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Sto caricando le informazioni... Het theater, de brief en de waarheid : een tegenspraak (originale 2000; edizione 2000)di Harry Mulisch, Stichting voor de Collectieve Propaganda van het Nederlandse Boek
Informazioni sull'operaHet theater, de brief en de waarheid : een tegenspraak di Harry Mulisch (2000)
Favorite Short Fiction (148) Sto caricando le informazioni...
Iscriviti per consentire a LibraryThing di scoprire se ti piacerà questo libro. Attualmente non vi sono conversazioni su questo libro. Of the Twentieth Century Dutch writers, Harry Mulisch is probably the best known. Although in the Dutch-speaking world there were some contenders, retrospectively Mulisch' work has emerged as the most impressive. Several of Mulisch' novels have been translated into English and various other languages. Not all of Harry Mulisch' are all that accessible. He has been accused more than once of megalomania, inventing philosophical systems to encompass all that is known and unknown under and in heaven. Some of his novels are easy to read. Het theater, de brief en de waarheid belongs the the category of complicated novels, proposing multiple hypothetical realities in an attempt to understand a mystery. The mystery consists of a bizarre event which occurred in the Netherlands in 1987. In that year, Jules Croiset, a Dutch actor, tried to prevent the performance of the German play Der Müll, die Stadt und der Tod (literally "Garbage, the City, and Death") by Rainer Werner Fassbinder. Fassbinder's plays and films elicited a lot of criticism often considered racist, homophobic, or, as in the case of Der Müll, die Stadt und der Tod, anti-semitic. To stop the performance of this play in the Netherlands, Jules Croiset wrote a threat letter to himself, followed by the enactment of his (own) kidnap. The non-crime was soon discovered, leaving many people baffled about Croiset's motive and train of thought to conceive and act out this bizarre scheme. Croiset explains himself in the book Met stomheid geslagen, while Mulisch picked up the idea to explore it in Het theater, de brief en de waarheid, which translates literally as "The theatre, the letter and the truth". Het theater, de brief en de waarheid is a short novel which presents two apparently complementary stories based on the events of 1987. The stories are mirror images of each other, but in the good old (Dutch) tradition of the work of graphic artist M. C. Escher the two versions of the story are mutually exclusive. They cannot both be true at the same time. Both the link to reality (in as far as needed) and unraveling the two mirror images is difficult and confusing. Het theater, de brief en de waarheid is not a book that will release its secret to the reader easily. It probably needs to be read with some foreknowledge of the background, and or multiple re-readings to figure it out.
Die Novelle ist nicht nur strukturell raffiniert, sie zeigt auch im sprachlichen Detail, warum Mulisch bei vielen als der bedeutendste niederländische Autor der Gegenwart gehandelt wird. Wendungen wie "ein Sarg, der in voller Blüte vor uns stand" oder "Tot werde ich nur für die Lebenden sein, nicht für mich selbst. Tot sind immer die anderen" besitzen Widerhaken, die sich im Denken festsetzen. Auch in den literarischen Anspielungen zeigt sich Mulisch gewohnt feinsinnig. So probt der Schauspieler Althans im Lauf seiner fingierten Entführung ausgerechnet Pirandellos "Heinrich IV", ein Stück also, in dem die Hauptfigur sich bekanntermaßen ebenso heillos verstrickt in ein Netz aus Wahnsinn und Hellsichtigkeit, aus Spiel und Realität - man sieht, bei Mulisch sind auch die Details keine Zufälligkeiten. Gewiss, gemessen an den meisterlichen Romanen "Höchste Zeit", "Die Entdeckung des Himmels" und "Die Prozedur" mag die vorliegende Novelle wie eine Petitesse aussehen. In Wahrheit aber nimmt sie in Mulischs Œuvre einen bedeutenden Platz ein, nicht nur durch ihren erzähltechnischen Ausnahmestatus bedingt. Appartiene alle Collane EditorialiBoekenweekgeschenk (2000)
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Google Books — Sto caricando le informazioni... GeneriSistema Decimale Melvil (DDC)839.31364Literature German and related languages Other Germanic literatures Netherlandish literatures Dutch Dutch fiction 20th Century 1945-1999Classificazione LCVotoMedia:
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Act One of this reads almost like an entry in a competition to create a Harry Mulisch parody: the main female character is centre-stage throughout, but as a dead body at her own funeral. Her husband is giving the funeral oration, but it seems to be much more about him than her. After the intermission, we're back with a reset stage and there's an ingenious reversal of roles - perhaps not quite as original and audacious as Mulisch claims in his afterword, but still quite a good trick if you can get away with it.
The correction of Mulisch's androcentric view of the universe may be purely nominal, but it's sad to realise that what hasn't lost its relevance in this book is what it has to say to us about the threat to our liberal society from extreme views, and the danger we face if we allow ourselves to forget what actually happened under the Nazis. ( )