Fausto (Penguin Clásicos) by Johann Wolfgang von Goethe
By Johann Wolfgang von Goethe
Los mejores libros jamás escritos.
«Nada tenía y, sin embargo, tenía lo suficiente:
el afán de saber los angeles verdad y el placer por el engaño.»
Este poema dramático, inspirado en una leyenda medieval, narra los angeles historia de Fausto, sabio anciano que, en el ocaso de su existencia, establece un pacto con Mefistófeles, a quien entrega su alma a cambio de l. a. juventud. Las dos partes del Fausto, cuya escritura abarca toda los angeles vida creativa de Goethe, conforman un clásico inagotable de l. a. literatura common. En él, los angeles filosofía y el arte se dan los angeles mano para representar l. a. inquietud del hombre en busca del saber y los angeles belleza.
El presente volumen recupera l. a. fiel traducción en verso de Pedro Gálvez y los angeles empareja con el texto unique en alemán que Albrecht Schöne fijó para l. a. Deutscher Klassiker Verlag (Insel) y que ha sido considerado unánimemente su edición definitiva. Completan el tomo una exhaustiva e iluminadora introducción del editor y un apéndice con todos los escritos autobiográficos de Goethe, que atestiguan el extenso y laborioso proceso de escritura de l. a. obra, que va de los angeles década de 1760 a los angeles muerte del poeta en 1832.
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Lastly, this language must be irreversible, that is to say it must be necessary precisely because it involves a commitment and because, as we have seen, foresight is required; at all times a sentence must be placed so that it could not be placed elsewhere than where it is. Now, if we use these three means, will we manage to make the script move in a special way that will specifically be a way that gives it distance? That is to say, will we manage to make it precisely hard and imperative enough to put the actor out of reach if we use the most ordinary, the most banal words?
X. About speaking exactly as everyone does, take one example: Cesaire,13 which Vilar has staged. A sailor is speaking; no sailor, of course, ever spoke like that, but the audience believed that no sailor could ever have spoken any other way, it swallowed it whole. Yet it was precisely the opposite of speaking as everyone does. SARTRE That was because there were two different elements in Cesaire: Schlumberger's plays do, I think, have a 22 SARTRE ON THEATER rhythm; he's an author who writes with a rhythm and takes pains about it; but I do find that the words he used were not words that everyone uses.
It sounds as if it has elevation, but it's a theatrical language, not a language of the theater. You get the same thing with poetry. Poetry in the theater is not poetic language, because poetry is something you can hear from a distance. Poetic language always falls short. X. A minor example: "Ah quelle cruaute a vous brasser du mal" in Antigone. The adapter took it upon himself to transcribe it as "a vous faire du mal," probably to avoid a word not used by everyone. Do you ban "brasser du mal," an On Dramatic Style 25 expression that we certainly never use?