Neophilologus

, Volume 86, Issue 2, pp 265–272 | Cite as

Marionette or "Puppenspieler"?: Arthur Schnitzler's Pierrot

  • G. J. Weinberger
Article
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Abstract

In Die Verwandlungen des Pierrot, Arthur Schnitzler elaborates some of his favorite motifs, including that of the "Puppenspieler," in pantomime. Pierrot an actor and thus adept at controlling others' perception of reality, controls – toys with – Katharina by appearing before her in various disguises – the transformations indicated in the title – at a number of venues in the Wurstelprater. In the end, like many a "Puppenspieler" before him (e.g. Merklin in Der Puppenspieler or Paracelsus), Pierrot loses control of the situation, which leads to a restoration of the status quo ante: Pierrot is reunited with Anna, his fiancée, and with the rest of his acting troupe, and Katharina, freed from her brief pre-nuptial adventure, is reunited with her family and with her fiancé, Eduard.

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Works Cited

  1. Salten, Felix. Wurstelprater. Vienna: Goldmann, 1981.Google Scholar
  2. Schnitzler, Arthur. Die dramatischen Werke. 2 vols. Frankfurt a.M.: S. Fischer, 1962.Google Scholar
  3. Schnitzler, Arthur. Die erzählenden Schriften. 2 vols. Frankfurt a.M.: S. Fischer, 1961.Google Scholar
  4. Swales, Martin. Arthur Schnitzler.A Critical Study. Oxford: OUP, 1971.Google Scholar

Copyright information

© Kluwer Academic Publishers 2002

Authors and Affiliations

  • G. J. Weinberger
    • 1
  1. 1.Department of EnglishCentral Connecticut State UniversityNew BritainUSA

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