Copenhagen [Hardcover]

Michael Frayn (Author)

Book Description

Publication Date: 1998

"A masterwork" (Jeremy Kingston, The Times); "A profound and haunting meditation on the mysteries of human motivation" (Paul Taylor, Independent) In 1941 the German physicist Werner Heisenberg made a strange trip to Copenhagen to see his Danish counterpart, Niels Bohr. They were old friends and close colleagues, and they had revolutionised atomic physics in the 1920s with their work together on quantum mechanics and the uncertainty principle. But now the world had changed, and the two men were on opposite sides in a world war. The meeting was fraught with danger and embarrassment, and ended in disaster. Why the German physicist Heisenberg went to Copenhagen in 1942 and what he wanted to say to the Danish physicist Bohr are questions which have exercised historians of nuclear physics ever since. In Michael Frayn's new play Heisenberg meets Bohr and his wife Margrethe once again to look for the answers, and to work out, just as they had once worked out the internal functioning of the atom, how we can ever know why we do what we do.

Product Details

• Hardcover
• Publisher: Methuen Drama (1998)
• ISBN-10: 0739409166
• ISBN-13: 978-0739409169
• Product Dimensions: 8.6 x 5.6 x 0.6 inches
• Shipping Weight: 8.8 ounces
• Average Customer Review: 4.3 out of 5 stars  See all reviews (34 customer reviews)
• Amazon Best Sellers Rank: #175,199 in Books (See Top 100 in Books)

More About the Author

Michael Frayn was born in London in 1933 and began his career as a journalist on the Guardian and the Observer. His novels include Towards the End of the Morning, The Trick of It and Landing on the Sun. Headlong (1999) was shortlisted for the Booker Prize, while his most recent novel, Spies (2002), won the Whitbread Novel Award. His fifteen plays range from Noises Off to Copenhagen and most recently Afterlife.

Customer Reviews

Most Helpful Customer Reviews

74 of 75 people found the following review helpful:

5.0 out of 5 stars Copehagen:Theoretical Physics Packs with Human Drama, March 26, 2000

By A Customer

This review is from: Copenhagen (Methuen Drama Series) (Paperback)

Who would think that a play about two theoretical physicists, Werner Heisenberg and Niels Bohr would pack such dramatic interest for people with little background in nuclear physics? Yet Michael Frayn's Copenhagen provides both the human drama of the scientists involved in the nuclear weapons race between Nazi Germany and the Allied Forces ,and the ironic parallels between the Principle of Uncertainty in physics developed by these scientists and the unpredictability of outcomes involving human variables in their own lives. My rather "dry " summary of the content of this play, however, does not begin to convey the drama, irony and humour in the play . Three characters, Heisenberg, Bohr and his wife Margrethe met once again after their death to try to understand Heisenberg's "real " reason for his strange visit to Bohr in 1941 in occupied Copenhagen while Heisenberg was heading the German nuclear reactor program. Through the recollection of each from their points of view about the events of the past, the play reveals the personal and professional relationship between the two scientists and others in the elite scientifc community. The dialog is fast moving, sparkles with humor and dazzling description of the mind games of the brilliant and ideosycratic group of scientists. But in these exchanges between the characters, one understands how important and potentially deadly these "games" and the players can be for humanity. With the three perspectives of the same events provided by the three characters, the play reveals mulitple motives and meanings that conclude in the abrupt termination of the meeting between Heisenberg and Bohr in 1941 that might have been the reason that the Nazis failed to develop an atom bomb before the Allied Forces! Or maybe a lost opportunity for deterring the development of nuclear weapons by either side? In two acts, one is absorbed by the levels of relationship between the characters, the irony of academic brilliance and real life failures, the dilemma of pursuit of scientifc 'truth' and responsibility to humanity. Along with all these heady issues, however, ones gains enough knowledge of nuclear physics to see the parallel in the human drama of these scientists in their personal lives. This play is trully a heady trip that makes one want to slow down the racing of ideas in the dialog by going back to catch the multiple meanings one missed in the first reading. It makes one continue to post "what if's" about the development of nuclear weapon and the possible human histories of our lifetime. I saw the play in London before reading the book, but find the book to be a even more satisfying experience. Don't miss it!

33 of 34 people found the following review helpful:

4.0 out of 5 stars Read it BEFORE you see the play!, April 21, 2000

By A Customer

This review is from: Copenhagen (Methuen Drama Series) (Paperback)

Just saw Copenhagen on Broadway. I found it one of the most interesting evenings I have ever spent at the theater. Three people on the stage for 2.5 hours, discussing physics and personal issues sounds hard to take. Nevertheless, the experience was exhilarating, much like a Stoppard drama.

HOWEVER, the discussion can be difficult to follow at times, not just because of the science, of course, but also because the author covers a lot of the politics of 1920s physics and 1930s Europolitics. After a couple of hours. I wished that I had read the play before seeing it. I recommend that you consider doing the same. (Don't worry: You won't lose any of the "plot" line by reading ahead. In fact, a readahead may make the interchanges seems richer....)

27 of 27 people found the following review helpful:

5.0 out of 5 stars Art + Physics = Luminescent Fission, February 9, 2001

By 

nkname - See all my reviews

This review is from: Copenhagen (Paperback)

The basic story of Copenhagen--and the playwright's leap of imagination to create the conversation of the 3 principles--deserves any accolades that can be awarded: what if, within one fateful day, the leading scientist for the German nuclear development team had received the insight he needed to arm the Nazis? The ramifications are so huge, so mind-boggling, that it's all the more important that Frayn chose to shrink the scale of his dialogue, and make this play as much about the dynamics of how humans understand each other as how we, as a race, could possibly comprehend the worldwide impact of nuclear arms. This is play about the moral ramifications of decisions made within the supposedly "ethnical no-man's-land" of scientific discovery.

Other reviewers have talked about the life history of the scientists, so I'll just sketch out more details about the piece itself. First of all, what an important and revelatory decision Frayn made in including the character of Margrethe, Bohr's wife. In his play, she is the intellectual equal of the physicists, wryly commenting about how many versions of each position paper she spent time typing. Her character makes this play unlike so many science-based dramas before it, because she is a woman and an outsider. Her humor, her humanity and her anger towards Heisenberg's for his involvement with the Nazis...all these issues keep the play grounded in real life, make it palpable to modern audiences not necessarily schooled in the fundamentals of atomic theory. It also insures that the play isn't just the typical strutting, cocksure junk that movies like "Dr Strangelove" aptly mock.

I have a serious criticism of the *publication* of this play though: in order to keep it more streamlined (I imagine), they omitted the stage notes for the characters. This is a shame, and makes the reading of it all the more complicated for those who haven't seen the play in person. Having seen it on Broadway, one of the most striking things was the physicality of how this "talky" play was handled. The stage was set in the round, with a small percentage of audience members overlooking the stage as if at a lecture or a medical examination. The stage was completely circular, and the cast members would often take off in spirals, their bodies acting as electrons around the nucleus (most often Margrethe). They would interact, split off in other directions, speed up their rotations. It was a fascinating reenactment of molecular activity, and the dramaturge or editor who approved this edition should be taken to task for this decision. But don't let this dissuade you from picking up "Copenhagen": it's absolute thought-provoking perfection in every other way.