Shakespeares Sonette: Sonnet 29

"Shakespeares Sonette" by Robert Wilson and Rufus Wainwright at the Berliner Ensemble, 2009
Sonnet 29
When, in disgrace with fortune and men's eyes,
I all alone beweep my outcast state
And trouble deal heaven with my bootless cries
And look upon myself and curse my fate,
Wishing me like to one more rich in hope,
Featured like him, like him with friends possess'd,
Desiring this man's art and that man's scope,
With what I most enjoy contented least;
Yet in these thoughts myself almost despising,
Haply I think on thee, and then my state,
Like to the lark at break of day arising
From sullen earth, sings hymns at heaven's gate;
For thy sweet love remember'd such wealth brings
That then I scorn to change my state with kings.

[@1decroy]

I love Shakespeare! I love his work and no duress forced me to say so. I love his plays, his sonnets, his language. I love that he is 'reborn' for each new generation and is as fresh as if the ink were still wet on the page. This Sonnet, 29, saved me when I thought I was too little, too small, too insignificant, too unlovely to be loved. A friend reminded me that to be loved by one person one had to love oneself. So, Shakespeare wrote Sonnet 29 for me as a reminder that I am loved.

[@valevaden]

Beautifully said...

[@yororo0820]

This was beautiful and weird and everything inbetween! Robert Wilson you visionary

[@webspecific]

Astonishing, riveting, genius pairing. Thanks, Rufus, Shakespeare, Robert and Berliner Ensemble. The depth of sincerity in the singing by Rufus meets the extraordinary visionary theatricality of Wilson. I suffer consternation in the face of this world view, the subtext. So much to inspire me and to question. I enjoy the seduction of the visuals and know the creators are sharing their uniqueness and not really asking me to do anything.

[@jacksontronixx]

Jeder der die Chance hat, sollte sich unbedingt dieses Stück ansehen. Es ist einfach wunderschön. Vollkommen anders! Es war ein Erlebnis!

[@AG-yx4ip]

Both Rufus an Bob Wilson are geniuses

[@noelephantitis]

@KingMinosxxvi Also, I don't know if this helps, but what you're seeing on the screen is a video piece of Wilson's from the 1970s, which itself is adapted from a couple of Wilson's live shows--the image of actress Sheryl Sutton in 19th century dress slowly walking toward and stabbing a young boy. He's obsessed with these images, and they go back very early in his life. But I think AllmuthAndorsch's interpretation sounds very good.

[@lucianodiretor]

Cena de pura beleza! Fantástico!

[@michael-davidblostein9766]

God DAMN it Christopher Nell your voice is heaven sent

[@draydog921]

it's a matter of opinion. Some may not like it and that's okay. That's one of the cool things about Shakespeare, all his work can be used in so many different ways.

[@MsHelord]

...and a matter of your personal taste of course...! :))))

[@blackfootelite2800]

That’s exactly why Shakespeare is still relevant today.

[@gindratchapuisfabienne9407]

je pleure d'émotion vraie

[@robertmorgan5173]

Just as I had begun to think the original incapable of improvement, along comes this gem.

[@zibens05]

hmmmm.. elegant. rufus is always great, but now even brighter in such combination. respect

[@kennewicksheri]

Exquisite !!! Exquisite

[@gabrielekottmayer-pampuch4599]

für mich ist dieses stück harmonie pur

[@MsHelord]

Der gesprochene Text folgt der modernen, vielfach ausgezeichneten Übertragung von Christa Schuenke (1994): Wenn mich Fortuna schmäht, kein Mensch mich mag, Wenn ich mich selber nicht mehr sehen will, Dem tauben Himmel meinen Jammer klag, Mein Vagabundenlos verfluche still... Dann möcht ich, dass ich Hoffnung haben könnt', Neid dem den Wuchs, dem dass er Freunde hat, Dem den Erfolg und jenem sein Talent. Selbst der Genuss schmeckt, kaum genossen, fad. Doch hat mein Selbsthass mich so klein gemacht, Denk ich an Dich, und schwinge mich empor Der Lerche gleich, die aufsteigt nach der Nacht Vom klammen Feld und singt vorm Himmeltor! So reich macht Deine Liebe mich, so groß, Mit keinem König tausche ich mein Los!

[@carlaemily9310]

christopher nell ist so ein fantastischer sänger!

[@KingMinosxxvi]

So the assumption that these early numbered poems are love poems to a beatiful young dude..but I 've never bought that whith this poem..His son died in 1596 and 11 years old..this Sonnet was publish in 1600....That has to be the inspiration for this take...Im not sure how I didn't put this together 14 years ago.

[@AllmuthAndorsch]

it's the german translation of sonnet 29 which you can find in the sidebar.

[@PoetryETrain]

Thank you, this has been added to our playlists here and on facebook...

[@xresdkj]

Espetacular! Mil parabéns!

[@rafaelsoliwoda2824]

Que belleza!!

[@appafonso]

obrigado.muito obrigado.

[@merterogul8399]

thank you

[@AllmuthAndorsch]

well, here are my ideas: i have the feeling that the spoken part is like an increase of the self hate proclaimed in the poem - a hate that goes right through the heart. that's probably why the rival poet starts laughing. the song seems to him just bittersweet and doesn't capture the real feeling.

[@guillermobarbarroja7081]

Inquietante, hermosamente inquietante.

[@irisstew1557]

Phänomenal.

[@huevosconqueso]

any info on the secondary focus, the kid being stabbed by the adult? Or is that the point...creepy to make us feel creepy, or is there a deeper statment going on?

[@LiminalOutlaw]

thats up to you

[@reaver4149]

You could say that it is the ones closest to you that are the most likely to hurt you. After all you must be able to get behind someone before stabbing them in the back.

[@diezpiedrasnegras1703]

Could anyone give the german transcription of the poem? Thank you. :)

[@abcdefgh1234432]

Wenn ich, zerfallen mit Geschick und Welt, Als Ausgestoßner weinend mich beklage, Umsonst mein Flehn zum tauben Himmel gellt, Und ich verzweifelt fluche meinem Tage, - Dann wär' ich gern wie andre hoffnungsreich, So schön wie sie, bei Freunden so beliebt, An Kunst und hohem Ziele mandiem gleich, Freudlos mit dem, was mir das Schicksal gibt. Veracht' ich mich beinah in den Gedanken, So denk' ich dein, dann steigt mein Geist empor Der Lerche gleich von trüber Erde Schranken Und jauchzt im Frührot an des Himmels Tor. In deiner Liebe fühl ich mich so reich, Daß ich nicht tausche um ein Königreich!

[@diezpiedrasnegras1703]

Thank you!

[@lucianodiretor]

It's so beautiful!

[@MsHelord]

Through the ages there have been countless German translations of this Poem... among them adaptions of great poets of the German language, for example and worth to mention: Paul Celan, Karl Kraus, Dorothea Tieck and Stefan George... the above given is a quite solid and appropriate one, and I suppose it depends on your own special taste which adaption you prefer. But the original text spoken in this video is the modern adaption by Christa Schuenke (1994) hailed by many especially to fit our times! She saw Shakespeare as a person who spoke right away out of his heart using the manner of speaking of his time, without artificiality or affectation... without stiltedness! -- If you want to read other versions, there are some more in the web, but even those are only a fractional amount of how many really exist... :)) www.deutsche-liebeslyrik.de/europaische_liebeslyrik/shakespeare/shakespeare_29.htm Just the German version of this poem, in the translation of Christa Schuenke... Wenn mich Fortuna schmäht, kein Mensch mich mag, Wenn ich mich selber nicht mehr sehen will, Dem tauben Himmel meinen Jammer klag, Mein Vagabundenlos verfluche still... Dann möcht ich, dass ich Hoffnung haben könnt', Neid dem den Wuchs, dem dass er Freunde hat, Dem den Erfolg und jenem sein Talent. Selbst der Genuss schmeckt, kaum genossen, fad. Doch hat mein Selbsthass mich so klein gemacht, Denk ich an Dich, und schwinge mich empor Der Lerche gleich, die aufsteigt nach der Nacht Vom klammen Feld und singt vorm Himmeltor! So reich macht Deine Liebe mich, so groß, Mit keinem König tausche ich mein Los!

[@juliasismour5095]

What is the translation of the German text at the end?

[@esewinekatzenschwanz7755]

just a german translation of sonnet 29.

[@MsHelord]

Just the German version of this poem, in the modern translation of Christa Schuenke (1994)... Wenn mich Fortuna schmäht, kein Mensch mich mag, Wenn ich mich selber nicht mehr sehen will Dem tauben Himmel meinen Jammer klag. Mein Vagabundenlos verfluche still... Dann möcht ich, dass ich Hoffnung haben könnt', Neid dem den Wuchs, dem dass er Freunde hat, Dem den Erfolg und jenem sein Talent. Selbst der Genuss schmeckt, kaum genossen, fad. Doch hat mein Selbsthass mich so klein gemacht Denk ich an Dich, der Lerche gleich, die aufsteigt nach der Nacht Vom klammen Feld und singt vorm Himmeltor! So reich macht Deine Liebe mich, so groß, Mit keinem König tausche ich mein Los!

[@katprof]

I believe that video is actually work of Wilson's from many years ago, now juxtaposed here. Can any one confirm that, or remember the name of the original video work?

[@felixrobitaille5794]

its the televised (and much shorter) excerpt of Deafman Glance, one of his earliest shows

[@monimexCGN]

Ab 2:00 - singt Sabin Tambrea ?

[@kupfergold1]

Ja, und ganz am Anfang auch schon

[@ingeneitzel3741]

@@kupfergold1 Und seit gut einem Jahr auch eine kurze Sequenz in NARZISS UND GOLDMUND !!!!! Die Szene ist so beeindruckend,wenn die Ordensbrüder etwas müde auf den harten Holzbänken sitzen und wenn dann SABINS Stimme erklingt!!!!!

[@ingeneitzel3741]

und er hat so eine wunderschöne Stimme!!!!!

[@KingMinosxxvi]

what the f is going on at the end. can somebody give me a translation

[@MsHelord]

Just the German version of this poem, in the translation of Christa Schuenke... Wenn mich Fortuna schmäht, kein Mensch mich mag, Wenn ich mich selber nicht mehr sehen will, Dem tauben Himmel meinen Jammer klag, Mein Vagabundenlos verfluche still... Dann möcht ich, dass ich Hoffnung haben könnt', Neid dem den Wuchs, dem dass er Freunde hat, Dem den Erfolg und jenem sein Talent. Selbst der Genuss schmeckt, kaum genossen, fad. Doch hat mein Selbsthass mich so klein gemacht, Denk ich an Dich, und schwinge mich empor Der Lerche gleich, die aufsteigt nach der Nacht Vom klammen Feld und singt vorm Himmeltor! So reich macht Deine Liebe mich, so groß, Mit keinem König tausche ich mein Los!

[@Frouwke]

So Rufus sings himself?

[@Orbelain92]

@Frouwke not in this video ^^

[@valevaden]

This is very striking, but it'd be a lot better if the singers could've stayed on key without voice breaks...

[@conterBande]

Lalala... Was für eine Schmalzmusik....

[@MsHelord]

Du sagst es...! Ich hätte mir für diesen hervorragenden Text von William Shakespeare, mit der exzellenten, kraftvollen und sehr aktuellen Übersetzung von Christa Schuenke, etwas mehr Pep gewünscht. Die deutsche Rezitation finde ich sehr gut ... aber der grauenhafte Gesang... als wären 70 Jahre Rock, Blues und Soul, und auch noch Jazz spurlos am Komponisten und an den Interpreten vorübergehuscht... :((

[@scyllachaos5723]

[@HuyenNguyen-uh8om]

Sonnet 29 pâraphrase

[@crackedz7361]

5:23 me when the

[@franciscomelo.melo.5565]

showwwwwww

[@KingMinosxxvi]

then why is the kid getting slowly stab through the heat by what appears to be a female authority fiugre. engglish nurturing= german stabbing. what the f is going on

[@MrThistleFlower]

As my friend says, "The music doesn't fit the text and I hate clown faces." I have to agree. I think it's a Rufus & Robert failure.

[@ichdieLivi]

"the clown faces" is just like theatre was made in shakespeare's times: men (only men) heavily dressed up to play different parts, it's extraordinary how they managed to put these old styles of acting in a more modern context and sad somehow that some won't get it but rather label something they don't care to unterstand as stupid. but well... fits sonnet 66 :)

[@ichdieLivi]

"One of the main uses of costume during the Elizabethan era was to make up for the lack of scenery, set, and props on stage. It created a visual effect for the audience, and it was an integral part of the overall performance. Since the main visual appeal on stage were the costumes, they were often bright in colour and visually entrancing. Colours symbolized social hierarchy, and costumes were made to reflect that." (en.m.wikipedia.org/wiki/English_Renaissance_theatre)

[@pittkyon]

so weird...