Gessamtkuntswerk Analysis

In looking at the Wagner’s Gessamtkuntswerk we must first look at the history surrounding the time that they were written in order to understand his opinions and thinking behind the specific theories highlighted in his essays. It is only then that we can compare the differences between Wagner’s works and the opera of the Baroque period specifically with regard to music and text. In looking at his theories we can then see how he put them into practice with emphasis on his use of leitmotifs in his music dramas.

Richard Wagner was a German born composer, theatre director, conductor and writer of discussions about controversial issues. Having been brought up amongst a family of actors, Wagner’s mind was significantly tuned in to the knowledge

The love of [58] weaklings for each other can only manifest as the goad of lust; the love of the weak for the strong is abasement and fear; the love of the strong for the weak is pity and forbearance; but the love of the strong for the strong is Love, for it is the free surrender to one who cannot compel us.” He also states that this new true art does not seek to gain but will be conservative and that it is the theatre which should take precedence in bringing all styles together to create the perfect drama. He claims that whilst Jesus suffered for all men, Apollo raised them to their “joyous dignity”.

The Art-work of the Future:

Within this complex and extensive essay, Wagner continues from his last point in Art and Revolution. He starts off by explaining that Nature is to Man, what Man is to Art. He explains this to be that once the first has evolved itself to its full potential, the latter shall find its own self. Wagner then states that because Man has not reached his full potential, neither has Art and much like the point made in Art and Revolution; we have not yet reached True Art.

Wagner also makes several links to the Grecian Theatre again in order to reiterate his point of Drama being the truest of Artworks, which, once again, can be explained by his extensive

It is described as the most realistic of art forms as the instrument is Man himself and because it addresses the eye. Wagner believes that without addressing the eye, all art “remains unsatisfying” and because it is unsatisfying then it is not free. He also states that it is rhythm that makes Dance and art, the measure of movements is what makes it understandable. It is also described as; the unbreakable union between Dance and Tone [music] and without rhythm, neither of these can be an art. By mimicking the most spiritual expression, Dance offers herself to