On the Structure of Peter Shaffer’s Amadeus

Huber, Werner; Zapf, Hubert

doi:10.1007/978-1-349-10819-0_6

Cited by 1 publication

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“…As Huber and Zapf (1993) suggest: "nothing but the very essence of Mozart's music […] is the ultimate reason for his conflict with the established society of the Court: the greater the works he writes, the more he writes himself out of this society" (p. 309). As his music, which cannot be appreciated by his contemporary, the musician himself cannot merge into the society, either.…”

Section: Mozart and His Musicmentioning

confidence: 99%

Infamous Fame: Shaffer’s Tactic in Amadeus

Yang¹

2014

JLAS

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one of the greatest musicians in the world, enchants people across eras with his fabulous music. Peter Shaffer, in Amadeus (2001), depicts the mysterious life and death of this musician in a very different way. Instead of presenting an intelligent and refined artist, Shaffer, from the perspective of his rival, Antonio Salieri, gives us a "foul-mouthed, immature jackanapes" that shocks his audiences in the theatre. Lady Thatcher's displeased response after seeing the play tells the gap between Shaffer's Mozart and the Mozart image in most public's mind. However, the image of the vulgar Mozart, though a contrast to his music, lights up the uniqueness of his music at the age of Enlightenment. The paper, aims to analyze the difference in Mozart's music, and the different Mozart character Shaffer presents in his play by drawing on René Girard's notion of collective violence and scapegoat mechanism. Also, the author intends to examine the playwright's intention and exegesis as he composes this mysterious musician in such a different way.

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Section: Mozart and His Musicmentioning

confidence: 99%

Infamous Fame: Shaffer’s Tactic in Amadeus

Yang¹

2014

JLAS

View full text Add to dashboard Cite

show abstract

On the Structure of Peter Shaffer’s Amadeus

Cited by 1 publication

References 2 publications

Infamous Fame: Shaffer’s Tactic in Amadeus

Infamous Fame: Shaffer’s Tactic in Amadeus

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