Blood and love. A knight and shower drama

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Data
Title: Blood and love. A knight and shower drama
Original title: dto.
Genus: history
Original language: German
Author: Martin Luserke
Publishing year: 1912
Premiere: 1906
Place of premiere: Free school community Wickersdorf near Saalfeld in the Thuringian Forest
Place and time of the action: High Middle Ages
people
  • Wolf von Wolfseck, the gruff old knight
  • His housewife
  • Thusnelda, his daughter
  • Kuno, the old house servant
  • Dietlein, the lazy noble boy
  • Wonnebräu, the sensitive writer
  • Roderich von Löwenklauenstein, the heroic youth
  • Eduard, his old squire
  • The quack
  • The white woman, house ghost at Wolfseck Castle
  • The black woman, house ghost at Löwenklauenstein Castle

The play Blut und Liebe , subtitled A Knight-Shiver-Drama , is a grotesque by Martin Luserke first published in 1912 and attributed to the youth movement ( Bündische Jugend ). The play was created in the reformed educational rural education home Freie Schulgemeinde Wickersdorf near Saalfeld in the Thuringian Forest on the occasion of its founding in 1906. It is one of the most frequently performed German amateur games for young people and is still used by numerous amateur theater groups in the German-speaking area rehearsed and performed as a well-known classic, also at many schools.

characterization

The medieval grotesque is characterized by the fact that the author has deliberately designed it to encourage improvisation by the players. It assumes that the game is easy. Luserke was inspired by William Shakespeare's Hamlet to write a parody that finds expression in blood and love . Love and lust for murder are so exaggerated into the grotesque that the audience is very amused with the appropriate performance.

Intended occupation

Eleven "boys players", four of them dressed as women (according to the author)

action

The piece deals with the interaction between two lord families in constant feud when knight Roderich von Löwenklauenstein decides to marry the daughter of the knight Wolf von Wolfseck, who is at war with him. However, he does not want to pacify himself in such a way, but rather to maintain the hostility of the two families. Thus he is opposed to the request of his opponent. The central figure is a miracle healer and poisoner who, through the potions he has touched and administered, triggers intrigues and mix-ups and thereby effectively complicates the whole matter.

Foreword by the author

Title page of the original edition of Blood and Love , edition 1928
Blood and Love - set design 1940, Godesheim / Bonn

On the 21st edition of 1952, Luserke wrote: “This game, which is now forty years old, has higher requirements than it seems at first glance. Like all real grotesques, it is based entirely on lightness and whimsy and would be spoiled by kneeling too deeply. The text leaves a lot of room for improvisation in every direction up to the whole conception. Playing the grotesque demands improvisation. But the advice should be given from long playing experience: The direction is even more important than the amount of improvisation. You can play a grotesque with scenery, for example. This means that the imagination now has its way in the linguistic - and also, for example, in the musical, to become full of lewdness would be questionable. The piece is not profound enough for a general romp. It was written for a pleasure with music. Not for movie accompaniment music! Typically musical (poetic) characters - Thusnelda, Roderich and the ghosts - play against typically musicless people. The former are to be 'accompanied' in a grotesque leitmotif. If the difference is observed, the music plays along and is not doing. Likewise, only the typical musical scenes may be accompanied by music before the start. For example, the game cannot have an overture. The music only begins with the 'trumpets'. The game must necessarily be played on the curtain stage. Effects such as the very first beginning and the speaking empty scenery several times should not be lost, they need the peep box stage. Let such a little game as it is in all things that support you! Finally one more thing that shouldn't be changed: It's a piece only for boys' players. The female roles are placed in disguise and can only be exhausted in this way. That seems to me to be an important point of taste. "

Well-known actors

  • The Nazi resistance fighter Willi Graf (" White Rose ") took part in at least one performance of Blood and Love .
  • Gerhard J. Bellinger took over the role of Wolf von Wolfseck at the age of twenty.
  • Horst Müller's Abitur class in 1948 tried out blood and love under the direction of Ernst Hartung despite simultaneous Abitur preparations in order to be able to perform Luserke's piece during the Abitur ceremony.

Role change

The role of the quack has been changed compared to the original version from 1906. Originally created by Luserke as "the Jew" and referred to as such, the character figure was created more moderately in the 1950s and transformed into that of a quack who was not assigned to any population group. As a result, minor changes in the text were necessary, which also resulted in an adjustment of the rhyme and meter.

criticism

  • In the end, the “funny, lively piece”, according to Gudrun Wilcke (pseudonym: Gudrun Pausewang) “seems like a hint of criticism of National Socialism ”. It obviously refers to a revision of the work created in 1906 in the German Empire between 1933 and 1945 . As a work of the period of the Third Reich can blood and love therefore not be described.
  • The role of a Jewish miracle healer and poisoner who settled in the High Middle Ages (today more neutrally called a quack), which is perceived as anti-Semitic in today's reception , led to the author Luserke being sometimes called an anti-Semite. However, this characterization of Luserke on the basis of a theater role has not been adequately proven according to scientific criteria; it is also controversial. Luserke's grotesque takes place in the High Middle Ages (around 1050 to 1250), when Jews were outsiders of the emerging Christian estates, had no access to the guilds , could only practice outlawed professions, were not socially and religiously recognized and were viewed with disapproval. In Luserke's grotesque there is a Jew held captive by a knight who is dubbed by him as a “damned Jew dog”. This may not have been unusual for the High Middle Ages. A dissertation submitted in 2017 also indicates that Luserke laid out the characters he described as Jewish in very different ways. B. also positive as a young and courageous hero ( Jussuf in: Der Brunnen If ) or as a popular, nice "Mauscheltyp" with differentiated characteristics ( Moses in: Der Brunnen If ). In addition, Luserke leaves it up to the amateur theater groups acting in each case to determine how they interpret the characters in their performances, because he does not give any stage directions. This dissertation also deals with blood and love as a theater play of the Third Reich, although it dates from before 1933 or before the First World War, as the author points out. The reason for this is that Korte's dissertation examines theater texts that appeared in three different series between 1933 and 1945. This also includes new editions of older pieces in the "Munich Laienspiele" series.

Text output

  • Martin Luserke: Five comedies and carnival games from the free school community Wickersdorf . Bonsels Verlag, Munich 1912.
  • 22nd edition (= The Stage Play, 292). Deutscher Theaterverlag, Weinheim / Bergstrasse 1996, ISBN 3-7695-2509-4 .

Individual evidence

  1. ↑ Blood and Love : First performance in 1906 . From: luserke.net, accessed July 1, 2017.
  2. ↑ Blood and Love . In: Deutscher Theaterverlag. From: theatertexte.de, accessed on July 1, 2017.
  3. ↑ Martin Kießig : Martin Luserke. Shape and work. Attempt to interpret the essence . Dissertation University of Leipzig 1936, OCLC 632234871 , pp. 111-112.
  4. ^ Stiftung Jugendburg Ludwigstein (Hrsg.): Yearbook of the Archives of the German Youth Movement (= information on educational and historical research), issue 12/13. Self-published, Dortmund 1980, p. 178.
  5. ^ Hotte Schneider: The Waldeck: songs, trips, adventures. The history of Waldeck Castle from 1911 to the present day . Verlag für Berlin-Brandenburg, Berlin 2005, ISBN 3-935035-71-3 , p. 90.
  6. ^ Elisabeth Korn: The youth movement, world and effect: For the 50th return of the Free German Youth Day on the Hoher Meissner . Eugen Diederichs Verlag, 1963, p. 73.
  7. ↑ Eva Sternheim-Peters: Did I cheer alone? A youth under National Socialism . Verlag Wissenschaft und Politik, Cologne 2000, ISBN 3-8046-8884-5 , p. 356.
  8. ↑ Amateur theater Schleswig-Holstein: 8th Theater Days in Wedel (5th to 7th September 1997) . On: amateurtheater-sh.de, accessed on July 1, 2017.
  9. ↑ Archdiocese of Cologne: Blood and Love (1982) ( Memento of the original dated August 24, 2017 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. . In: Das Lehrertheater am Collegium Josephinum Bonn, p. 4. On: erzbistum-koeln.de, accessed on July 1, 2017. @1@ 2Template: Webachiv / IABot / www.erzbistum-koeln.de
  10. ↑ Scheunentheater Igstadt: Blood and Love (1988) . In: On stage for 25 years: Das Scheunentheater, p. 1. On: kgm-igstadt.de, accessed on July 1, 2017.
  11. ↑ 1997 Blood and Love . In: VHS Meldorf, Holstein. From: meldorfer-theatergruppe.de, accessed on July 1, 2017.
  12. ↑ Martin Luserke: Blood and Love (1989) . In: Dientzenhofer-Gymnasium Bamberg. From: dg-info.de, accessed on July 1, 2017.
  13. ↑ Heiko van Dieken: End of the blackout. Memories of the post-war period . De Utrooper Verlag, 1998, ISBN 3-928245-77-5 , p. 63.
  14. ^ Klaus Hupp: My youth in Köslin. A structure of images and scenes of vivid memories of life in my hometown of Köslin, 1928–1945 . Husum Druck, Husum 1994, ISBN 3-88042-682-1 , p. 129.
  15. ↑ Horst Müller : The war, it's dragging on a bit . Books on Demand, 2016, ISBN 978-3-7412-0338-1 , p. 203.
  16. ↑ Blood and Love . From: klimpermimen.de, accessed on July 1, 2017
  17. ↑ Blood and Love  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. . In: Godesheimer Chronik: Laienspiel und Kindertheater, p. 5. At: godesheim.de, accessed on July 1, 2017@1@ 2Template: Toter Link / www.godesheim.de  
  18. ^ Foreword by Martin Luserke on Blood and Love, 21st edition from 1952 . In: Deutscher Theaterverlag. From: dtver.de, accessed on July 1, 2017
  19. ↑ Peter Goergen: Willi Graf - a way into the resistance . Röhrig Universitätsverlag, St. Ingbert 2009, ISBN 978-3-86110-458-2 , p. 38.
  20. ^ Gerhard J. Bellinger: Whoever follows a star does not turn back. A picture biography . Books on Demand, February 2017, ISBN 978-3-7431-9564-6 , p. 54.
  21. ↑ Horst Müller: The war, it's dragging on a bit . Five texts. Books on Demand, Norderstedt 2016. ISBN 978-3-7392-4154-8 , pp. 200f.
  22. ↑ Barbara Korte: Texts for the drama of children and adolescents in the Third Reich - An exemplary investigation of different series of games . Phil. Diss. Georg-August-Universität Göttingen 2017, p. 23.
  23. ↑ Gudrun Wilcke: The children's and youth literature of National Socialism as an instrument of ideological influence. Song texts - short stories and novels - school books ... and youth culture, literature and media . Peter Lang Internationaler Verlag der Wissenschaften, Frankfurt am Main 2005. ISBN 978-3631541630 , p. 62.
  24. ↑ Barbara Korte: Texts for the drama of children and adolescents in the Third Reich - An exemplary investigation of different series of games . Phil. Diss. Georg-August-Universität Göttingen 2017, p. 307.
  25. ↑ Barbara Stambolis : The youth movement and its effects: imprints - networks, social influences . Vandenhoeck & Ruprecht, Göttingen 2014. ISBN 978-3847003434 , p. 34.
  26. ↑ Horst Müller : The war, it's dragging on a bit . Books on Demand, Norderstedt 2016. ISBN 978-3741203381 , p. 203.
  27. ↑ Martin Luserke: The fountain If - magic fairy tale . Christian Kaiser Verlag, Munich 1927.
  28. ↑ Barbara Korte: Texts for the drama of children and adolescents in the Third Reich - An exemplary investigation of different series of games . Phil. Diss. Georg-August-Universität Göttingen 2017, p. 407.
  29. ↑ Barbara Korte: Texts for the drama of children and adolescents in the Third Reich - An exemplary investigation of different series of games . Phil. Diss. Georg-August-Universität Göttingen 2017, p. 412.
  30. ↑ Barbara Korte: Texts for the drama of children and adolescents in the Third Reich - An exemplary investigation of different series of games . Phil. Diss. Georg-August-Universität Göttingen 2017, p. 309, p. 360.