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Sculpture of Mephistopheles bewitching the students in the scene "Auerbachs Keller" from Faust, at the entrance of what is today the restaurant Auerbachs Keller in Leipzig Anton Kaulbach: Faust and Mephisto. Faust is a tragic play in two parts by Johann Wolfgang von Goethe, usually known in English as Faust, Part One and Faust, Part Two. Nearly ...
" Zueignung" (translated as "Dedication" or "Devotion") is a Lied composed by Richard Strauss in 1885 (completed 13 August), setting a poem by the Austrian poet Hermann von Gilm. It was included in Strauss's first published collection of songs, as Op . 10 in 1885.
The character is ostensibly based on Johann Georg Faust (c. 1480–1540), a magician and alchemist probably from Knittlingen, Württemberg, who obtained a degree in divinity from Heidelberg University in 1509, but the legendary Faust has also been connected with an earlier Johann Fust (c. 1400–1466), Johann Gutenberg's business partner, [7 ...
H. J. Byron's Little Doctor Faust (1877) (a musical burlesque at the Gaiety Theatre) W. S. Gilbert 's Gretchen , an 1879 play based on Goethe 's version of the Faust legend Igor Stravinsky 's Histoire du soldat (1918), a theatrical piece "to be read, played and danced" with a libretto by C.F. Ramuz
Faust – A German Folktale (German: Faust – Eine deutsche Volkssage) is a 1926 silent fantasy film, produced by Ufa, directed by F. W. Murnau, starring Gösta Ekman as Faust, Emil Jannings as Mephisto, Camilla Horn as Gretchen/Marguerite, Frida Richard as her mother, Wilhelm Dieterle as her brother, and Yvette Guilbert as Marthe Schwerdtlein, her aunt.
"Die Nacht" ("The Night") is an art song composed by Richard Strauss in 1885, setting a poem by the Austrian poet Hermann von Gilm. It was included in the first collection of songs Strauss ever published, as Op. 10 in 1885 (which also included "Zueignung").
Faust (Russian: Фауст, Faust) is a novella by Ivan Turgenev, written in 1856 and published in the October issue of the Sovremennik magazine in the same year. [1] The story draws inspiration from Goethe's Faust, both as a tangible book around which the narrative revolves, and thematically.
Although Goethe does not introduce the eternal feminine until the last two lines of the play, he prepared for its appearance at the outset. "Equally pertinent in this regard", writes J. M. van der Laan, "are Gretchen and Helen, who alternate with each other from start to finish and ultimately combine with others to constitute the Eternal-Feminine" [1] At the beginning of Part I, Act IV, Faust ...