting in another area of the performance space. Stage scenery should be limited to actor’s props (for example; the SERVANT GIRL’s pitcher, the YOUNG WOMAN’s basket, LOTTE’s canary (stuffed), the Christmas tree and presents, and of course, ALBERT’s 18th Century pistols) and larger stage items (for example; the fountain, plough, carriage and the furniture in the AMBASSADOR’s office and ALBERT’s work-area of his and LOTTE’s residence). Scene changes are indicated by changes in lighting and supplemented by the video on the cyclorama with actors appearing to perform and interact with the actors in the video. It goes without saying that a competent vid
eographer should produce the video scenery and that it should be synchronised exactly with the actions of the performers.
Music and Sound Effects.
Like the costumes, the choice of music and sound effects should convey an appropriate ‘sense of period’, that being late 18th Century Germany.
Video Titles.
Video titles projected onto the rear cyclorama should be kept to a minimum and should be in an appropriate font such as ‘Garamonde’, the first being the cautionary quatrain written by Goethe as a prefix to his 2nd edition of the novel which should remain projected on the cyclorama as the audience is seated. Then, the curtains and the houselights brought down. The curtains are then brought up and followed by the title:
The Sorrows and Sufferings of Young Werther; a Stageplay.
(Translated and adapted for the stage from J. W. von Goethe’s 1774 novel Die Leiden des jungen Werthers by D. Bruno Starrs).
Other titles should include:
Germany, late 18th Century.
Act One.
And after the intermission and the curtain has risen:
Act Two.
Warnings to the Audience.
Due to the controversial and proscribed subject matter of nobility in suicide and the possibility of “Werther Effect” imitation suicides, a warning that the play may be offensive or dangerous to those with suicidal ideation or tendencies and telephone numbers for suicide prevention services such as “Lifeline” should be included prominently in the programme, advertising and publicity. As already mentioned, the first thing the audience should see on entering the theatre is the cautionary quatrain written by Goethe as a projection onto the cyclorama.
Performance Rights.
This play may be performed free of charge or royalties provided only purchased copies of this e-book are used by the actors in rehearsal (no unauthorised copies are to be made) and the author is supplied with a copy of any promotional material, advertising and published reviews regarding the production.
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ACT ONE.
(The curtain is up and the stage lights are down as the audience enters)
VIDEO TITLE:
(Projected onto the rear cyclorama)
Every young man sighs for love.
Every young girl sighs to win man’s love;
Why, alas! Should bitter pain arise
From the noblest of passions?
You, kind soul, mourn and love him well,
From disgrace his memory’s saved by you;
Yet his spirit sighs from out its cell:
BE A MAN, DON’T FOLLOW ME!
- Goethe in his prefix to the 2nd Edition of Die Leiden des jungen Werthers.
(The projected title fades slowly to black. Curtain falls once audience is seated. It is then raised and the following title appears, with the stage lights still down)
The Sorrows and Sufferings of Young Werther; a Stageplay.
Translated and adapted for the stage from J. W. von Goethe’s 1774 novel Die Leiden des jungen Werthers by D. Bruno Starrs.
(The projected title fades slowly to black before the next title appears)
Germany, late 18th Century.
Act One.
(The title fades to black as the lights go down)
Scene 1. At the fountain.
(The lights are down)
WERTHER:(As an echoing voice over)
How happy I am to be gone . . .
(Long pause. On the cyclorama at the rear of the stage a video projection gradually appears consisting of a montage of nature scenes; plants, insects, birds, flowers etc. When the voice over continues it is no longer an echo. The video projection merges into vision shot over the shoulder of Werther writing with a goose-quill pen. The amplified sound of the quill scratching on parchment accompanies the vision)
May 4. Dear Wilhelm, solitude in this earthly paradise is like medicine to my mind, and the fresh spring lifts my heart and invigorates my soul. Every tree and every bush is full of flowers; Oh, to be a butterfly, floating about in this sea of perfume, and finding all one’s requirements for life in it . . . The town itself is unpleasant; but around it you can find the inexpressible beauty of nature. It was this that induced the late Count (slight pause) M. to lay out a garden on one of the sloping hills which here intersect each other with the most charming variety, and form the loveliest of valleys. The garden is uncomplicated; but as soon as one enters one realises that the place was not designed by an unimaginative or scientific gardener, but by a man with taste and style. Many a tear have I shed to the memory of its departed master in the ruins of a summer-house, which, I am told, was his favourite resort, and now has become mine.
(The lights come up to reveal WERTHER sketching in a garden setting dominated by an ornate fountain with the video on the cyclorama showing a setting of a stream surrounded by beautiful weeping willow trees and shrubbery. WERTHER’s words continue as a voice over)
May 10. A wonderful calmness has come over me, like those sweet mornings of spring which I enjoy so heartily. I am all alone, and I feel all the charms of existence are here in this spot, which was created for the bliss of unique souls such as mine. I am so happy, so absorbed in the exquisite tranquil sense of merely being, that I neglect my talents.
(WERTHER stops sketching and stares into space)
I can’t even sketch a single stroke at the moment; and yet I feel that I never was a greater artist than I am now. Now, while the valley around me is shrouded in mist, and the sun overhead strikes the upper surface of the impenetrable canopy of the trees and only a few rays filter into the inner sanctuary.
(WERTHER throws himself to the floor of the stage, one ear to the ground)
I throw myself down among the tall grass by the trickling stream; and, as I lie close to the earth, I observe a thousand unknown plants. I hear the buzz of an entire world of insects among the stalks, and then I feel the presence of Almighty God, who formed us in his own image, and the breath of his universal love which lifts us and sustains us, as it envelopes us in an eternity of bliss; and then, when darkness overtakes my eyes, and heaven and earth seem to live on in my soul, then I wish, Oh, how I wish I could describe these thoughts, that I could put down on paper all the ideas alive within me, that my letters might be the mirror of my soul, as my soul is the mirror of the infinite Lord! Ah, I fear I will perish under the splendour of these visions! . . .
(Pause)
May 15. The common people of the place know me now, and are my friends, especially the children. When at first I mingled with them, and asked in friendly questions about their interests, some of them thought I was trying to ridicule them, and turned rudely away from me. But I was not put off: I only felt more keenly what I have often noticed before. People of title keep themselves coldly aloof from the common people, as though they feared to lose their importance by the contact; while no-good troublemakers pretend to descend to their level, only to make the poor people feel their arrogance all the more. I know well enough we are not all equal, nor can we ever be; but it is my opinion that those who avoid the common people, in order not to lose their respect, are as much to blame as a coward who hides himself away from his enemy because he fears defeat.
(A poorly dressed servant girl enters to fill a pitcher from the fountain.)
WERTHER: (Speaking no longer as a voice over)
May I assist you, pure lady?
SERVANT GIRL: (Blushing deeply all over)
Oh, no, Sir!
WERTHER: Come, come! Let’s not make a ceremony of it!
(WERTHER helps her with filling and lifting the pitcher)
SERVANT GIRL: Thank you, Sir.
(She exits. The lights go down)
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* * *
Scene 2. In a field.
(The lights come up. This new scene is simply a different area of the stage with a few extra props such as bales of hay, fence rails and trees. The video on the cyclorama shows the appropriate scenery of a farm fi
eld. WERTHER is sitting quietly on a plough watching the video projection on the rear cyclorama of children on the screen or in the wings as they run off screen. There is only the sound of their play and occasional glimpses of them in the video on the cyclorama to indicate their presence)
WERTHER: (Voice over) May 22. Dear Wilhelm, they are happiest, those people who, like children, live only for the day and amuse themselves with toys, dressing and undressing their dolls, and carefully watching the pantry, where their mother has locked up her sweets, and, when they finally get some, gobble them down and shout “More!” These are certainly happy beings; but there are others who attempt to dignify their paltry existence with pompous titles, representing them to the world as great achievements performed for the welfare and glory of mankind. But only the man who humbly acknowledges the vanity of all this, who observes with what pleasure the honest citizen toils to convert his little garden into a paradise, and how patiently even the poor man labours under his weary burden, and how all wish equally to behold the light of the sun yet another day, - yes, such a man is truly at peace, and creates his own world within himself; and he is truly happy, because he is a complete human being. And then, however limited his sphere, he still feels in his heart a sense of liberty, knowing he can escape his prison whenever he likes.
(A poorly dressed middle-aged woman, with a basket on her arm, enters from the wing, running towards the children in the opposite wing)
MIDDLE-AGED WOMAN: You are a good boy, Philip! (To WERTHER) Oh, hello, Sir!
WERTHER: (Speaking no longer as a voice over)
Good day to you, Madam. Are you the mother of these pretty children?
MIDDLE-AGED WOMAN: Yes. I left my child in Philip’s care, while I went into town with my eldest boy to buy bread, sugar, and an earthen pot. I shall make some broth tonight for my little Hans, the youngest: that wild fellow, the big one, broke my pot yesterday, while he was wrestling with Philip for what was left of the dregs.