Copenhagen by Michael Frayn

By Michael Frayn

The Tony Award—winning play that soars on the intersection of technology and artwork, 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 a global battle. Why Heisenberg went to Copenhagen and what he desired to say to Bohr are questions that experience vexed historians ever for the reason 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 reflect on the metaphysical—the very essence of human motivation.

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The actors went. We were made very welcome and sat there, in total darkness, under the trees, just seeing these moving shadows dancing and singing. And after a couple of hours they suddenly said to us: the boys say that this is what you do, too. Now you must sing for us. So we had to improvise a song for them. And this was perhaps one of the best works of the whole journey. [1973, 45] It is not always so idyllic. Brook—and others doing similar work—has been accused of acting arrogantly, even imperialistically.

I say "scripts," which mean something that pre-exists any given enactment, which acts as a blueprint for the enactment, and which persists from enactment to enactment. Extrapolating from the existing evidence and modern experience, I assume that the dancing [in the caves] took a persistent (or "traditional") shape which was kept from one instance to another; that this shape was known by the dancers and by the spectators (if there were any), and that the shape was taught by one group of dancers to another.

In short, every aspect of the game, its playing, and its players comes under the heat of informed opinion. Excellence is applauded, bad play booed. Sports spectators are connoisseurs. If theater were to attract such an audience, things would get better quick. How can a "good" performance be distinguished from a "bad" one? Are there two sets of criteria, one for inside the culture and one for outside? Or are there four sets: inside the culture by the professionals who also make performances; inside by ordinary audiences; outside the culture by visiting professionals; outside by ordinary audiences?

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