Hauptmann, Wedekind and Schnitzler

‘The unutterable and the dream’. Aspects of Wilde's reception in Central Europe 1900–1922

“…For many years, Salome in her translation was paired in German dieatres with Wedekind's one-act play The Tenor, though after 1920 an Ardiur Schnitzler one-acter took its place. 15 The story of Strauss's fashioning of Lachmann's Salome translation as an operatic libretto has often been told. 16 It was stripped to its essentials, certain subsidiary characters were eliminated, the young Syrian soldier was given his name (Narroboth) from the start, phrases were shortened, and elements of repetition appropriate to music were introduced.…”