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Copenhagen (Student Editions)
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Rating
'Michael Frayn's tremendous play is a piece of history, an intellectual thriller, a psychological investigation and a moral tribunal in full session' Sunday Times 'A profound and haunting meditation on the mysteries of human motivation' Independent 'Frayn has seized on a ral-life historical and scientific mystery. In 1941 the physicist Werner Heisenberg, who formulated the famous Uncertainty Principle about the movement of particles, and was at that time leading the Nazi's nuclear programme, went to visit his old boss and mentor, Niels Bohr, in Copenhagen. What was the purpose of his visit to Nazi-occupied Denmark? What did the two old friends say to each other, particularly bearing in mind that Bohr was both half-Jewish and a Danish patriot?...Frayn argues that just as it is impossible to be certain of the precise location of an electron, so it is impossible to be certain about the workings of the human mind...What is certain is that Frayn makes ideas zing and sing in this play' Daily Telegraph
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About the Author

Michael Frayn's work for the stage includes Alphabetical Order, Make and Break and Noises Off, all of which received Best Comedy of the Year awards, while Benefactors was named Best Play of the Year. His other works include Democracy (National Theatre and West End prior to Broadway) and Copenhagen (winner of numerous awards including the Evening Standard and Critics' Circle Best Play Awards 1998). He has translated Chekhov's four last plays and is also a novelist and recipient of the Whitbread Prize for Best Novel for Spies.

Reviews

"I think it's probably the best play about science ever written in English drama, because what it does is explicate science, the nuclear process, and relate it to a highly volatile emotional situation and more." The Guardian {Review}, May 31 2008 'It's [the] newborn sense of uncertainty - of strangeness, subjectivity and mystery at the heart of mathematics and science - that drives Michael Frayn's magnificent 1998 play Copenhagen.' Joyce McMillan, Scotsman, 23.4.09 'Forget the physics. The greatest experiment in Michael Frayn's threehander is the dramatic form itself.' Mark Fisher, Guardian, 27.4.09

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