LYCOS RETRIEVER 
Wagner (Wagner, Siegfried - Composer): Works
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Wagner (Wagner, Siegfried - Composer) also shows up in the Retriever categories:
Wagner (Northeast Conference) , and more.
Wagner (Northeast Conference) , and more.
Wagner is a declared anarchist. He distinctly develops the teaching of this faction in the Art-work of the Future (p. 217): 'All men have but one common need . . . the need of living and being happy. Herein lies the natural bond between all men. . . . It is only the special needs which, according to time, place, and [180] individuality, make themselves known and increase, which in the rational condition of future humanity can serve as a basis for special associations. . . These associations will change, will take another form, dissolve and reconstitute themselves according as those needs change and reappear.' (06) He does not conceal the fact that this 'rational condition of future humanity 'can be brought about only by force' (p.
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These Production-Problems disappeared in the second season, for Wolfgang Wagner has long insisted that the Bayreuth Festival is a kind of Workshop, where new Wagner stagings are regarded as Works-in-Progress. [Unfortunately, that concept had no constructive-effect on the Christoph Schlingensief Parsifal production.]
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Wagner is particularly explicit in his instructions to the poet, and the second part of his work, which relates exclusively to the reform of dramatic poetry, is justly considered by the author as his literary and philosophical masterpiece. It is brimful of thought, and lifts the reader to the pure heights of æsthetics, without dimming his sight by clouds sf transcendental nonsense.
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This book is a commentary on The Ring of the Niblungs, Wagner's chief work. I offer it to those enthusiastic admirers of Wagner who are unable to follow his ideas, and do not in the least understand the dilemma of Wotan, though they are filled with indignation at the irreverence of the Philistines who frankly avow that they find the remarks of the god too often tedious and nonsensical. Now to be devoted to Wagner merely as a dog is devoted to his master, sharing a few elementary ideas, appetites and emotions with him, and, for the rest, reverencing his superiority without understanding it, is no true Wagnerism. Yet nothing better is possible without a stock of ideas common to master and disciple. Unfortunately, the ideas of the revolutionary Wagner of 1848 are taught neither by the education nor the experience of English and American gentlemen-amateurs, who are almost always political mugwumps, and hardly ever associate with revolutionists. The earlier attempts to translate his numerous pamphlets and essays into English, resulted in ludicrous mixtures of pure nonsense with the absurdest distorsions of his ideas into the ideas of the translators.
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That surely must have been on the minds of Katharina Wagner, her Dramaturg, & her production-team when they decided to take a New Look at Die Meistersinger. She is certainly more familiar with the libretto & score of this opera than almost any other young stage-director, especially after working closely with her father on his marvelously evocative Meistersinger for a number of seasons at Bayreuth.
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