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Boissieu, Michel de. "Goethes Faust in Oper, Film und Manga: Die Faust-Bearbeitungen bei Gounod, Murnau und Tezuka am Beispiel der Studierzimmer-Szene." Dialogues between Media. Ed. Paul Ferstl. The Many Languages of Comparative Literature. Berlin u. Boston: de Gruyter, 2021. 193–202. Added by: joachim (26/06/2025, 15:59) Last edited by: joachim (26/06/2025, 16:54) |
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| Resource type: Book Chapter Language: de: Deutsch DOI: 10.1515/9783110642056-015 BibTeX citation key: Boissieu2021 Email resource to friend View all bibliographic details  |
Categories: General Keywords: "Faust", Adaptation, Goethe. Johann Wolfgang von, Japan, Literature, Manga, Tezuka. Osamu Creators: Boissieu, Ferstl Publisher: de Gruyter (Berlin u. Boston) Collection: Dialogues between Media |
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What happens to Goethe’s Faust when it is adapted for another medium? By analyzing the transformations which Faust’s study scene undergoes in Gounod’s opera Faust, Murnau’s film Faust and Tezuka’s manga Neo Faust, we try to establish if these changes depend on the medium chosen for the adaptation. In Gounod’s opera, the study scene is deprived of all philosophical and comical elements which Goethe had introduced into it. The libretto stresses instead a new element, absent from the original scene: the old man’s longing for love. In doing so, the libretto’s author, although unfaithful to Goethe, remains true to the nature of French lyrical opera. This genre requires a drama centered on a passionate and doomed love story. In Murnau’s film, the comical elements of the play vanish into a frightful and dark atmosphere, Goethe’s often farcical Mephistopheles gives way to a terrifying fiend, and Faust is no longer carried away by his own hubris, but seems crushed by a tragic fate. This film exemplifies the “haunted screen” of the silent movie era in Germany. In Neo Faust, by introducing anachronisms and elements of sociopolitical satire, the author stresses the farcical aspects of Goethe’s play. This manga is a true comic strip, in the original sense of the word, which means an amusing story. Tezuka, just like Gounod and Murnau, remains true to the requisites of the medium for which he adapts Goethe’s play.
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