Gulp and Jau

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Schluck und Jau is a comedy by the German Nobel Prize winner for literature Gerhart Hauptmann , which was composed in the second half of 1899 and premiered on February 3, 1900 under Emil Lessing at the Deutsches Theater Berlin . The premiere - starring Hanns Fischer as Schluck, Rudolf Rittner as Jau, Else Heims as Sidselill and Else Lehmann as Frau Adeluz - was unsuccessful. Otto Brahm canceled the joke game after thirteen performances. Only when Max Reinhardt was staged on March 18, 1915 on the same stageMax Pallenberg as Schluck and Hans Waßmann as Jau achieved over forty performances during the war years of 1915 and 1916.

Gerhart Hauptmann on a painting by Lovis Corinth from 1900

Emergence

Although the plot is partly reminiscent of The Taming of the Shrew and although Gerhart Hauptmann was apparently inspired by Shakespeare , the names Schluck and Jau are not composed from the name of the drunken tinker Smart. Hauptmann picked them up from fishermen on Hiddensee at the beginning of August 1897 . He took over the dialect of the two title characters from two Salzbrunn vagabonds. The influence of Ludvig Holberg's piece Jeppe vom Berge or The Metamorphosed Farmer (1722) can be seen.

content

Lord Jon Rand rides into his hunting lodge with his retinue. He lets the two tramps loitering in front of the castle gate pick up Schluck and Jau. Schluck is just drunk, but Jau is full of stars. The Prince Seneschal , the Junker Karl, persuades his master to do a mummery . The two beggars should be led to believe that they are prince and princess.

So Jon Rand plays the personal doctor of the alcoholic Jau. Frau Adeluz, the forester's widow, knows the two idle strays from before. Now Princess Sidselill's maid, the prince's lover, Ms. Adeluz is also forced to play along. It seems as if Schluck, a trained tailor who can also produce paper cuttings, sees through the rowdy game. He is persuaded by the chambermaid to play the princess at the side of Prince Jau in the mask joke. Jau, who, in contrast to Schluck, hardly shows that he sees through the antics, slips into his rulership role so much that Jon Rand has to stop the game. This point in time is reached when one of the servants plays along beyond measure. This servant only wants to obey Jau. Jon Rand feels dethroned. Hanswurst rules. The courtier Karl at once hits his master's mark; Schluck prevails: "Begging pack, how do you get in here?" Schluck, who, as I said, knows how the hare runs at court, states that he is no longer needed. Jau, who wants to continue to rule, is taken out of the running by Jon Rand with a sleeping draft. The prince fobbed off gulp with money. Gerhart Hauptmann offers the viewer a conciliatory ending: Jon Rand heard talk that Jau was clever despite all his laziness. So he wants to give him a piece of land to clear. Jau doesn't want to understand what happened to him. Karl helps him soothingly: “Be satisfied, man! You dreamed. "

More premieres

Adaptations

Incidental music

filming

radio play

reception

  • 1952: Mayer thinks that Hauptmann was partly based on Holberg. Mayer becomes uncomfortable after the "benign conclusion"; in other words, Hauptmann - unlike Shakespeare and Holberg - did not embed his two heroes conclusively in the historical context of feudalism .
  • 1995: Leppmann writes that Max Pallenberg and, in the 1930s, Heinrich George and Eugen Klöpfer helped the piece to break through with their comedy.
  • 1998: Marx gives another reason for Jon Rand breaking off the farce. The prince notes that the “vital presence” of Schluck and Jau erotic Sidsellil. Hauptmann and his Prince Jon Rand by no means stop at Shakespeare's Lord and Holberg's Baron. Sidsellil, his lover, stands for the decadence of the fin de siècle .
  • 2004: Sprengel, on the other hand, dismisses the piece as a “Shakespeare Variation”.
  • 2012: Sprengel writes that Oscar Blumenthal accused Gerhart Hauptmann of “Shakespeare imitation”. According to Paul Schlenther , the premiere would have been successful if the two title characters had been "cast with very real comedians". According to Alfred Kerr , the author presented an unfinished work for the premiere.

literature

Book editions

First edition:
  • Gulp and Jau. S. Fischer, Berlin 1900
Output used:
  • Gulp and Jau. Comedy. P. 289–393 in Gerhart Hauptmann: Selected dramas in four volumes. Vol. 2,465 pages. Aufbau-Verlag, Berlin 1952

Secondary literature

  • Gerhart Hauptmann: Selected dramas in four volumes. Vol. 1. With an introduction to the dramatic work of Gerhart Hauptmann by Hans Mayer . 692 pages. Aufbau-Verlag, Berlin 1952
  • Wolfgang Leppmann : Gerhart Hauptmann. A biography. Ullstein, Berlin 1996 (Ullstein-Buch 35608), 415 pages, ISBN 3-548-35608-7 (identical text with ISBN 3-549-05469-6 , Propylaen, Berlin 1995, subtitled with Die Biographie )
  • Friedhelm Marx : Gerhart Hauptmann . Reclam, Stuttgart 1998 (RUB 17608, Literature Studies series). 403 pages, ISBN 3-15-017608-5
  • Peter Sprengel : History of German-Language Literature 1900–1918. From the turn of the century to the end of the First World War. CH Beck, Munich 2004, ISBN 3-406-52178-9 .
  • Peter Sprengel: Gerhart Hauptmann. Bourgeoisie and big dream. A biography. 848 pages. CH Beck, Munich 2012 (1st edition), ISBN 978-3-406-64045-2

Web links

Remarks

  1. ↑ It has to be put into perspective, Jau recognizes Schluck twice (for example output used, p. 358, 5. Zvo).
  2. ↑ Sprengel remarks that in the Weimar Republic the Dresden theater, which was reluctant to approach naturalism, reluctantly turned to such subjects “from the world of dreams” (Sprengel anno 2012, p. 711).

Individual evidence

  1. ↑ Marx, p. 104 above
  2. ↑ Marx, p. 104 below
  3. ↑ Sprengel anno 2012, p. 495 above
  4. ↑ Marx, p. 104 middle
  5. ↑ Mayer, pp. 60,9. Zvu
  6. ↑ Edition used, p. 381, 15. Zvo
  7. ↑ Edition used, p. 391, 14th Zvu
  8. ↑ Sprengel anno 2012, p. 612
  9. ^ Entry DDB
  10. ↑ Sprengel anno 2012, p. 671
  11. ^ Entry DDB
  12. ↑ entry in nwbib.de and Leppmann, p 229 below
  13. ↑ Leppmann, p. 229
  14. ↑ Goebbels, quoted from Hans Daiber (“Gerhart Hauptmann or The Last Classic”, Vienna 1971) in Marx, p. 105, 19. Zvo and p. 372, 2nd entry
  15. ↑ Entry at ard.de/ard-chronik
  16. ↑ Margot Thyret (born June 5, 1931; † April 24, 2000)
  17. ↑ Mayer, p. 60
  18. ↑ Leppmann, p. 229, 15. Zvu
  19. ↑ Marx, pp. 105-106
  20. ^ Sprengel anno 2004, p. 524, 3rd Zvu
  21. ↑ Sprengel anno 2012, pp. 316 to 319
  22. ↑ Sprengel anno 2012, p. 328 above
  23. ^ First edition S. Fischer, Berlin 1900