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Elfriede Jelinek

Elfriede Jelinek

Elfriede Jelinek Nobel prize medal.svg
Elfriede jelinek 2004 small.jpg
Elfriede Jelinek en 2004.
Información personal
Nombre de nacimientoElfriede Jelinek
Nacimiento20 de octubre de 1946
Bandera de Austria MürzzuschlagAustria
Nacionalidadaustriaca
Partido políticoPartido Comunista de Austria Ver y modificar los datos en Wikidata
Educación
Alma máter
  • Konservatorium Wien Ver y modificar los datos en Wikidata
Información profesional
OcupaciónNovelista
Poeta
Dramaturga
Traductora
Guionista
Ensayista
Activista feminista
Obras notables
Miembro de
DistincionesPremio Franz Kafka
Premio Nobel de literatura en 2004.
FirmaElfriede Jelinek Autograph.jpg
Web
Sitio web

Elfriede Jelinek (MürzzuschlagEstiria20 de octubre de 1946) es una novelistapoetadramaturgaensayistaguionistatraductora y activista feminista austriaca, premio Nobel de Literatura en 2004.

Biografía

De padre judío checo (el apellido Jelinek, significa "cervatillo" en checo) y madre vienesa de clase acomodada, era nieta de Emil Jellinek, un diplomático y empresario que ideó la marca de automóviles Mercedes.1​ Perteneció al Partido Comunista Austriaco de 1974 a 1991, y gran parte de su trabajo se puede inscribir en la sofisticada tradición lingüista de la crítica social. Desde muy temprana edad aprendió música y estudió composición en el Conservatorio de Música de Viena. Tras diplomarse en 1964, realizó cursos de teatro e historia del arte, mientras continuaba con sus estudios musicales. Aclamada y controvertida, las obras de Jelinek se mueven entre la prosa y la poesía, e incluyen descripciones que van desde escenas teatrales a secuencias fílmicas. Décima mujer galardonada con el premio Nobel de Literatura, y segunda de nacionalidad austriaca, lo obtuvo en 2004 por «el flujo musical de voces y contravoces en sus novelas y obras de teatro».
Se hizo popular por su novela Las amantes (1975), que conquistó al público de lengua alemana. Otras obras suyas sobresalientes son las novelas Somos reclamos, baby (1970), Los excluidos (1980), La pianista (1983), que plasmó en el cine el director Michael Haneke en 2001, Deseo (1989), Los hijos de los muertos (1995) y Obsesión(2000); el libro de poemas Las sombras de Lisa (1967); las obras teatrales Lo que ocurrió después de que Nora abandonara a su marido o pilares de la sociedad (1979), Nubes. Hogar (1988), Una pieza deportiva (1998), La Central(2003)... Como sus compatriotas Elías Canetti y Thomas Bernhard ha repudiado a su país, al que reprocha seguir anclado en su pasado nazi. Considerada como una de las autoras contemporáneas de habla alemana más importantes, crea en sus novelas la imposibilidad de las mujeres de lograr una vida completa en un mundo donde son pintadas con imágenes estereotipadas. Ha traducido al alemán a autores estadounidenses, Thomas Pynchon entre ellos, y actualmente reside entre Viena y Múnich.

Temáticas y polémicas

Odio y admiración se reparten a partes iguales entres sus críticos y lectores. Sus obras han sido desde un comienzo un auténtico mazazo para la sociedad austriaca que, según Jelinek está dominada por la hipocresía de la clase pequeño burguesa y no ha conseguido superar todavía su pasado nazi.2​ Sus novelas y obras teatrales, consideradas una auténtica provocación por la derecha de su país, han sido calificadas como anti-arte o como pornografía roja. Basta recordar que durante la campaña electoral de 1995 el ultraderechista Jörg Haider hacía a su posible electorado la siguiente pregunta: “¿A usted le gusta Jelinek, o el arte y la cultura?”.
La crítica la ha calificado de feminista radical y ella se declara a gusto con esta etiqueta. El tres de mayo de 2004 en la Academia Lessing,3​ Jelinek decía: “Nadie logrará hacerme renunciar a mis bromas estúpidas, a mi tono desengañado, ni siquiera por la fuerza; bueno, quizá por la fuerza. Cuando yo quiero decir algo, lo digo como quiero. Al menos quiero darme ese gusto, aunque no consiga nada más, aunque no logre ningún eco”. El eco lo ha logrado, prueba de ello es el Nobel4​ que recibió en 2004. Su instrumento de reivindicación es la escritura. Una escritura en la que su feminismo no aparece puesto en bandeja a los lectores bajo una óptica amable. Da la vuelta a los tópicos feministas más sobados y lo hace, eso sí, sin perder de vista la diferencia y desigualdad.
A dos días de serle concedido el Premio Nobel de Literatura de ese año, la Academia Sueca se vio envuelta en una polémica a raíz de la abrupta renuncia de uno de sus miembros, el prestigioso literato sueco Knut Ahnlund, en protesta por la distinción5
”El premio Nobel del año pasado no solo ha causado un daño irreparable a todas las fuerzas progresistas, sino que ha confundido la visión general de la literatura como arte", afirmó en aquel momento, y describió la obra como “una masa de texto sin el menor rastro de estructura artística" y se preguntó si los académicos habían leído alguno de sus 23 libros.
Según Jelinek, su postura está al lado de los oprimidos (que aparecen obsesivamente por sus novelas), entre ellos de la mujer. Considera que debe hacerse frente al caos de una sociedad patriarcal dominada por el sexo, que como elemento vertebrador, parece ser tan solo productor de podredumbre. Y para ponerla de relieve nada mejor que llevar la situación hasta extremos casi insoportables donde los personajes parecen perder su naturaleza de humanos para ser bestias.

Obras

Poesía

  • 1967 - Lisas Schatten
  • 2000 - ende / gedichten von 1966-1968

Novelas

  • 1969 - bukolit. hörrorman
  • 1970 - wir sind lockvögel baby!
  • 1972 - Michael : ein Jugendbuch für die Infantilgesellschaft
  • 1975 - Die Liebhaberinnen, (Las amantes).
  • 1980 - Die Ausgesperrten, (Los excluidos)
  • 1983 - Die Klavierspielerin, (La pianista).
  • 1985 - Oh Wildnis, oh Schutz vor ihr
  • 1989 - Lust, (Deseo)
  • 1995 - Die Kinder der Toten
  • 2000 - Gier: ein Unterhaltungsroman, (Obsesión)
  • 2011 - Neid. Privatroman
  • 2011 - Winterreise. Ein Theaterstück
  • 2013 - rein GOLD. ein bühnenessay

Teatro

  • 1979Was geschah, nachdem Nora ihren Mann verlassen hatte; oder Stützen der Gesellschaften
  • 1982 - Clara S, musikalische Tragödie
  • 1985 - Burgtheater. Pusse mit Gesang
  • 1986 - Begierde und Fahrererlaubnis (eine Pornographie)
  • 1987 - Krankheit oder Moderne Frauen. Wie ein Stück
  • 1988 - Wolken. Heim
  • 1992 - Präsident Abendwind. Ein Dramolett, sher frei nach Johann Nestroy
  • 1992 - Totenauberg (Akademietheater)
  • 1994 - Rästatte oder Sie machens alle. Eine Komödie
  • 1996 - Stecken, Stab und Stangl. Eine Handarbeit
  • 1998 - Ein Sportstück
  • 1998 - er nicht als er (zu, mit Robert Walser)
  • 2000 - Das Lebewohl (Les Adieux)
  • 2000 - Das Schweigen
  • 2000 - Der Tod und das Mädchen II
  • 2001 - MACHT NICHTS - Eine kleine Trilogie
  • 2002 - In den Alpen: drei Dramen
  • 2002 - Der Tod und das Mädchen I-V : Prinzessinnendramen (La muerte y la doncella I-V)
  • 2003 - Das Werk
  • 2003 - Bambiland, (Bambilandia)
  • 2004 - Irm und Margit
  • 2005 - Babel, 2005 (Babel)
  • 2006 - Ulrike Maria Stuart
  • 2006 - Über Tiere
  • 2008 - Rechnitz (Der Würgeengel)
  • 2009 - Die Kontrakte des Kaufmanns. Eine Wirtschaftskomödie
  • 2009 - Abraumhalde
  • 2010 - Das Werk/Im Bus/Ein Sturz
  • 2011 - Winterreise
  • 2011Kein Licht
  • 2012 - FaustIn and out. Sekundärdrama
  • 2012 - Die Straße. Die Stadt. Der Überfall
  • 2013 - Schatten (Eurydike sagt)
  • 2013 - Aber sicher!
  • 2014 - Die Schutzbefohlenen

Radioteatro

  • 1972 - wenn die sonne sinkt, ist für manche schon büroschluß
  • 1972 - Wien West
  • 1973 - Untergang eines Tauchers
  • 1976 - Die Bienenkönige
  • 1977 - Jelka
  • 1977 - Porträt einer verfilmten Landschaft
  • 1978 - Die Jubilarin
  • 1979 - Die Ausgesperrten
  • 1979 - Was geschah, nachdem Nora ihren Mann verlassen hatte oder Stützen der Gesellschaft
  • 1982 - Frauenliebe - Männerleben
  • 1986 - Erziehung eines Vampirs
  • 1988 - Die Klavierspielerin
  • 1991 - Burgteatta
  • 1992 - Präsident Abendwind
  • 1992 - Wolken. Heim
  • 1996 - Stecken, Stab und Stangl
  • 1997 - Todesraten (con Olga Neuwirth)
  • 1998 - er nicht als er
  • 2003 - Jackie
  • 2004 - Moosbrugger will nichts von sich wissen
  • 2006 - Sportchor
  • 2006 - Bambiland
  • 2007 - Ulrike Maria Stuart
  • 2008 - bukolit
  • 2010 - Rechnitz
  • 2011 - Neid
  • 2012 - Kein licht
  • 2012 - Die Straße. Die Stadt. Der Überfall
  • 2014 - Die Schutzbefohlenen
  • 2015 - Eine Wirtschaftskomödie Aber sicher

Ensayos

  • 1976 - kein licht ande des tunnels - nachrichten über thomas pynchon
  • 1983 - Ich möchte seicht sein
  • 1984 - Ich schlage sozusagen mit der Axt drein
  • 1986 - In den Waldheimen und auf den Haidern
  • 1992 - Der Österreicher als Harren der Toten
  • 1997 - Sinn egal. Körper zwecklos
  • 2001 - Oh mein Papa
  • 2003 - In Mediengewittern
  • 2005 - Wir müssen weg
  • 2008 - Im Verlassenen
  • 2009 - Im Reich der Vergangenheit
  • 2011 - Das Parasitärdrama
  • 2012 - Pussy Riot. Singen. Tanzen. Schreien
  • 2013 - Die Schutzbefohlenen
  • 2013 - Nach Nora
  • 2013 - Die Tote Musik-Maschine
  • 2013 - Mein gute Textwurst
  • 2014 - Warnung an Griechenland vor der Freiheit

Libretos de ópera

  • 1999 - Bälhamms Fest
  • 2003 - Lost Highway
  • 2012 - Der tausendjährige Posten oder Der Germanist (con Irene Dische)

Guiones cinematográficos

  • 1982 - Die Ausgesperrten (con Franz Novotny)
  • 1991 - Malina
  • 2009 - Die Blutgräfin (con Ulrike Ottinger)

Traducciones

  • 1973 - Im Moor, relato de Onelio Jorge Cardoso
  • 1973 - Josefina, bedien der Harren, relato de Guillermo Cabrera Infante
  • 1973 - Schweine oder Hunde, auf Trüffeljagd abgerichtet, relato de Humberto Arenal
  • 1981 - Die enden der Parabel, novela de Thomas Pynchon
  • 1983 - Wer bin ich? (Who I am?), poema de P. J. Blumenthal
  • 1983 - Unter Fremden (Among Aliens), poema de P. J. Blumenthal
  • 1983 - Herrenjagd (Monsieur Chasse!), obra teatral de Georges Feydeau
  • 1986 - El Castillo, poema de Fernando Silva
  • 1986 - Tränen um eine Hure(Lágrimas por una puta), poema de Carlos Rigby
  • 1986 - Sandino, poema de Cony Pacheco
  • 1986 - Der Gockel (Le dindon), obra teatral de Georges Feydeau.
  • 1986 - Floh im Ohr (La puce à l'oreille), obra teatral de Georges Feydeau
  • 1988 - Die Affäre Rue de Lourcine(L'affaire de la rue de Lourcine), obra teatral de Eugène Labiche
  • 1988 - Der Bewerb oder Sand für die Augen (La poudre aux yeux), obra teatral de Eugène Labiche
  • 1990 - Die Dame vom Maxim (La dame de Chez Maxim), obra teatral de Georges Feydeau
  • 1997 - Fastnacht (La mi-carême), novela corta de Georges Feydeau
  • 2001 - Der Jude von Malta (The Famous Tragedy of the Rich Jew of Malta), obra teatral de Christopher Marlowe
  • 2004 - Ernst ist das Leben (The Importance of Being Earnest), obra teatral de Oscar Wilde
  • 2011 - Der ideale Mann (An Ideal Husband), obra teatral de Oscar Wilde. Con Karin Rausch

Obras traducidas al español[editar]



*****


Elfriede Jelinek


Elfriede Jelinek
Elfriede jelinek 2004 small.jpg
Elfriede Jelinek in 2004
Born20 October 1946 (age 70)
MürzzuschlagStyria, Austria
Occupationplaywright, novelist
NationalityAustrian
GenreFeminismsocial criticismpostdramatic theatre
Notable worksThe Piano TeacherDie Kinder der TotenGreedLust
Notable awardsNobel Prize in Literature
2004
Years active1963–present

Signature
Elfriede Jelinek (German: [ɛlˈfʀiːdə ˈjɛlinɛk]; born 20 October 1946) is an Austrian playwright and novelist. She was awarded the Nobel Prize in Literature in 2004 for her "musical flow of voices and counter-voices in novels and plays that, with extraordinary linguistic zeal, reveal the absurdity of society's clichés and their subjugating power."

Biography

Elfriede Jelinek was born on 20 October 1946 in MürzzuschlagStyria, Austria, the daughter of Olga Ilona (née Buchner), a personnel director, and Friedrich Jelinek.[1] She was raised in Vienna by her Romanian-German Catholic mother and Czech Jewish father (whose surname "Jelinek" means "little deer" in Czech).[1][2][3]
Her father was a chemist, who managed to avoid persecution during the Second World War by working in strategically important industrial production. However, many relatives became victims of the Holocaust. Her mother, with whom she had a strained relationship, was from a formerly prosperous Vienna family. As a child, Elfriede attended a Roman Catholic convent school in Vienna. Her mother planned a career for her as a musical wunderkind. She was instructed in piano, organ, guitar, violin, viola and recorder from an early age. Later, she went on to study at the Vienna Conservatory, where she graduated with an organist diploma; during this time, she tried to meet her mother's high expectations while coping with her psychologically ill father.[4] She studied art history and theater at the University of Vienna. However, she had to discontinue her studies due to an anxiety disorder, which resulted in self-isolation at her parents' house for a year. During this time, she began serious literary work as a form of therapy. After a year, she began to feel comfortable leaving the house, often with her mother.[4] She began writing poetry at a young age. She made her literary debut with Lisas Schatten (Lisa's Shadow) in 1967, and received her first literary prize in 1969. During the 1960s, she became active politically, read a great deal, and "spent an enormous amount of time watching television."[4]

Marriage

She married Gottfried Hüngsberg on 12 June 1974.[5][6]

Work and politics

Despite the author's own differentiation from Austria (due to her criticism of Austria's Nazi past) Jelinek's writing is deeply rooted in the tradition of Austrian literature, showing the influence of Austrian writers such as Ingeborg BachmannMarlen Haushofer, and Robert Musil.[7]
Jelinek's political positions, in particular her feminist stance and her Communist Party affiliations, are of vital importance to any assessment of her work. They are also a part of the reason for the controversy directed at Jelinek and her work. Editor Friederike Eigler states that Jelinek has three major and inter-related "targets" in her writing: capitalist consumer society and its commodification of all human beings and relationships, the remnants of Austria's fascist past in public and private life, and the systematic exploitation and oppression of women in a capitalist-patriarchal society.[8]

Political engagement

Jelinek was a member of Austria's Communist Party from 1974 to 1991. She became a household name during the 1990s due to her vociferous clash with Jörg Haider's Freedom Party. Following the 1999 National Council elections and the subsequent formation of a coalition cabinet consisting of the Freedom Party and the Austrian People's Party, Jelinek became one of the new cabinet's most vocal critics.
Many foreign governments moved swiftly to ostracize Austria's administration, citing the Freedom Party's alleged nationalism and authoritarianism.[citation needed] The cabinet construed the sanctions against it as directed against Austria as such, and attempted to prod the nation into a national rallying (Nationaler Schulterschluss) behind the coalition parties. This provoked a temporary heating of the political climate severe enough for dissidents such as Jelinek to be accused of treason by coalition supporters.
Jelinek petitioned for the release of Jack Unterweger, who was imprisoned for the murder of a prostitute, and who was regarded by intellectuals and politicians as an example of successful rehabilitation. Unterweger was later found guilty of murdering nine more women within two years of his release, and committed suicide after his arrest.[9]

Work

Jelinek's output has included radio plays, poetry, theatre texts, polemical essays, anthologies, novels, translations, screenplays, musical compositions, libretti and ballets, film and video art.[10] Jelinek's work is multi-faceted and highly controversial. It has been praised and condemned by leading literary critics.[11] In the wake of the Fritzl case, for example, she was accused of "executing 'hysterical' portraits of Austrian perversity".[12] Likewise, her political activism has encountered divergent and often heated reactions. Despite the controversy surrounding her work, Jelinek has won many distinguished awards; among them are the Georg Büchner Prize in 1998; the Mülheim Dramatists Prize in 2002 and 2004; the Franz Kafka Prize in 2004; and the Nobel Prize in Literature, also in 2004.[11]
Female sexuality, sexual abuse, and the battle of the sexes in general are prominent topics in her work. Texts such as Wir sind Lockvögel, Baby! (We are Decoys, Baby!), Die Liebhaberinnen (Women as Lovers) and Die Klavierspielerin(The Piano Teacher) showcase the brutality and power play inherent in human relations in a style that is, at times, ironically formal and tightly controlled. According to Jelinek, power and aggression are often the principal driving forces of relationships. Likewise Ein Sportstück (Sports Play) explores the darker side of competitive sports.[13] Her provocative novel Lust contains graphic description of sexuality, aggression and abuse. It received poor reviews by many critics, some of whom likened it to pornography. But others, who noted the power of the cold descriptions of moral failures, considered it to have been misunderstood and undervalued by them.[11]
Her novel The Piano Teacher was the basis for the 2001 film of the same title by Austrian director Michael Haneke, starring Isabelle Huppert as the protagonist. In April 2006, Jelinek spoke out to support Peter Handke, whose play Die Kunst des Fragens (The Art of Asking) was removed from the repertoire of the Comédie-Française for his alleged support of Slobodan Milošević. Her work is less known in English-speaking countries. However, in July and August 2012 a major English language premiere of her play Ein Sportstück by Just a Must theatre company brought her dramatic work to the attention of English-speaking audiences.[14][15][16] The following year, in February and March 2013, the Women's Project in New York staged the North American premiere of Jackie, one of her Princess Dramas.[17]

The Nobel Prize

Jelinek said she felt very happy to receive the Nobel Prize, but felt "despair for becoming a known, a person of the public". Known for her modesty and subtle self-irony, she – a reputed feminist writer – wondered if she had been awarded the prize mainly for "being a woman", and suggested that among authors writing in German, Peter Handke, whom she praises as a "living classic", would have been a more worthy recipient.[7]
Jelinek was criticized for not accepting the prize in person; instead, a video message[18] was presented at the ceremony. Others appreciated how Jelinek revealed that she suffers from agoraphobia and social phobia, paranoid conditions that developed when she first decided to write seriously.[5] Both conditions are anxiety disorders which can be highly disruptive to everyday functioning yet are often concealed by those affected, out of shame, or feelings of inadequacy. She has said her anxiety disorders make it impossible for her to go to the cinema or board an airplane (in an interview she wished to be able to fly to New York to see the skyscrapers one day before dying), and incapable of taking part in any ceremony.
In 2005, Knut Ahnlund left the Swedish Academy in protest, describing Jelinek's work as "whining, unenjoyable public pornography", as well as "a mass of text shovelled together without artistic structure". He said later that her selection for the prize "has not only done irreparable damage to all progressive forces, it has also confused the general view of literature as an art".[19]

Awards and honors

Bibliography

Poetry

  • Lisas Schatten; München 1967
  • ende: gedichte von 1966–1968; München 2000 ISBN 3-935284-29-2

Novels

Plays

  • Was geschah, nachdem Nora ihren Mann verlassen hatte; oder Stützen der Gesellschaften (What Happened after Nora Left Her Husband; or Pillars of Society) premiered in Graz, Austria (October 1979) With Kurt Josef Schildknecht as director.
  • Clara S, musikalische Tragödie (Clara S, a Musical Tragedy) Premiered at Bonn (1982) OCLC 41445178
  • Burgtheater. Posse mit Gesang (Burgtheater. Farce with Songs) Premiered at Bonn (1985)
  • Begierde und Fahrererlaubnis (eine Pornographie) (Desire and Permission To Drive – Pornography) Premiered at the Styrian Autumn, Graz (1986)
  • Krankheit oder Moderne Frauen. Wie ein Stück (Illness or Modern Women. Like a Play) Premiered at Bonn, (1987) ISBN 978-3-922009-88-7
  • Präsident Abendwind. Ein Dramolett, sehr frei nach Johann Nestroy (President Abendwind. A dramolet, very freely after Johann Nestroy) Premiered at the Tyrol Landestheater, Innsbruck (1992)
  • Wolken. Heim (Clouds. Home) Premiered at Bonn (1988) ISBN 978-3-88243-147-6
  • Totenauberg Premiered at the Vienna Burgtheater (Akademietheater) (1992) ISBN 978-3-498-03326-2
  • Rastätte oder Sie machens alle. Eine Komödie (Service Area or They're All Doing It. A Comedy) Premiered at the Burgtheater, Vienna (1994)
  • Stecken, Stab und Stangl. Eine Handarbeit (Rod, Staff, and Crook – Handmade) Premiered at the Deutsches Schauspielhaus, Hamburg (1996)
  • Ein Sportstück (A Sport Play) Premiered at the Burgtheater, Vienna (1998), the English language premiere as Sports Play was premiered on 11 July 2012 at Live at LICA (Nuffield Theatre), Lancaster, UK, translated by Penny Black and produced by Just a Must theatre company
  • er nicht als er (zu, mit Robert Walser) (him not himself – about/with Robert Walser) Premiered at the Salzburg Festival in conjunction with the Deutsches Schauspielhaus, Hamburg (1998)
  • Das Lebewohl (Les Adieux) Premiered at the Berliner Ensemble (2000)
  • Das Schweigen (Silence) Premiered at the Deutsches Schauspielhaus, Hamburg (2000)
  • Der Tod und das Mädchen II (Death and the Maiden II) Premiered at EXPOL 2000 in Hanover in conjunction with the Saarbrücken Staatstheater and ZKM Karlsruhe (2000) ISBN 978-3-442-76162-3
  • MACHT NICHTS – Eine Kleine Trilogie des Todes (NO PROBLEM – A Little Trilogy of Death) Premiered at the Zürich Schauspielhaus (2001) ISBN 978-3-499-22683-0
  • In den Alpen (In the Alps) Premiered at the Munich Kammerspiele in conjunction with the Zürich Schauspielhaus (2002) Berlin: Berlin Verlag. (2002) 259 pages. ISBN 978-3-8270-0457-4
  • Prinzessinnendramen: Der Tod und das Mädchen I-III und IV-V (Princess Dramas: Death and the Maiden I-III and IV-V) Parts I-III premiered at the Deutsches Schauspielhaus, Hamburg (2002) Parts IV-V premiered at the Deutsches Theater, Berlin (2002)
  • Das Werk. (The Works) Premiered at the Vienna Burgtheater (Akademietheater) (2003)
  • Bambiland Premiered at the Burgtheater, Vienna (2003) ISBN 978-3-498-03225-8
  • Irm und Margit A part of "Attabambi Pornoland" Premiered at the Zürich Schauspielhaus (2004)
  • Ulrike Maria Stuart Premiered at Thalia Theater Hamburg (2006)
  • Über Tiere 2006
  • Rechnitz (Der Würgeengel) 2008
  • Die Kontrakte des Kaufmanns. Eine Wirtschaftskomödie 2009
  • Das Werk/Im Bus/Ein Sturz. 2010, Premiered at Schauspiel Köln 2010
  • Winterreise. 2011, Premiered at Münchner Kammerspiele 2011; Text edition: Winterreise. Ein Theaterstück. Rowohlt, Reinbek bei Hamburg 2011, ISBN 978-3-498-03236-4
  • Kein Licht. 2011, Premiered at Schauspiel Köln 2011
  • FaustIn and out. Sekundärdrama. Premiered at Schauspielhaus Zürich 2012, Text: FaustIn and out. Sekundärdrama zu Urfaust. 29. April 2011/ 8. Mai 2012, via Jelinek's Website.
  • Die Straße. Die Stadt. Der Überfall. 2012, Premiered at Münchner Kammerspiele 2012
  • Schatten (Eurydike sagt). 2013, Premiered at Burgtheater Wien 2013
  • Aber sicher! 2013, Premiered at Theater Bremen 2013

Translations

Opera libretto

  • Lost Highway (2003), adapted from the film by David Lynch, with music by Olga Neuwirth

Jelinek's works in English translation

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