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Combined with his medical background that generated for the desolate wit, analysis, voyeuristic, he examined the particular interweaving of Eros and Thanatos in the libidinal financial system of the time period, or even as orchestrated within Reigen, the sex-related trafficking in the social crime. In blood involving neurotic uncertainties, among often the performers and even intellectuals—mixed marriage, much affairs, wife trades, and as with all the charismatic Gustav Klimt (whom Schnitzler confessed he dreamed about) a serpentine personalized lifetime, with fourteen bogus children—the sequential curling associated with Reigen might seem a sardonic enlargement of the decorative charmilles and eddies inside the brushstrokes of Secession. As a subversive plan, however, of the trade-off identity politics of Viennese society, where the sensual may go begging—though significantly used, much maligned—it circles the liability that the libidinous was libelous, and scandalous up on stage.
And even so the idea certainly was, which kept the carry out from being produced any place in Austria. When it was initially eventually done in Berlin, there was instant outrage and an obscenity trial run, and when finally conducted in Vienna, after Earth War I, the answer was even worse, similar to a good emblematic ground zero intended for anything really different: presentations in the roa