By Michael Frayn
The Tony Award—winning play that soars on the intersection of technology and artwork, Copenhagen is an explosive re-imagining of the mysterious wartime assembly among Nobel laureates to debate the atomic bomb.
In 1941 the German physicist Werner Heisenberg made a clandestine journey to Copenhagen to work out his Danish counterpart and buddy Niels Bohr. Their interact on quantum mechanics and the uncertainty precept had revolutionized atomic physics. yet now the realm had replaced and the 2 males have been on contrary facets in a global conflict. Why Heisenberg went to Copenhagen and what he desired to say to Bohr are questions that experience vexed historians ever on the grounds that. In Michael Frayn’s formidable, fiercely clever, and bold new play Heisenberg and Bohr meet once more to debate the intricacies of physics and to contemplate the metaphysical—the very essence of human motivation.
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Extra resources for Copenhagen
Seton, Paul Robeson, 79, and Seton, Sergei M. Eisenstein, 317. At Seton’s suggestion, Eisenstein wrote a letter of invitation to Robeson in March 1934. , The Undiscovered Paul Robeson: The Early Years, 1898–1939 (New York: Wiley, 2001), 213–14. 82. Duberman, Paul Robeson, 17, 167. It might be noted that criticisms of a residual primitivism in the main character of Brutus Jones persist, making direct connections with the Haitian Revolution in The Emperor Jones problematic. 83. Seton, Paul Robeson, 86, and Yon Barna, Eisenstein (London: Secker & Warburg, 1973), 189–90.
Bratton, Richard Allen Cave, Breandan Gregory, Heidi J. Holder, and Michael Pickering, Acts of Supremacy: The British Empire and the Stage, 1790–1930 (Manchester: Manchester University Press, 1991). 61. Hazel Waters, Racism on the Victorian Stage: Representation of Slavery and the Black Character (Cambridge: Cambridge University Press, 2007), 118, 122, 190, 214. 62. Delia Jarrett-Macauley, The Life of Una Marson, 1905–1965 (Manchester: Manchester University Press, 1998), 54, and Chambers, Black and Asian Theatre in Britain, 99.
James, “Paul Robeson,” 257–58. 107. C. L. R. James, “The Old World and the New ,” in James, At the Rendezvous of Victory, 207. 108. Duberman, Paul Robeson, 197. James even revised his play so that Robeson could sing. “One or two people thought that it would be a mistake for Paul to play and not to sing. ’” Lawrence Brown, Robeson’s pianist and assistant and who had previously acted alongside Robeson in Stevedore, was already a member of the cast, playing Toussaint’s aide, Mars Plaisir, and so “an opening was made and he sang a song” (James, “Paul Robeson,” 258).