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Combined along with his medical background that made for a desolate wit, classification, voyeuristic, he examined the interweaving of Eros and Thanatos in the libidinal overall economy of the time, as well as as orchestrated around Reigen, the sex-related trafficking in the social data corruption. With a time involving neurotic uncertainties, among the particular musicians and even intellectuals—mixed marriages, lots of extramarital relationships, wife swaps, and as with the charismatic Gustav Klimt (whom Schnitzler confessed he imagined about) a serpentine personalized living, with fourteen bogus children—the sequential curling associated with Reigen might seem a sarcastic enlargement of the attractive couronne and eddies within the brushstrokes of Separation. As a subversive plan, however, of the trade-off identity politics of Viennese society, where the sensual might even go begging—though very much applied, much maligned—it encircles liability that the libidinous was libelous, and scandalous up on level.
And so the idea certainly has been, which kept the play from being produced anywhere in Austria. When it was initially eventually done in Munich, there was immediate claque and an obscenity trial, and when finally executed in Vienna, after Earth War I, the reaction was even worse, similar to a good emblematic ground 0 % regarding anything really new: routines in the avenues, the theatre assailed, stink bombs chucked, prominent numbers implicated, which often brought t