View of venice

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View of Venice is a radio play by Günter Eich that exists in two versions.

Productions in 1952

On May 27, 1952, the SWF broadcast the version directed by Christian Boehme .

content

The beggar Emilio Ratazzi, born blind on February 4, 1912, stands alone. He lives in Venice with the policeman Anselmo and his wife in the former apartment of his deceased parents at 13 Rughetta Bernardo. Emilio begs playing music at the Lido . The German Prof. Dr. Masch arranges an eye operation in Padua . Emilio can see and must soon find a job. Nobody in Venice wants a 40-year-old basket maker, street musician or stenographer. In his distress, Emilio borrows money from Anselmo and owes the police officer the rent. Emilio longs so much for his beloved Gaspara. But the 30-year-old cook went to Naples .

Finally Emilio realizes that no one will ever concern him. So he pretends to be blind and continues to beg at the Lido. Prof. Dr. Masch appears and puts Emilio to flight with a moral sermon. Only Gaspara could still help. In search of Gaspara's new address, he courageously enters the kitchen of the Hotel Grande Italia. This is Gaspara's former job. But Gaspara still works there. Emilio sees that the woman has an ugly face. When Emilio went to Padua for an eye operation, Gaspara had invented the Naples lie.

Emilio sees no future for himself, shoots himself in the head with Anselmo's service pistol, survives, but remains blind forever. Günter Eich offers a wonderful happy ending. Gaspara presents their ten-week-old son to the eternal beggar musician Emilio. The child can see and is not a bit ugly.

more details

Hans Peter Haller wrote the music for the SWF production . Hanns Bernhardt spoke for Emilio, Dagmar Altrichter for Gaspara, Wolfgang Golisch for Anselmo and Franz Everth for Prof. Masch.

The radio play was discussed on May 28, 1952 in the " Evangelical Press Service / Church and Radio " under the title "Is it actually worth it?" Wagner also lists reviews by Hans Georg Bonte and OW Studtmann from the same year.

Christian Boehme intervened in Günter Eich's text. In contrast, the new NWDR production directed by Gustav Burmester , broadcast on July 22, 1952, follows the original text.

Production 1960

On April 27, 1960, the NDR and the BR broadcast the version directed by Fritz Schröder-Jahn .

content

Günter Eich takes the blind beggar Benedetto into his second version and leaves out the moralizing German professor. Benedetto and Emilio, born on February 4, 1920, live with Gaspara in their house in Venice. In their free time, the three blind people try their hand at a project called Benedettos - a new kind of language for the blind, somewhere between Venetian and Swahili , which wants to do without the verbs of sight. The harmony of the three blind linguists is shattered after Emilio underwent a successful operation at the Padua University Hospital. The telephone operator Emilio, who had become sighted, was dismissed by the director of the “Zur Lagune” hotel after almost twenty years. A new blind operator is already waiting. When Emilio does not get a job, Benedetto learns him to be a "blind" beggar.

Gaspara is happy when Emilio assures her that she is very pretty. But he confesses to policeman Anselmo that the woman is ugly. Emilio moves out. The coexistence of two men with one woman is a public nuisance. Emilio can be denied in front of Benedetto. He says he has found a job in Sicily. Emilio shoots himself in the head with Anselmo's service weapon and goes blind forever. Life for three in Gaspara's home can go on with language studies. Günter Eich saves the listener the happy ending with the very healthy toddler.

more details

Johannes Aschenbrenner wrote the music for the NDR / BR production. Horst Frank spoke to Emilio, Gustl Halenke to Gaspara and Walter Richter to Benedetto.

Wagner names reviews by Diehl, Friedhelm Baukloh and Klaus Colberg from 1960.

Heinz Schwitzke encouraged Günter Eich to do the second version.

reception

  • Karst quotes the second version of the "Evangelical Press Service / Church and Radio": "Günter Eich should have called his new radio play differently, because it is a new radio play ..."
  • Höllerer praises the poetry in the radio play prose of the pieces “View of Venice” and “ The Other and Me ”. Günter Eich captures gestures in his language like Büchner did .
  • Piontek addresses the bitterness inherent in the piece and its portrayal "without sensational effects": Plunged into the deepest social and emotional misery through "the" gift "of medicine", Emilio, now seeing, finally surrenders to the " paralyzing mechanics of the state apparatus ”.
  • Oppermann deals with an eye-catching divergence between the two versions: Emilio's existing / missing final feeling of happiness. Furthermore, the poet Günter Eich shows the “distrust in the visible” and negotiates the inadequacy of language as a tool.
  • Günter Eich has been pondering “about language and reality” since “ Sabeth ” and here too.
  • A deficiency (lack of vision) - difficult to understand for some sighted people - is highlighted as a positive.
  • The author articulates his sympathy with outsiders in society and favors the mapping of linguistic landscapes.

literature

expenditure

Spends used

  • Günter Eich: View of Venice (I) (1952) . P. 637–671 in: Karl Karst (Ed.): Günter Eich. The radio plays 1. in: Collected works in four volumes. Revised edition. Volume II . Suhrkamp, ​​Frankfurt am Main 1991, without ISBN
  • Günter Eich: View of Venice (II) (1960) . P. 623–664 in: Karl Karst (Ed.): Günter Eich. The radio plays 2. in: Collected works in four volumes. Revised edition. Volume III . Suhrkamp, ​​Frankfurt am Main 1991, without ISBN

Secondary literature

  • Heinz Schwitzke (Ed.): Reclam's radio play guide. With the collaboration of Franz Hiesel , Werner Klippert , Jürgen Tomm. Reclam, Stuttgart 1969, without ISBN, 671 pages
  • Walter Höllerer : Talk about the winner . (1959) pp. 38–52 in Susanne Müller-Hanpft (Ed.): About Günter Eich. Suhrkamp, ​​Frankfurt am Main 1970 (edition suhrkamp 402), 158 pages, without ISBN
  • Heinz Piontek : Call and Enchantment. Günter Eich's radio play. (1955) pp. 112-122 in Susanne Müller-Hanpft (ed.): About Günter Eich. Suhrkamp, ​​Frankfurt am Main 1970 (edition suhrkamp 402), 158 pages, without ISBN
  • Michael Oppermann: Inner and outer reality in Günter Eich's radio play. Diss. University of Hamburg 1989, Reinhard Fischer publishing house, Munich 1990, ISBN 3-88927-070-0
  • Sabine Alber: The place in free fall. Günter Eich's moles in the context of the entire work. Dissertation. Technische Universität Berlin 1992. Verlag Peter Lang, Frankfurt am Main 1992 (European university publications. Series I, German language and literature, vol. 1329), ISBN 3-631-45070-2
  • Sigurd Martin: The auras of the word-image. Günter Eich's mole poetics and the theory of inadvertent reading. Dissertation University of Frankfurt am Main 1994. Röhrig Universitätsverlag, St. Ingbert 1995 (Mannheimer Studien zur Literatur- und Kulturwissenschaft, Vol. 3), ISBN 3-86110-057-6
  • Hans-Ulrich Wagner: Günter Eich and the radio. Essay and documentation. Verlag für Berlin-Brandenburg, Potsdam 1999, ISBN 3-932981-46-4 (publications of the German Broadcasting Archive ; Vol. 27)

Remarks

  1. ^ Hotel Grande Italia
  2. ↑ The 40-year-old Emilio (used edition, vol. III, p. 629, 13. Zvo) is exactly eight years younger in the second version than in the first, because there are eight years between the two versions.

Individual evidence

  1. ↑ Karst, Vol. II, p. 805, 17. Zvo
  2. ^ Wagner, p. 251, left column, center
  3. ^ Wagner, p. 252, right column, center
  4. ^ Wagner, p. 252, bottom right column
  5. ↑ Karst, Vol. III, p. 768, 17. Zvo
  6. ^ Wagner, p. 315, top right column
  7. ^ Wagner, p. 317, top left column
  8. ^ Wagner, p. 316, left column, center
  9. ↑ The Evangelical Press Service quoted in Karst, p. 768, 5. Zvo
  10. ↑ Höllerer, p. 50, 3rd Zvu
  11. ↑ Piontek, p. 114, 11. Zvo
  12. ^ Piontek, p. 115, 14. Zvo
  13. ^ Piontek, p. 114, 10. Zvo
  14. ↑ Oppermann, p. 138.6. Zvo
  15. ↑ Oppermann, p. 140, 5th Zvu
  16. ↑ Oppermann, p. 142, 14. Zvo
  17. ↑ Schwitzke, p. 193
  18. ↑ Alber, p. 129 above
  19. ↑ Martin, p. 225, footnote 68
  20. ↑ Martin, p. 261, footnote 232