Reception
The play has attracted a wide range of interpretations, from those who see it as misogynist to those who claim Wedekind as a harbinger of women's liberation. Central to these divergent readings is the ambiguous figure of Lulu herself. Each man in her life, secure in the patriarchal society to which she is a potential affront, finds in her what he wants to see; her own needs, meanwhile, remain obscured. And each man "lets her down because he is flawed by a blind disregard for her true self, an indifference that stems from that blend of self-centredness and self-interest which Wedekind (…) saw as typically male". Whether Lulu is victim or femme fatale, the centre of gravity in this second play shifts in the direction of Geschwitz, whom Wedekind in his Preface to the 1906 edition describes as the "tragic central figure of the play" and holds up as an example of both "superhuman self-sacrifice" and spiritual strength in the face of the "terrible destiny of abnormality with which she is burdened".
Read more about this topic: Pandora's Box (play)
Famous quotes containing the word reception:
“He’s leaving Germany by special request of the Nazi government. First he sends a dispatch about Danzig and how 10,000 German tourists are pouring into the city every day with butterfly nets in their hands and submachine guns in their knapsacks. They warn him right then. What does he do next? Goes to a reception at von Ribbentropf’s and keeps yelling for gefilte fish!”
—Billy Wilder (b. 1906)
“Satire is a sort of glass, wherein beholders do generally discover everybody’s face but their own; which is the chief reason for that kind of reception it meets in the world, and that so very few are offended with it.”
—Jonathan Swift (1667–1745)
“Aesthetic emotion puts man in a state favorable to the reception of erotic emotion.... Art is the accomplice of love. Take love away and there is no longer art.”
—Rémy De Gourmont (1858–1915)