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Federico Fellini, Cavaliere di Gran Croce OMRI (Italian: [fedeˈriːko felˈliːni]; 20 January 1920 – 31 October 1993) was an Italian film director and screenwriter. Known for his distinct style that blends fantasy and baroque images with earthiness, he is recognized as one of the greatest and most influential filmmakers of all time.[1][2][3] His films have ranked, in polls such as Cahiers du cinéma and Sight & Sound, as some of the greatest films of all time. Sight & Sound lists his 1963 film as the 10th-greatest film of all time.

In a career spanning almost fifty years, Fellini won the Palme d'Or for La Dolce Vita, was nominated for twelve Academy Awards, and directed four motion pictures that won Oscars in the category of Best Foreign Language Film. In 1993, he was awarded an honorary Oscar for Lifetime Achievement at the 65th Annual Academy Awards in Los Angeles.[4]

Besides La Dolce Vita and , his other well-known films include La Strada, Nights of Cabiria, Juliet of the Spirits, Satyricon, Amarcord and Fellini's Casanova.

Early life and education[edit]

Rimini (1920–1938)[edit]

Fellini was born on 20 January 1920, to middle-class parents in Rimini, then a small town on the Adriatic Sea. His father, Urbano Fellini (1894–1956), born to a family of Romagnol peasants and small landholders from Gambettola, moved to Rome in 1915 as a baker apprenticed to the Pantanella pasta factory. His mother, Ida Barbiani (1896–1984), came from a bourgeioisCatholic family of Roman merchants. Despite her family's vehement disapproval, she had eloped with Urbano in 1917 to live at his parents' home in Gambettola.[5] A civil marriage followed in 1918 with the religious ceremony held at Santa Maria Maggiore in Rome a year later.

The couple settled in Rimini where Urbano became a traveling salesman and wholesalevendor. Fellini had two siblings: Riccardo (1921–1991), a documentary director for RAI Television, and Maria Maddalena (m. Fabbri; 1929–2002). In 1924, Fellini started primary school in an institute run by the nuns of San Vincenzo in Rimini, attending the Carlo Tonni public school two years later. An attentive student, he spent his leisure time drawing, staging puppet shows, and reading Il corriere dei piccoli, the popular children’s magazine that reproduced traditional American cartoons by Winsor McCay, George McManus and Frederick Burr Opper. (Opper’s Happy Hooligan would provide the visual inspiration for Gelsomina in Fellini's 1954 film La Strada; McCay’s Little Nemo would directly influence his 1980 film City of Women.)[6] In 1926, he discovered the world of Grand Guignol, the circus with Pierino the Clown, and the movies. Guido Brignone’s Maciste all’Inferno (1926), the first film he saw, would mark him in ways linked to Dante and the cinema throughout his entire career.[7]

Enrolled at the Ginnasio Giulio Cesare in 1929, he made friends with Luigi ‘Titta’ Benzi, later a prominent Rimini lawyer (and the model for young Titta in Amarcord (1973)). In Mussolini’s Italy, Fellini and Riccardo became members of the Avanguardista, the compulsory Fascist youth group for males. He visited Rome with his parents for the first time in 1933, the year of the maiden voyage of the transatlantic ocean liner SS Rex (which is shown in Amarcord). The sea creature found on the beach at the end of La Dolce Vita (1960) has its basis in a giant fish marooned on a Rimini beach during a storm in 1934.

Although Fellini adapted key events from his childhood and adolescence in films such as I Vitelloni (1953), (1963), and Amarcord (1973), he insisted that such autobiographical memories were inventions:

It is not memory that dominates my films. To say that my films are autobiographical is an overly facile liquidation, a hasty classification. It seems to me that I have invented almost everything: childhood, character, nostalgias, dreams, memories, for the pleasure of being able to recount them.[8]

In 1937, Fellini opened Febo, a portrait shop in Rimini, with the painter Demos Bonini. His first humorous article appeared in the "Postcards to Our Readers" section of Milan’s Domenica del Corriere. Deciding on a career as a caricaturist and gag writer, Fellini travelled to Florence in 1938, where he published his first cartoon in the weekly 420. According to a biographer, Fellini found school "exasperating"[9] and, in one year, had 67 absences.[10] Failing his military culture exam, he graduated from high school in July 1938 after doubling the exam.

Rome (1939)[edit]

In September 1939, he enrolled in law school at the University of Rome to please his parents. Biographer Hollis Alpert reports that "there is no record of his ever having attended a class".[11] Installed in a family pensione, he met another lifelong friend, the painter Rinaldo Geleng. Desperately poor, they unsuccessfully joined forces to draw sketches of restaurant and café patrons. Fellini eventually found work as a cub reporter on the dailies Il Piccolo and Il Popolo di Roma, but quit after a short stint, bored by the local court news assignments.

Four months after publishing his first article in Marc’Aurelio, the highly influential biweekly humour magazine, he joined the editorial board, achieving success with a regular column titled But Are You Listening?[12] Described as “the determining moment in Fellini’s life”,[13] the magazine gave him steady employment between 1939 and 1942, when he interacted with writers, gagmen, and scriptwriters. These encounters eventually led to opportunities in show business and cinema. Among his collaborators on the magazine’s editorial board were the future director Ettore Scola, Marxist theorist and scriptwriter Cesare Zavattini, and Bernardino Zapponi, a future Fellini screenwriter. Conducting interviews for CineMagazzino also proved congenial: when asked to interview Aldo Fabrizi, Italy’s most popular variety performer, he established such immediate personal rapport with the man that they collaborated professionally. Specializing in humorous monologues, Fabrizi commissioned material from his young protégé.[14]

Career and later life[edit]

Early screenplays (1940–1943)[edit]

Retained on business in Rimini, Urbano sent wife and family to Rome in 1940 to share an apartment with his son. Fellini and Ruggero Maccari, also on the staff of Marc’Aurelio, began writing radio sketches and gags for films.

Not yet twenty and with Fabrizi’s help, Fellini obtained his first screen credit as a comedy writer on Mario Mattoli’s Il pirata sono io (The Pirate's Dream). Progressing rapidly to numerous collaborations on films at Cinecittà, his circle of professional acquaintances widened to include novelist Vitaliano Brancati and scriptwriter Piero Tellini. In the wake of Mussolini’s declaration of war against France and England on 10 June 1940, Fellini discovered Kafka’s The Metamorphosis, Gogol, John Steinbeck and William Faulkner along with French films by Marcel Carné, René Clair, and Julien Duvivier.[15] In 1941 he published Il mio amico Pasqualino, a 74-page booklet in ten chapters describing the absurd adventures of Pasqualino, an alter ego.[16]

Writing for radio while attempting to avoid the draft, Fellini met his future wife Giulietta Masina in a studio office at the Italian public radio broadcaster EIAR in the autumn of 1942. Well-paid as the voice of Pallina in Fellini's radio serial, Cico and Pallina, Masina was also well known for her musical-comedy broadcasts which cheered an audience depressed by the war.[17] In November 1942, Fellini was sent to Libya, occupied by Fascist Italy, to work on the screenplay of I cavalieri del deserto (Knights of the Desert, 1942), directed by Osvaldo Valenti and Gino Talamo. Fellini welcomed the assignment as it allowed him "to secure another extension on his draft order".[18] Responsible for emergency re-writing, he also directed the film's first scenes. When Tripoli fell under siege by British forces, he and his colleagues made a narrow escape by boarding a German military plane flying to Sicily. His African adventure, later published in Marc’Aurelio as "The First Flight", marked “the emergence of a new Fellini, no longer just a screenwriter, working and sketching at his desk, but a filmmaker out in the field”.[19]

The apolitical Fellini was finally freed of the draft when an Allied air raid over Bologna destroyed his medical records. Fellini and Giulietta hid in her aunt’s apartment until Mussolini's fall on 25 July 1943. After dating for nine months, the couple were married on 30 October 1943. Several months later, Masina fell down the stairs and suffered a miscarriage. She gave birth to a son, Pierfederico, on 22 March 1945, but the child died of encephalitis a month later on 24 April 1945.[20] The tragedy had enduring emotional and artistic repercussions.[21]

Neorealist apprenticeship (1944–1949)[edit]

After the Allied liberation of Rome on 4 June 1944, Fellini and Enrico De Seta opened the Funny Face Shop where they survived the postwar recession drawing caricatures of American soldiers. He became involved with Italian Neorealism when Roberto Rossellini, at work on Stories of Yesteryear (later Rome, Open City), met Fellini in his shop, and proposed he contribute gags and dialogue for the script. Aware of Fellini’s reputation as Aldo Fabrizi’s “creative muse”,[22] Rossellini also requested that he try to convince the actor to play the role of Father Giuseppe Morosini, the parish priest executed by the SS on 4 April 1944.

In 1947, Fellini and Sergio Amidei received an Oscar nomination for the screenplay of Rome, Open City.

Working as both screenwriter and assistant director on Rossellini’s Paisà (Paisan) in 1946, Fellini was entrusted to film the Sicilian scenes in Maiori. In February 1948, he was introduced to Marcello Mastroianni, then a young theatre actor appearing in a play with Giulietta Masina.[23] Establishing a close working relationship with Alberto Lattuada, Fellini co-wrote the director’s Senza pietà (Without Pity) and Il mulino del Po (The Mill on the Po). Fellini also worked with Rossellini on the anthology filmL'Amore (1948), co-writing the screenplay and in one segment titled, "The Miracle", acting opposite Anna Magnani. To play the role of a vagabond rogue mistaken by Magnani for a saint, Fellini had to bleach his black hair blond.

Early films (1950–1953)[edit]

In 1950 Fellini co-produced and co-directed with Alberto Lattuada Variety Lights (Luci del varietà), his first feature film. A backstage comedy set among the world of small-time travelling performers, it featured Giulietta Masina and Lattuada’s wife, Carla del Poggio. Its release to poor reviews and limited distribution proved disastrous for all concerned. The production company went bankrupt, leaving both Fellini and Lattuada with debts to pay for over a decade.[24] In February 1950, Paisà received an Oscar nomination for the screenplay by Rossellini, Sergio Amidei, and Fellini.

After travelling to Paris for a script conference with Rossellini on Europa '51, Fellini began production on The White Sheik in September 1951, his first solo-directed feature. Starring Alberto Sordi in the title role, the film is a revised version of a treatment first written by Michelangelo Antonioni in 1949 and based on the fotoromanzi, the photographed cartoon strip romances popular in Italy at the time. Producer Carlo Ponti commissioned Fellini and Tullio Pinelli to write the script but Antonioni rejected the story they developed. With Ennio Flaiano, they re-worked the material into a light-hearted satire about newlywed couple Ivan and Wanda Cavalli (Leopoldo Trieste, Brunella Bovo) in Rome to visit the Pope. Ivan’s prissy mask of respectability is soon demolished by his wife’s obsession with the White Sheik. Highlighting the music of Nino Rota, the film was selected at Cannes (among the films in competition was Orson Welles’s Othello) and then retracted. Screened at the 13th Venice International Film Festival, it was razzed by critics in "the atmosphere of a soccer match”.[25] One reviewer declared that Fellini had “not the slightest aptitude for cinema direction".

In 1953, I Vitelloni found favour with the critics and public. Winning the Silver Lion Award in Venice, it secured Fellini his first international distributor.

Beyond neorealism (1954–1960)[edit]

Fellini directed La Strada based on a script completed in 1952 with Pinelli and Flaiano. During the last three weeks of shooting, Fellini experienced the first signs of severe clinical depression.[27] Aided by his wife, he undertook a brief period of therapy with Freudian psychoanalyst Emilio Servadio.[27]

Fellini cast American actor Broderick Crawford to interpret the role of an aging swindler in Il Bidone. Based partly on stories told to him by a petty thief during production of La Strada, Fellini developed the script into a con man’s slow descent towards a solitary death. To incarnate the role’s "intense, tragic face", Fellini’s first choice had been Humphrey Bogart[28] but after learning of the actor’s lung cancer, chose Crawford after seeing his face on the theatrical poster of All the King’s Men (1949). The film shoot was wrought with difficulties stemming from Crawford’s alcoholism.[29] Savaged by critics at the 16th Venice International Film Festival, the film did miserable box office and did not receive international distribution until 1964.

During the autumn, Fellini researched and developed a treatment based on a film adaptation of Mario Tobino’s novel, The Free Women of Magliano. Located in a mental institution for women, financial backers considered the subject had no potential and the project was abandoned.[citation needed]

While preparing Nights of Cabiria in spring 1956, Fellini learned of his father’s death by cardiac arrest at the age of sixty-two. Produced by Dino De Laurentiis and starring Giulietta Masina, the film took its inspiration from news reports of a woman’s severed head retrieved in a lake and stories by Wanda, a shantytown prostitute Fellini met on the set of Il Bidone.[30]Pier Paolo Pasolini was hired to translate Flaiano and Pinelli’s dialogue into Roman dialect and to supervise researches in the vice-afflicted suburbs of Rome. The movie won the Academy Award for Best Foreign Language Film at the 30th Academy Awards and brought Masina the Best Actress Award at Cannes for her performance.[citation needed]

With Pinelli, he developed Journey with Anita for Sophia Loren and Gregory Peck. An "invention born out of intimate truth", the script was based on Fellini's return to Rimini with a mistress to attend his father's funeral.[31] Due to Loren’s unavailability, the project was shelved and resurrected twenty-five years later as Lovers and Liars (1981), a comedy directed by Mario Monicelli with Goldie Hawn and Giancarlo Giannini. For Eduardo De Filippo, he co-wrote the script of Fortunella, tailoring the lead role to accommodate Masina’s particular sensibility.[citation needed]

The Hollywood on the Tiber phenomenon of 1958 in which American studios profited from the cheap studio labour available in Rome provided the backdrop for photojournalists to steal shots of celebrities on the via Veneto.[32] The scandal provoked by Turkish dancer Haish Nana’s improvised striptease at a nightclub captured Fellini’s imagination: he decided to end his latest script-in-progress, Moraldo in the City, with an all-night "orgy" at a seaside villa. Pierluigi Praturlon’s photos of Anita Ekberg wading fully dressed in the Trevi Fountain provided further inspiration for Fellini and his scriptwriters.[citation needed]

Changing the title of the screenplay to La Dolce Vita, Fellini soon clashed with his producer on casting: the director insisted on the relatively unknown Mastroianni while De Laurentiis wanted Paul Newman as a hedge on his investment. Reaching an impasse, De Laurentiis sold the rights to publishing mogul Angelo Rizzoli. Shooting began on 16 March 1959 with Anita Ekberg climbing the stairs to the cupola of Saint Peter’s in a mammoth décor constructed at Cinecittà. The statue of Christ flown by helicopter over Rome to Saint Peter's Square was inspired by an actual media event on 1 May 1956, which Fellini had witnessed. The film wrapped August 15 on a deserted beach at Passo Oscuro with a bloated mutant fish designed by Piero Gherardi.[citation needed]

La Dolce Vita broke all box office records. Despite scalpers selling tickets at 1000 lire,[33] crowds queued in line for hours to see an “immoral movie” before the censors banned it. At an exclusive Milan screening on 5 February 1960, one outraged patron spat on Fellini while others hurled insults. Denounced in parliament by right-wing conservatives, undersecretary Domenico Magrì of the Christian Democrats demanded tolerance for the film’s controversial themes.[34] The Vatican's official press organ, l'Osservatore Romano, lobbied for censorship while the Board of Roman Parish Priests and the Genealogical Board of Italian Nobility attacked the film. In one documented instance involving favourable reviews written by the Jesuits of San Fedele, defending La Dolce Vita had severe consequences.[35] In competition at Cannes alongside Antonioni’s L’Avventura, the film won the Palme d'Or awarded by presiding juror Georges Simenon. The Belgian writer was promptly “hissed at” by the disapproving festival crowd.[36]

Art films and dreams (1961–1969)[edit]

A major discovery for Fellini after his Italian neorealism period (1950–1959) was the work of Carl Jung. After meeting Jungian psychoanalyst Dr. Ernst Bernhard in early 1960, he read Jung's autobiography, Memories, Dreams, Reflections (1963). Bernhard also recommended that Fellini consult the I Ching and keep a record of his dreams. What Fellini formerly accepted as "his extrasensory perceptions"[37] were now interpreted as psychic manifestations of the unconscious. Bernhard’s focus on Jungian depth psychology proved to be the single greatest influence on Fellini’s mature style and marked the turning point in his work from neorealism to filmmaking that was "primarily oneiric".[38] As a consequence, Jung's seminal ideas on the anima and the animus, the role of archetypes and the collective unconscious directly influenced such films as (1963), Juliet of the Spirits (1965), Fellini Satyricon (1969), Casanova (1976), and City of Women (1980).[39] Other key influences on his work include Luis Buñuel,[40]Charlie Chaplin,[41]Sergei Eisenstein,[42]Buster Keaton,[43]Laurel and Hardy,[43] the Marx Brothers,[43] and Roberto Rossellini.[44]

Exploiting La Dolce Vita’s success, financier Angelo Rizzoli set up Federiz in 1960, an independent film company, for Fellini and production manager Clemente Fracassi to discover and produce new talent. Despite the best intentions, their overcautious editorial and business skills forced the company to close down soon after cancelling Pasolini’s project, Accattone (1961).[45]

Condemned as a "public sinner"[46] for La Dolce Vita, Fellini responded with The Temptations of Doctor Antonio, a segment in the omnibus Boccaccio '70. His first colour film, it was the sole project green-lighted at Federiz. Infused with the surrealistic satire that characterized the young Fellini’s work at Marc’Aurelio, the film ridiculed a crusader against vice, interpreted by Peppino De Filippo, who goes insane trying to censor a billboard of Anita Ekberg espousing the virtues of milk.[citation needed]

In an October 1960 letter to his colleague Brunello Rondi, Fellini first outlined his film ideas about a man suffering creative block: "Well then - a guy (a writer? any kind of professional man? a theatrical producer?) has to interrupt the usual rhythm of his life for two weeks because of a not-too-serious disease. It’s a warning bell: something is blocking up his system."[47] Unclear about the script, its title, and his protagonist’s profession, he scouted locations throughout Italy “looking for the film”[48] in the hope of resolving his confusion. Flaiano suggested La bella confusione (literally The Beautiful Confusion) as the movie’s title. Under pressure from his producers, Fellini finally settled on , a self-referential title referring principally (but not exclusively)[49] to the number of films he had directed up to that time.

Giving the order to start production in spring 1962, Fellini signed deals with his producer Rizzoli, fixed dates, had sets constructed, cast Mastroianni, Anouk Aimée, and Sandra Milo in lead roles, and did screen tests at the Scalera Studios in Rome. He hired cinematographerGianni Di Venanzo, among key personnel. But apart from naming his hero Guido Anselmi, he still couldn't decide what his character did for a living.[50] The crisis came to a head in April when, sitting in his Cinecittà office, he began a letter to Rizzoli confessing he had "lost his film" and had to abandon the project. Interrupted by the chief machinist requesting he celebrate the launch of , Fellini put aside the letter and went on the set. Raising a toast to the crew, he "felt overwhelmed by shame… I was in a no exit situation. I was a director who wanted to make a film he no longer remembers. And lo and behold, at that very moment everything fell into place. I got straight to the heart of the film. I would narrate everything that had been happening to me. I would make a film telling the story of a director who no longer knows what film he wanted to make".[51]

Shooting began on 9 May 1962. Perplexed by the seemingly chaotic, incessant improvisation on the set, Deena Boyer, the director’s American press officer at the time, asked for a rationale. Fellini told her that he hoped to convey the three levels "on which our minds live: the past, the present, and the conditional - the realm of fantasy".[52] After shooting wrapped on 14 October, Nino Rota composed various circus marches and fanfares that would later become signature tunes of the maestro’s cinema.[53] Nominated for four Oscars, won awards for best foreign language film and best costume design in black-and-white. In California for the ceremony, Fellini toured Disneyland with Walt Disney the day after.

Increasingly attracted to parapsychology, Fellini met the Turin magician Gustavo Rol in 1963. Rol, a former banker, introduced him to the world of Spiritism and séances. In 1964, Fellini took LSD[54] under the supervision of Emilio Servadio, his psychoanalyst during the 1954 production of La Strada.[55] For years reserved about what actually occurred that Sunday afternoon, he admitted in 1992 that

objects and their functions no longer had any significance. All I perceived was perception itself, the hell of forms and figures devoid of human emotion and detached from the reality of my unreal environment. I was an instrument in a virtual world that constantly renewed its own meaningless image in a living world that was itself perceived outside of nature. And since the appearance of things was no longer definitive but limitless, this paradisiacal awareness freed me from the reality external to my self. The fire and the rose, as it were, became one.[56]

Fellini's hallucinatory insights were given full flower in his first colour feature Juliet of the Spirits (1965), depicting Giulietta Masina as Juliet, a housewife who rightly suspects her husband's infidelity and succumbs to the voices of spirits summoned during a séance at her home. Her sexually voracious next door neighbor Suzy (Sandra Milo) introduces Juliet to a world of uninhibited sensuality but Juliet is haunted by childhood memories of her Catholic guilt and a teenaged friend who committed suicide. Complex and filled with psychological symbolism, the film is set to a jaunty score by Nino Rota.

Nostalgia, sexuality, and politics (1970–1980)[edit]

To help promote Satyricon in the United States, Fellini flew to Los Angeles in January 1970 for interviews with Dick Cavett and David Frost. He also met with film director Paul Mazursky who wanted to star him alongside Donald Sutherland in his new film, Alex in Wonderland.[57] In February, Fellini scouted locations in Paris for The Clowns, a docufiction both for cinema and television, based on his childhood memories of the circus and a "coherent theory of clowning."[58] As he saw it, the clown "was always the caricature of a well-established, ordered, peaceful society. But today all is temporary, disordered, grotesque. Who can still laugh at clowns?... All the world plays a clown now."[59]

In March 1971, Fellini began production on Roma, a seemingly random collection of episodes informed by the director's memories and impressions of Rome. The "diverse sequences," writes Fellini scholar Peter Bondanella, "are held together only by the fact that they all ultimately originate from the director’s fertile imagination."[60] The film’s opening scene anticipates Amarcord while its most surreal sequence involves an ecclesiastical fashion show in which nuns and priests roller skate past shipwrecks of cobwebbed skeletons.

Over a period of six months between January and June 1973, Fellini shot the Oscar-winning Amarcord. Loosely based on the director’s 1968 autobiographical essay My Rimini,[61] the film depicts the adolescent Titta and his friends working out their sexual frustrations against the religious and Fascist backdrop of a provincial town in Italy during the 1930s. Produced by Franco Cristaldi, the seriocomic movie became Fellini’s second biggest commercial success after La Dolce Vita.[62] Circular in form, Amarcord avoids plot and linear narrative in a way similar to The Clowns and Roma.[63] The director's overriding concern with developing a poetic form of cinema was first outlined in a 1965 interview he gave to The New Yorker journalist Lillian Ross: "I am trying to free my work from certain constrictions – a story with a beginning, a development, an ending. It should be more like a poem with metre and cadence."[64]

Late films and projects (1981–1990)[edit]

Organized by his publisher Diogenes Verlag in 1982, the first major exhibition of 63 drawings by Fellini was held in Paris, Brussels, and the Pierre Matisse Gallery in New York.[65] A gifted caricaturist, much of the inspiration for his sketches was derived from his own dreams while the films-in-progress both originated from and stimulated drawings for characters, decor, costumes and set designs. Under the title, I disegni di Fellini (Fellini’s Designs), he published 350 drawings executed in pencil, watercolours, and felt pens.[66]

On 6 September 1985 Fellini was awarded the Golden Lion for lifetime achievement at the 42nd Venice Film Festival. That same year, he became the first non-American to receive the Film Society of Lincoln Center’s annual award for cinematic achievement.[citation needed]

Long fascinated by Carlos Castaneda’s The Teachings of Don Juan: A Yaqui Way of Knowledge, Fellini accompanied the Peruvian author on a journey to the Yucatán to assess the feasibility of a film. After first meeting Castaneda in Rome in October 1984, Fellini drafted a treatment with Pinelli titled Viaggio a Tulun. Producer Alberto Grimaldi, prepared to buy film rights to all of Castaneda’s work, then paid for pre-production research taking Fellini and his entourage from Rome to Los Angeles and the jungles of Mexico in October 1985.[67] When Castaneda inexplicably disappeared and the project fell through, Fellini’s mystico-shamanic adventures were scripted with Pinelli and serialized in Corriere della Sera in May 1986. A barely veiled satirical interpretation of Castaneda's work,[68]Viaggio a Tulun was published in 1989 as a graphic novel with artwork by Milo Manara and as Trip to Tulum in America in 1990.

For Intervista, produced by Ibrahim Moussa and RAI Television, Fellini intercut memories of the first time he visited Cinecittà in 1939 with present-day footage of himself at work on a screen adaptation of Franz Kafka’s Amerika. A meditation on the nature of memory and film production, it won the special 40th Anniversary Prize at Cannes and the 15th Moscow International Film Festival Golden Prize. In Brussels later that year, a panel of thirty professionals from eighteen European countries named Fellini the world’s best director and the best European film of all time.[69]

In early 1989 Fellini began production on The Voice of the Moon, based on Ermanno Cavazzoni’s novel, Il poema dei lunatici (The Lunatics' Poem). A small town was built at Empire Studios on the via Pontina outside Rome. Starring Roberto Benigni as Ivo Salvini, a madcap poetic figure newly released from a mental institution, the character is a combination of La Strada's Gelsomina, Pinocchio, and Italian poet Giacomo Leopardi.[70] Fellini improvised as he filmed, using as a guide a rough treatment written with Pinelli.[71] Despite its modest critical and commercial success in Italy, and its warm reception by French critics, it failed to interest North American distributors.[citation needed]

Fellini won the Praemium Imperiale, the equivalent of the Nobel Prize in the visual arts, awarded by the Japan Art Association in 1990.[72]

Final years (1991–1993)[edit]

In July 1991 and April 1992, Fellini worked in close collaboration with Canadian filmmaker Damian Pettigrew to establish "the longest and most detailed conversations ever recorded on film".[73] Described as the "Maestro's spiritual testament” by his biographer Tullio Kezich,[74] excerpts culled from the conversations later served as the basis of their feature documentary, Fellini: I'm a Born Liar (2002) and the book, I'm a Born Liar: A Fellini Lexicon. Finding it increasingly difficult to secure financing for feature films, Fellini developed a suite of television projects whose titles reflect their subjects: Attore, Napoli, L’Inferno, L'opera lirica, and L’America.[citation needed]

In April 1993 Fellini received his fifth Oscar, for lifetime achievement, "in recognition of his cinematic accomplishments that have thrilled and entertained audiences worldwide". On 16 June, he entered the Cantonal Hospital in Zurich for an angioplasty on his femoral artery[75] but suffered a stroke at the Grand Hotel in Rimini two months later. Partially paralyzed, he was first transferred to Ferrara for rehabilitation and then to the Policlinico Umberto I in Rome to be near his wife, also hospitalized. He suffered a second stroke and fell into an irreversible coma.[76]

Death[edit]

Fellini died in Rome on 31 October 1993 at the age of 73 after a heart attack he suffered a few weeks earlier,[77] a day after his fiftieth wedding anniversary. The memorial service was held in Studio 5 at Cinecittà attended by an estimated 70,000 people.[78] At the request of Giulietta Masina, trumpeter Mauro Maur played the "Improvviso dell'Angelo" by Nino Rota during the funeral ceremony.[79]

Five months later, on 23 March 1994, Fellini's widow, actress Giulietta Masina died of lung cancer. Fellini, Masina and their son, Pierfederico, are buried in a bronze sepulchre sculpted by Arnaldo Pomodoro. Designed as a ship's prow, the tomb is located at the main entrance to the Cemetery of Rimini. The Federico Fellini Airport in Rimini is named in his honour.[citation needed]

Religious views[edit]

Fellini was raised in a Roman Catholic family, and considered himself a Catholic, although, as an adult, he avoided formal activity in the Catholic Church. Films by Fellini included Catholic themes: some celebrated Catholic teachings; whereas others were critical or ridiculed church dogma.[80]

Political views[edit]

While Fellini was for the most part indifferent to politics,[81] he had a general dislike of authoritarian institutions, and is interpreted by Bondanella as believing in "the dignity and even the nobility of the individual human being".[82] In a 1966 interview, he stated, "I make it a point to see if certain ideologies or political attitudes threaten the private freedom of the individual. But for the rest, I am not prepared nor do I plan to become interested in politics."[83] Despite various famous Italian actors favouring the Communists, Fellini was not left-wing as it is rumored that he supported Christian Democracy (DC).[84]

Although Bondanella reports that the Christian Democratic party "was far too aligned with an extremely conservative and even reactionary pre-Vatican II church to suit Fellini's tastes."[82] The director still opposed the '68 Movement, and befriended Giulio Andreotti.[85]

Apart from satirizing Silvio Berlusconi and mainstream television in Ginger and Fred,[86] Fellini rarely expressed his political views in public and never directed an overtly political film. He directed two electoral television spots during the 1990s: one for DC and another for the Italian Republican Party or PRI.[87] His slogan, "Non si interrompe un'emozione" (Don't interrupt an emotion), was directed against the excessive use of advertisements in TV. The slogan was also used by the Democratic Party of the Left in the referendums of 1995.[citation needed]

Influence and legacy[edit]

Personal and highly idiosyncratic visions of society, Fellini's films are a unique combination of memory, dreams, fantasy and desire. The adjectives "Fellinian" and "Felliniesque" are "synonymous with any kind of extravagant, fanciful, even baroque image in the cinema and in art in general".[6]La Dolce Vita contributed the term paparazzi to the English language, derived from Paparazzo, the photographer friend of journalist Marcello Rubini (Marcello Mastroianni).[88]

Contemporary filmmakers such as Tim Burton,[89]Terry Gilliam,[90]Emir Kusturica,[91] and David Lynch,[92] have cited Fellini's influence on their work.

Polish director Wojciech Has, whose two best-received films, The Saragossa Manuscript (1965) and The Hour-Glass Sanatorium (1973), are examples of modernist fantasies, has been compared to Fellini for the sheer "luxuriance of his images".[93]

I Vitelloni inspired European directors Juan Antonio Bardem, Marco Ferreri, and Lina Wertmüller and had an influence on Martin Scorsese's Mean Streets (1973), George Lucas's American Graffiti (1974), Joel Schumacher's St. Elmo's Fire (1985), and Barry Levinson's Diner (1987), among many others.[94] When the American magazine Cinema asked Stanley Kubrick in 1963 to name his favorite films, the film director listed I Vitelloni as number one in his Top 10 list.[95]

Nights of Cabiria was adapted as the Broadway musical Sweet Charity and the movie Sweet Charity (1969) by Bob Fosse starring Shirley MacLaine. City of Women was adapted for the Berlin stage by Frank Castorf in 1992.[citation needed]

inspired among others: Mickey One (Arthur Penn, 1965), Alex in Wonderland (Paul Mazursky, 1970), Beware of a Holy Whore (Rainer Werner Fassbinder, 1971), Day for Night (François Truffaut, 1973), All That Jazz (Bob Fosse, 1979), Stardust Memories (Woody Allen, 1980), Sogni d'oro (Nanni Moretti, 1981), Parad Planet (Vadim Abdrashitov, 1984), La Pelicula del rey (Carlos Sorin, 1986), Living in Oblivion (Tom DiCillo, 1995), 8½ Women (Peter Greenaway, 1999), Falling Down (Joel Schumacher, 1993), along with the successful Broadway musical, Nine (Maury Yeston and Arthur Kopit, 1982).[96]Yo-Yo Boing! (1998), a Spanish novel by Puerto Rican writer Giannina Braschi, features a dream sequence with Fellini that was inspired by .[97]

Fellini’s work is referenced on the albums Fellini Days (2001) by Fish, Another Side of Bob Dylan (1964) by Bob Dylan with Motorpsycho Nitemare, Funplex (2008) by the B-52's with the song Juliet of the Spirits, and in the opening traffic jam of the music video Everybody Hurts by R.E.M.[98] American singer Lana Del Rey has cited Fellini as an influence.[99] It influenced two American TV shows, Northern Exposure and Third Rock from the Sun.[100]Wes Anderson's short film Castello Cavalcanti (2013) is in many places a direct homage to Fellini's work.[101]

Various film related material and personal papers of Fellini are contained in the Wesleyan University Cinema Archives to which scholars and media experts from around the world may have full access.[102] In October 2009, the Jeu de Paume in Paris opened an exhibit devoted to Fellini that included ephemera, television interviews, behind-the-scenes photographs, Book of Dreams (based on 30 years of the director's illustrated dreams and notes), along with excerpts from La dolce vita and .[103]

In 2014, the Blue Devils Drum and Bugle Corps of Concord, California performed a show themed around Fellini's works, entitled "Felliniesque", with which the Blue Devils won a record 16th Drum Corps International World Class championship with a record score of 99.650.[104] That same year, the weekly entertainment-trade magazineVariety announced that French director Sylvain Chomet was moving forward with the project, The Thousand Miles, based on various works of Fellini including his unpublished drawings and writings.[105]

Award and Nominations[edit]

Academy Awards[edit]

Selected awards and nominations[edit]

  • Rome, Open City (Dir. Roberto Rossellini, 1945)
  • Paisà (Dir. Roberto Rossellini, 1946)
  • I Vitelloni (1953)
  • La Strada (1954)
  • Nights of Cabiria (1957)
  • La Dolce Vita (1960)
  • (Otto e Mezzo, 1963)
Federico Fellini during the 1950s
Fellini, Masina, Carla del Poggio and Alberto Lattuada, 1952
Cinecittà - Teatro 5, Fellini's favorite studio[26]
Dedicatory plaque to Fellini on Via Veneto, Rome:
To Federico Fellini, who made Via Veneto the stage for the "Sweet Life" - SPQR - January 20, 1995

"Schiller" redirects here. For other uses, see Schiller (disambiguation).

Friedrich Schiller

Portrait of Schiller by Ludovike Simanowiz (1794)

BornJohann Christoph Friedrich Schiller
(1759-11-10)10 November 1759
Marbach am Neckar, Württemberg, Germany
Died9 May 1805(1805-05-09) (aged 45)
Weimar, Saxe-Weimar
OccupationPoet, playwright, writer, historian, philosopher
NationalityGerman
Literary movementSturm und Drang, Weimar Classicism
Notable works
SpouseCharlotte von Lengefeld (m. 1790)
ChildrenKarl Ludwig Friedrich (1793–1857), Ernst Friedrich Wilhelm (1796–1841), Karoline Luise Friederike (1799–1850), Emilie Henriette Luise (1804–1872)
RelativesJohann Kaspar Schiller (father), Elisabeth Dorothea Schiller, born Kodweiß (mother), Christophine Reinwald (sister)

Signature

Johann Christoph Friedrich von Schiller (German:[ˈjoːhan ˈkʁɪstɔf ˈfʁiːdʁɪç fɔn ˈʃɪlɐ]; 10 November 1759 – 9 May 1805) was a German poet, philosopher, physician, historian, and playwright. During the last seventeen years of his life (1788–1805), Schiller struck up a productive, if complicated, friendship with the already famous and influential Johann Wolfgang von Goethe. They frequently discussed issues concerning aesthetics, and Schiller encouraged Goethe to finish works he left as sketches. This relationship and these discussions led to a period now referred to as Weimar Classicism. They also worked together on Xenien, a collection of short satirical poems in which both Schiller and Goethe challenge opponents to their philosophical vision.

Early life and career[edit]

Friedrich Schiller was born on 10 November 1759, in Marbach, Württemberg, as the only son of military doctor Johann Kaspar Schiller (1733–1796) and Elisabeth Dorothea Kodweiß (1732–1802). They also had five daughters, including Christophine, the eldest. Schiller grew up in a very religious family and spent much of his youth studying the Bible, which would later influence his writing for the theatre.[1] His father was away in the Seven Years' War when Friedrich was born. He was named after king Frederick the Great, but he was called Fritz by nearly everyone.[2] Kaspar Schiller was rarely home during the war, but he did manage to visit the family once in a while. His wife and children also visited him occasionally wherever he happened to be stationed.[3] When the war ended in 1763, Schiller's father became a recruiting officer and was stationed in Schwäbisch Gmünd. The family moved with him. Due to the high cost of living—especially the rent—the family moved to the nearby Lorch.[4]

Although the family was happy in Lorch, Schiller's father found his work unsatisfying. He sometimes took his son with him.[5] In Lorch, Schiller received his primary education. The quality of the lessons was fairly bad, and Friedrich regularly cut class with his older sister.[6] Because his parents wanted Schiller to become a pastor, they had the pastor of the village instruct the boy in Latin and Greek. Pastor Moser was a good teacher, and later Schiller named the cleric in his first play Die Räuber (The Robbers) after him. As a boy, Schiller was excited by the idea of becoming a cleric and often put on black robes and pretended to preach.[7]

In 1766, the family left Lorch for the Duke of Württemberg's principal residence, Ludwigsburg. Schiller's father had not been paid for three years, and the family had been living on their savings but could no longer afford to do so. So Kaspar Schiller took an assignment to the garrison in Ludwigsburg.[8]

There the Schiller boy came to the attention of Karl Eugen, Duke of Württemberg. He entered the Karlsschule Stuttgart (an elite military academy founded by the Duke), in 1773, where he eventually studied medicine. During most of his short life, he suffered from illnesses that he tried to cure himself.

While at the Karlsschule, Schiller read Rousseau and Goethe and discussed Classical ideals with his classmates. At school, he wrote his first play, The Robbers, which dramatizes the conflict between two aristocratic brothers: the elder, Karl Moor, leads a group of rebellious students into the Bohemian forest where they become Robin Hood-like bandits, while Franz Moor, the younger brother, schemes to inherit his father's considerable estate. The play's critique of social corruption and its affirmation of proto-revolutionary republican ideals astounded its original audience. Schiller became an overnight sensation. Later, Schiller would be made an honorary member of the French Republic because of this play. The play was inspired by Leisewitz' earlier play Julius of Tarent, a favourite of the young Schiller.[9]

In 1780, he obtained a post as regimental doctor in Stuttgart, a job he disliked. In order to attend the first performance of The Robbers in Mannheim, Schiller left his regiment without permission. As a result, he was arrested, sentenced to 14 days of imprisonment, and forbidden by Karl Eugen from publishing any further works.[10]

He fled Stuttgart in 1782, going via Frankfurt, Mannheim, Leipzig, and Dresden to Weimar. Along this journey he had an affair with an army officer's wife Charlotte von Kalb. She was at the centre of an intellectual circle, and she was known for her cleverness and instability. Schiller needed help from his family and friends to extricate himself from his financial situation and attachment to a married woman.[11] Schiller settled in Weimar in 1787. In 1789, he was appointed professor of History and Philosophy in Jena, where he wrote only historical works. He was ennobled in 1802, thereby adding the honorific von to his name[11].

Marriage and family[edit]

On 22 February 1790, Schiller married Charlotte von Lengefeld (1766–1826). Two sons (Karl Friedrich Ludwig and Ernst Friedrich Wilhelm) and two daughters (Karoline Luise Henriette and Luise Henriette Emilie) were born between 1793 and 1804. The last living descendant of Schiller was a grandchild of Emilie, Baron Alexander von Gleichen-Rußwurm, who died at Baden-Baden, Germany, in 1947.[12]

Weimar and later career[edit]

Schiller returned with his family to Weimar from Jena in 1799. Goethe convinced him to return to playwriting. He and Goethe founded the Weimar Theater, which became the leading theater in Germany. Their collaboration helped lead to a renaissance of drama in Germany.

For his achievements, Schiller was ennobled in 1802 by the Duke of Saxe-Weimar, adding the nobiliary particle "von" to his name. He remained in Weimar, Saxe-Weimar until his death at 45 from tuberculosis in 1805.

Legacy and honors[edit]

The first authoritative biography of Schiller was by his sister-in-law Caroline von Wolzogen in 1830, Schillers Leben (Schiller's Life).[13]

The coffin containing what was purportedly Schiller's skeleton was brought in 1827 into the Weimarer Fürstengruft (Weimar's Ducal Vault), the burial place of the house of Saxe-Weimar-Eisenach in the Historical Cemetery of Weimar and later also Goethe's resting place. On 3 May 2008, scientists announced that DNA tests have shown that the skull of this skeleton is not Schiller's, and his tomb is now vacant.[14] The physical resemblance between this skull and the extant death mask[15] as well as to portraits of Schiller, had led many experts to believe that the skull was Schiller's.

The city of Stuttgart erected in 1839 a statue in his memory on a square renamed Schillerplatz. A Schiller monument was unveiled on Berlin's Gendarmenmarkt in 1871.

His image appeared on the German Democratic Republic 10 Mark banknotes of the 1964 emission.[16]

In September 2008, Schiller was voted by the audience of the TV channel Arte as the second most important playwright in Europe after William Shakespeare.

Freemasonry[edit]

Some Freemasons speculate that Schiller was a Freemason, but this has not been proven.[17]

In 1787, in his tenth letter about Don Carlos, Schiller wrote:

I am neither Illuminati nor Mason, but if the fraternization has a moral purpose in common with one another, and if this purpose for human society is the most important, ...[18]

In a letter from 1829, two Freemasons from Rudolstadt complain about the dissolving of their Lodge Günther zum stehenden Löwen that was honoured by the initiation of Schiller. According to Schiller's great-grandson Alexander von Gleichen-Rußwurm, Schiller was brought to the Lodge by Wilhelm Heinrich Karl von Gleichen-Rußwurm. No membership document has been found.[18]

Writing[edit]

Philosophical papers[edit]

Schiller wrote many philosophical papers on ethics and aesthetics. He synthesized the thought of Immanuel Kant with the thought of the German Idealist philosopher, Karl Leonhard Reinhold. He elaborated Christoph Martin Wieland's concept of die schöne Seele (the beautiful soul), a human being whose emotions have been educated by reason, so that Pflicht und Neigung (duty and inclination) are no longer in conflict with one another; thus beauty, for Schiller, is not merely an aesthetic experience, but a moral one as well: the Good is the Beautiful. His philosophical work was also particularly concerned with the question of human freedom, a preoccupation which also guided his historical researches, such as the Thirty Years' War and the Dutch Revolt, and then found its way as well into his dramas (the Wallenstein trilogy concerns the Thirty Years' War, while Don Carlos addresses the revolt of the Netherlands against Spain.) Schiller wrote two important essays on the question of the sublime (das Erhabene), entitled "Vom Erhabenen" and "Über das Erhabene"; these essays address one aspect of human freedom—the ability to defy one's animal instincts, such as the drive for self-preservation, when, for example, someone willingly sacrifices themselves for conceptual ideals.

Dramas[edit]

Schiller is considered by most Germans to be Germany's most important classical playwright. Critics like F.J. Lamport and Eric Auerbach have noted his innovative use of dramatic structure and his creation of new forms, such as the melodrama and the bourgeois tragedy. What follows is a brief, chronological description of the plays.

  • The Robbers (Die Räuber): The language of The Robbers is highly emotional, and the depiction of physical violence in the play marks it as a quintessential work of Germany's RomanticSturm und Drang movement. The Robbers is considered by critics like Peter Brooks to be the first European melodrama. The play pits two brothers against each other in alternating scenes, as one quests for money and power, while the other attempts to create revolutionary anarchy in the Bohemian Forest. The play strongly criticises the hypocrisies of class and religion, and the economic inequities of German society; it also conducts a complicated inquiry into the nature of evil. Schiller was inspired by the play Julius of Tarent by Johann Anton Leisewitz.[9]
  • Fiesco (Die Verschwörung des Fiesco zu Genua):
  • Intrigue and Love (Kabale und Liebe): The aristocratic Ferdinand von Walter wishes to marry Luise Miller, the bourgeois daughter of the city's music instructor. Court politics involving the duke's beautiful but conniving mistress Lady Milford and Ferdinand's ruthless father create a disastrous situation reminiscent of Shakespeare's Romeo and Juliet. Schiller develops his criticisms of absolutism and bourgeois hypocrisy in this bourgeois tragedy. Act 2, scene 2 is an anti-British parody that depicts a firing-squad massacre. Young Germans who refused to join the Hessians and British to quash the American Revolutionary War are fired upon.[19]
  • Don Carlos: This play marks Schiller's entrée into historical drama. Very loosely based on the events surrounding the real Don Carlos of Spain, Schiller's Don Carlos is another republican figure—he attempts to free Flanders from the despotic grip of his father, King Phillip. The Marquis Posa's famous speech to the king proclaims Schiller's belief in personal freedom and democracy.
  • The Wallenstein trilogy: Consisting of Wallenstein's Camp, The Piccolomini, and Wallenstein's Death, these plays follow the fortunes of the treacherous commander Albrecht von Wallenstein during the Thirty Years' War.
  • Mary Stuart (Maria Stuart): This history of the Scottish queen, who was Elizabeth I's rival, portrays Mary Stuart as a tragic heroine, misunderstood and used by ruthless politicians, including and especially, Elizabeth.
  • The Maid of Orleans (Die Jungfrau von Orleans): about Joan of Arc
  • The Bride of Messina (Die Braut von Messina)
  • William Tell (Wilhelm Tell)
  • Demetrius (unfinished)

Aesthetic Letters[edit]

Main article: Play drive

A pivotal work by Schiller was On the Aesthetic Education of Man in a Series of Letters[20] (Über die ästhetische Erziehung des Menschen in einer Reihe von Briefen), first published 1794, which was inspired by the great disenchantment Schiller felt about the French Revolution, its degeneration into violence and the failure of successive governments to put its ideals into practice.[21] Schiller wrote that "a great moment has found a little people"; he wrote the Letters as a philosophical inquiry into what had gone wrong, and how to prevent such tragedies in the future. In the Letters he asserts that it is possible to elevate the moral character of a people, by first touching their souls with beauty, an idea that is also found in his poem Die Künstler (The Artists): "Only through Beauty's morning-gate, dost thou penetrate the land of knowledge."

On the philosophical side, Letters put forth the notion of der sinnliche Trieb / Sinnestrieb ("the sensuous drive") and Formtrieb ("the formal drive"). In a comment to Immanuel Kant's philosophy, Schiller transcends the dualism between Formtrieb and Sinnestrieb with the notion of Spieltrieb ("the play drive"), derived from, as are a number of other terms, Kant's Critique of the Faculty of Judgment. The conflict between man's material, sensuous nature and his capacity for reason (Formtrieb being the drive to impose conceptual and moral order on the world), Schiller resolves with the happy union of Formtrieb and Sinnestrieb, the "play drive," which for him is synonymous with artistic beauty, or "living form." On the basis of Spieltrieb, Schiller sketches in Letters a future ideal state (a eutopia), where everyone will be content, and everything will be beautiful, thanks to the free play of Spieltrieb. Schiller's focus on the dialectical interplay between Formtrieb and Sinnestrieb has inspired a wide range of succeeding aesthetic philosophical theory, including notably Jacques Rancière's conception of the "aesthetic regime of art," as well as social philosophy in Herbert Marcuse. In the second part of his important work Eros and Civilization, Marcuse finds Schiller's notion of Spieltrieb useful in thinking a social situation without the condition of modern social alienation. He writes, "Schiller's Letters ... aim at remaking of civilization by virtue of the liberating force of the aesthetic function: it is envisaged as containing the possibility of a new reality principle."[22]

Musical settings[edit]

Ludwig van Beethoven said that a great poem is more difficult to set to music than a merely good one because the composer must rise higher than the poet – "who can do that in the case of Schiller? In this respect Goethe is much easier," wrote Beethoven.[23]

There are relatively few famous musical settings of Schiller's poems. Notable exceptions are Beethoven's setting of "An die Freude" (Ode to Joy)[19] in the final movement of his Ninth Symphony, Johannes Brahms' choral setting of "Nänie" and "Des Mädchens Klage" by Franz Schubert, who set 44 of Schiller's poems[24] as Lieder, mostly for voice and piano, also including "Die Bürgschaft". In 2005 Graham Waterhouse set Der Handschuh (The Glove) for cello and speaking voice.

The Italian composer Giuseppe Verdi admired Schiller greatly and adapted several of his stage plays for his operas: I masnadieri is based on The Robbers; Giovanna d'Arco on The Maid of Orleans; Luisa Miller on Intrigue and Love; La forza del destino is based partly on Wallenstein; and Don Carlos on the play of the same title. Donizetti'sMaria Stuarda is based on Mary Stuart, and Rossini'sGuillaume Tell is an adaptation of William Tell. Nicola Vaccai's Giovanna d'Arco (1827) is based on The Maid of Orleans and his La sposa di Messina (1839) on The Bride of Messina. Tchaikovsky's 1881 opera The Maid of Orleans is partly based on Schiller's work. The 20th-century composer Giselher Klebe adapted The Robbers for his first opera of the same name, which premiered in 1957.

Schiller's burial[edit]

A poem written about the poet's burial:

Two dim and paltry torches that the raging storm
And rain at any moment threaten to put out.
A waving pall. A vulgar coffin made of pine
With not a wreath, not e'en the poorest, and no train –
As if a crime were swiftly carried to the grave!
The bearers hastened onward. One unknown alone,
Round whom a mantle waved of wide and noble fold,
Followed this coffin. 'Twas the Spirit of Mankind.
– Conrad Ferdinand Meyer[25]

Quotations[edit]

  • "Respect the dreams of thy youth." (Posa, in: Don Carlos)[26]
  • "Mit der Dummheit kämpfen Götter selbst vergebens", which means "Against stupidity the gods themselves contend in vain" (Talbot, in: The Maid of Orleans)
  • "Deeper meaning resides in the fairy tales told to me in my childhood than in any truth that is taught in life." (Max in The Piccolomini, act 3, scene 4)[27]
  • "Eine Grenze hat die Tyrannenmacht", which means "A tyrant's power has a limit" (a Swiss freedom fighter, in: Wilhelm Tell)
  • "The voice of the majority is no proof of justice." (Talbot, in: Maria Stuart)
  • "It is not flesh and blood but the heart which makes us fathers and sons." (Franz in The Robbers)
  • "Live with your century but do not be its creature." (From On the Aesthetic Education of Man)
  • "Great souls suffer in silence"

Works[edit]

Plays

  • Die Räuber (The Robbers), 1781
  • Fiesco (Die Verschwörung des Fiesco zu Genua), 1783
  • Kabale und Liebe (Intrigue and Love),[19] 1784
  • Don Karlos, Infant von Spanien (Don Carlos),[28] 1787
  • Wallenstein,[29] 1800
  • Maria Stuart (Mary Stuart), 1800
  • Die Jungfrau von Orleans (The Maid of Orleans), 1801
  • Turandot, Prinzessin von China, 1801
  • Die Braut von Messina (The Bride of Messina), 1803
  • Wilhelm Tell (William Tell), 1804
  • Demetrius (unfinished at his death)

Histories

  • Geschichte des Abfalls der vereinigten Niederlande von der spanischen Regierung or The Revolt of the Netherlands
  • Geschichte des dreißigjährigen Kriegs or A History of the Thirty Years' War
  • Über Völkerwanderung, Kreuzzüge und Mittelalter or On the Barbarian Invasions, Crusaders and Middle Ages

Translations

Prose

Poems

See also[edit]

References[edit]

Further reading[edit]

  • Lahnstein, Peter (January 1984) [1981]. Schillers Leben. Frankfurt am Main: Fischer. ISBN 3-596-25621-6. 
  • Engel, Manfred: "Schiller und wir – Ferne aus großer Nähe". Oxford German Studies 37 (2008) 1: 37–49

Schiller's complete works are published in the following excellent editions:

  • Historical-critical edition by K. Goedeke (17 volumes, Stuttgart, 1867–76)
  • Säkular-Ausgabe edition by Von der Hellen (16 volumes, Stuttgart, 1904–05)
  • historical-critical edition by Günther and Witkowski (20 volumes, Leipzig, 1909–10).

Other valuable editions are:

  • the Hempel edition (1868–74)
  • the Boxberger edition, in Kürschners National-Literatur (12 volumes, Berlin, 1882–91)
  • the edition by Kutscher and Zisseler (15 parts, Berlin, 1908)
  • the Horenausgabe (16 volumes, Munich, 1910, et. seq.)
  • the edition of the Tempel Klassiker (13 volumes, Leipzig, 1910–11)
  • Helios Klassiker (6 volumes, Leipzig, 1911).

Documents and other memorials of Schiller are in the Goethe- und Schiller-Archiv in Weimar.

External links[edit]

Lithograph portrait from 1905, captioned "Friedrich von Schiller" in recognition of his 1802 ennoblement
Germany's oldest Schiller memorial (1839) on Schillerplatz, Stuttgart
Kleinere prosaische Schriften. 1 (1792)
German stamp depicting Schiller
Monument on Schillerplatz in Vienna
Bronze-Plaque-Medal of Schiller's laureate head by the Austrian artist Otto Hofner.
  1. ^Simons, John D (1990). "Frederich Schiller". Dictionary of Literary Biography, Volume 94: German Writers in the Age of Goethe: Sturm und Drang to Classicism. ISBN 9780810345744. 
  2. ^Lahnstein 1981, p. 18.
  3. ^Lahnstein (1981), p. 20.
  4. ^Lahnstein (1981), pp. 20–21.
  5. ^Lahnstein (1981), p. 23
  6. ^Lahnstein 1981, p. 24.
  7. ^Lahnstein (1981), p. 25.
  8. ^Lahnstein (1981), p. 27.
  9. ^ ab"Johann Anton Leisewitz", Encyclopædia Britannica
  10. ^"Friedrich Schiller biography". Studiocleo.com. Retrieved 6 November 2013. 
  11. ^ abFriedrich Schiller, Encyclopædia Britannica, retrieved 17 March 2014
  12. ^Schiller's offspring at the Schiller Birth House Museum's site
  13. ^Sharpe, Lesley (April 1999). "Female Illness and Male Heroism: The Works of Caroline von Wolzogen". German Life and Letters. 52 (2): 184–196. doi:10.1111/1468-0483.00129. 
  14. ^"Schädel in Schillers Sarg wurde ausgetauscht" (Skull in Schiller's coffin has been exchanged), Der Spiegel, 3 May 2008.
    "Schädel in Weimar gehört nicht Schiller" (Skull in Weimar does not belong to Schiller), Die Welt, 3 May 2008.
  15. ^"Death Mask". Sammlungen.hu-berlin.de. Retrieved 6 November 2013. 
  16. ^GERMAN DEMOCRATIC REPUBLIC-10 Mark der DDR-1964 Banknote.ws
  17. ^"Friedrich Von Schiller". Freemasonry.bcy.ca. Retrieved 6 November 2013. 
  18. ^ abEugen Lennhoff, Oskar Posner, Dieter A. Binder: Internationales Freimaurer Lexikon. Herbig publishing, 2006, ISBN 978-3-7766-2478-6
  19. ^ abcdThe Autobiography of Col. John Trumbull, Sizer 1953 ed., p. 184, n. 13
  20. ^"Letters Upon The Aesthetic Education of Man", Fordham University
  21. ^Schiller, On the Aesthetic Education of Man, ed. Elizabeth M. Wilkinson and L. A. Willoughby, 1967
  22. ^Marcuse, Herbert. Eros and Civilization. Beacon Press. 1966
  23. ^"Beethoven: the man and the artist, as revealed by his own words, Project Gutenberg". Retrieved 20 November 2011. 
  24. ^Fifty Songs by Franz Schubert by Henry T. Finck Published in 1904 by Oliver Ditson Company
  25. ^Munsterberg, Margarete (1916). A Harvest of German Verse. New York and London: D. Appleton and Company. p. 242. 
  26. ^Don Carlos, act 4, scene 21, translated by Richard Dillon Boylan: "Tell him, in manhood, he must still revere / The dreams of early youth"
  27. ^The Piccolomini, act 3, scene 4, translated by S. T. Coleridge: "a deeper import / Lurks in the legend told my infant years / Than lies upon that truth, we live to learn."
  28. ^Mike Poulton translated this play in 2004.
  29. ^Wallenstein was translated from a manuscript copy into English as The Piccolomini and Death of Wallenstein by Coleridge in 1800.

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