Monday, 25 February 2019

ARTWORK: Benjamin Lacombe's Wonderland 2016


The hardest question for a collector of different Alice artwork must be - what's your favorite edition? Or: what is the perfect representation of Alice for you? It might be or seem impossible to answer that kind of question, simply because there are so many wonderful yet completely different editions out there, and it does happen that taste changes within days. One illustrator has managed though to capture most of what I think the essence of the books are; the mood, the subliminal and mad elements - Benjamin Lacombe. I found his edition by accident in the book store one or two years ago and it's hard not to get excited and stunned when first browsing through this book. His vision is very extraordinary to me as we don't actually have many Alice books where each and every illustration can stand by itself; can be seen as a piece of art. One can't deny the influence of the Burton film on his pictures but (thankfully) there are basically everything the film wasn't able to achieve and Burton could only wish to have had a Wonderland like Lacombe's. I'm desperately waiting for the day that these will finally be released in English; simply because the German translations chosen for the German edition are good, but not the best. The Wonderland translation used, is by Antonie Zimmermann; a rather famous one as it was not only the first one in Germany only a few years after the original was released, but also Carroll worked with Zimmermann on some details of her translation. Let me put it frankly - it's dusty, not funny and it doesn't really work anymore today. I think there are more heavily reworked Zimmermann translations on the German book market than her original one; so if publishers didn't get it yet, I hope they will from now on. But I'm also not fond of the fact that they decided to go for Helene-Scheu-Riesz's translation of the Looking Glass; which is actually one of the best we have (I wish we would have gotten Scheu's Wonderland too); but so we have Wonderland and Looking Glass not matching in translation quality -  and it's a shame. I really think that Lacombe's Alice, together with the original text, would be something of an "ultimate Alice edition". At least for me.

His wonderland is more nightmarish and though some of his creatures are marvelously cute, they seem even more off because of the dark environment they inhabit. Especially Alice struck me; her porcelain doll appeal is both beautiful and creepy at the same time and it's a really interesting that she always seems like the author's marionette; like she doesn't really want to be there. It does bring a very unique, dark mood to the story and it was hard for me not to think about the Carroll Myth while reading this the first time and I'm pretty sure Lacombe was fascinated by some of the rumors and wonders of Alice Liddell and Charles Dodgson. The color pages are simply stunning; the quality of the print even more and this is the first time I've seen such beautiful pictures literally growing out of the book whenever Alice transforms, into these foldout pages. I also love that he went for red details in all b/w illustrations; something he kept the same for Looking Glass (which will get its own blog entry). These editions are brilliant and I'm really happy that I see them in every bookstore, meaning that this might be to go-to edition for people when they try to find the book for their kids or themselves!

More pictures after the jump break.



Sunday, 24 February 2019

THEATRE: Robert Wilson's Alice 1992


Robert Wilson's 1992 Avantgarde-Musical or Kunstmusical is based on the Carroll-Myth. It's following most of the plot points we know from both Wonderland and Looking Glass. In between scenes and serving as the skeleton of the story, are moments of the life of Charles Dodgson. We see him writing letters, taking pictures and he is even following Alice as the White Rabbit and the White Knight; the Rabbit being an almost aggressive, haunting creature, the Knight a kind, tormented soul that is trying to save Alice. The music by Tom Waits is not directly connected to the stories; instead telling stories that can be associated with what is happening on stage. For example "Table Top Joe", a song about a young guy being born without limbs; sung by the Caterpillar.

Alice is adult songs for children, or children’s songs for adults. It’s a maelstrom or fever-dream, a tone-poem, with torch songs and waltzes... an odyssey in dream and nonsense.
Once again it is mother’s fault: whenever her son did not want to go to sleep, she would read him ‘Alice in Wonderland’; and the images of this tale, in which a girl tumbles through a hole in the ground into a phantastic world, are still ‘etched’ in Robert Wilson’s mind, he says. At Hamburg’s Thalia Theater, he dug them up and arranged them into ‘Alice,’ a stern tale for adults. In it, Wilson ... tells two stories: one about Alice and one about Charles Lutwidge Dodgson (1832-1898). Dodgson, an inhibited and speech-impaired clergyman and mathematician at Christ Church College in Oxford, felt most comfortable in the company of children. His darling was Alice Liddell, the dean’s little daughter. It was for her that - under the pseudonym Lewis Carroll - he invented the phantastic stories of ‘Alice in Wonderland’ and ‘Through the Looking Glass.’ ... In two acts, Bob Wilson (trademark: a style of provocative theatrical slowness) and his writer Paul Schmidt connect Dodgson’s erotic life drama with his famous fairy-tale myths. The show suggests that Dodgson wrote his books only in order to make his sexual object, Alice Liddell, rely on him.

More pictures after the jump break!


ARTWORK: André Pécoud's Wonderland & Looking Glass 1938



I'm incredibly happy I managed to already have this beautiful french edition in my collection, just after making a post about it! This edition is illustrated by André Pécoud and the text was translated by Henriette Rouillard. In this post I don't only want to show the magnificent illustrations but also comment all of them; as this artist offers some interesting visions of Wonderland and the Looking Glass world, as I haven't seen them before. First I'd like to mention that finding the correct publishing date is really difficult. So far I've found 1935, 1938, 1939 and some more dates in the '50s. So I guess the illustrations must have been created in the mid-'30s. When I first saw this edition on a collector's Instagram I wasn't really sure how I felt about the style of the artist. His portrayal of Alice was really different from anything I've seen and I couldn't say if that was a good thing or not. After doing some research I really started to get what Pécoud was going for and I think it's such a high-quality edition and print, perfectly representing the 1930's, it's fashion and visions. The cover of this edition has an amazing silver print and I love how Queen Alice is floating in the clouds. Pécoud's pictures all set Wonderland in a very bright, vibrant summer setting; a big contrast to the abstract and darker pictures that would be created in the next decade. Putting this edition in a historical context, it's pretty clear that whatever year these illustrations were actually created in, it was a turbulent time in the world with the Nazis already being the leader of their "new Germany". Seeing the colors, the light-heartedness and the youthful energy in the movement and poses of the characters, I can see the distance the artist created between fantasy and the real world.

Please see all the pictures and comments after the jump break!


Friday, 15 February 2019

ARTWORK: Frans Haacken's Wonderland & Looking Glass 1976


I'm pretty sure a lot of Carrollians and collectors know this edition. Even though it's rather hard to find these editions now for a decent price, they have been probably the most well-known editions in the former GDR. Frans Haacken was a very popular illustrator and you can find his Wonderland edition in most libraries in Germany. I remember having the book in my hands very often as a young kid but was never really hooked on his vision. Now, being older I'm starting to appreciate his quirky visions. His heroines are always looking very similar, always wearing the same dress for example. His Dorothy from the Wizard of Oz looks almost identical to Alice. I can imagine that it was very important for him to make his characters as relatable as possible, giving them an unspecific look so every child can see themselves in the pictures. What is most charming and stunning about these books though is the fact that literally every single page has an illustration, including double page illustrations including the text inside them. The amount of illustrations is truly magnificent!

More pictures after the jump break.


Monday, 4 February 2019

WANTED: French Wonderland editions

While there is always a handful of books on my wanted list, I really can't get these editions out of my head at the moment.  The first edition I'm talking about is Wonderland and Looking Glass together for the first time in a French edition from 1930, translated by M. M. Fayet and illustrated by Jean Hée. I immediately fell in love with the quirky style of the artwork and I really really want this edition. I found a copy online but I really have to save money as the book without shipping to Germany costs around 130 Euros alone. It seems worth it though. French illustrators are really something!





The other edition is from 1935 if I'm not mistaken and was translated by Henriette Rouillard. This edition also includes both books uniquely illustrated by A. Pecoud. When I first saw this edition I didn't really like the style of the illustrations but over time I couldn't stop thinking about them. The color pictures have this tender, summery mood, very dreamlike and this Alice looks just like a charming French mademoiselle. The price for this one kinda depends on the condition that you can find. But I think it's impossible to find the edition in the pictures for much less than 100 Euros. There seems to be a second print from the 1940s with a different cover that has only black and white illustrations if my French doesn't betray me. It's really hard to find this book with the magnificent silver print on the cover completely intact. I hope I do!



 





ARTWORK: Lilo Rasch-Nägele's Wonderland 1950



I'm very happy that I got this book in the mail today. I've first seen this in an antique book store in London for around 200 pfd. I was immediately in love and shocked that I've never seen this edition. Thank god I had patience and found the very same edition that I had in my hands at the store for around 10 Euros here in Germany. This edition was illustrated by Lilo Rasch-Nägele, an artist I've also never heard of, probably because she was more known in the south of the country during divided Germany. Her illustrations are marvelous and her use of colors is magnificent. I also love how "modern" Alice's fashion is in the book, which usually doesn't really work for me. But the shape of her dress and the colors makes it totally work. I'm especially hooked on the portrait before the title page of the book! What a beautiful drawing! The translation was done by Karl Köstlin and similar to other editions of the time rather free with the source material.

More pictures after the jump break.


Sunday, 3 February 2019

THEATRE: Schimmelpfennig's ALICE IN WONDERLAND Berlin 2008


Schimmelpfennig is one of the most important modern theatre writers we have here in Germany. I think his adaption of Wonderland is rather unknown compared to his other award-winning plays, but it does happen from time to time that big theatres grab the material. The last time being in 2013 at Theater Konstanz. Schimmelpfennig directed his own production of the text to rather mediocre reviews in 2008 at the prestigious Deutsches Theater Berlin in 2008. From the little information there is it must have been my cup of tea. I love brave modern absurd theatre that makes no apologies. I'm currently trying to make contact to the Burgtheater-Archiv that is supposed to have a recording of the show. I found some pictures online today that I haven't seen before so I wanted to share.
Credit goes to 360-Berlin. More pics after the jump break.

 



I might do another post soon about the script of Schimmelpfennig. It's definitely on my to-do-list of plays I wanna do later in my career. What makes the text so interesting is that it's almost a faithful adaption (and a very good one indeed) of the two books with all the elements we know. Yet there is a sort of darkness and twistedness unlike the original Carroll text between the lines which makes it so interesting. Schimmelpfennig wrote a couple of songs that can't keep up with the cleverness of some of the other inventions, with less graceful moments like "I'm the queen of the night because I'm so bad" (sung by the Queen of Hearts). I can picture most of it working out with an interesting sound concept and live band.