The barometer maker on the magic island
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| Title: | The barometer maker on the magic island |
| Genus: | Magic posse with singing in two acts |
| Original language: | German |
| Author: | Ferdinand Raimund |
| Literary source: | The princess with the long nose by Friedrich Hildebrand von Einsiedel |
| Music: | Wenzel Müller |
| Publishing year: | 1823 |
| Premiere: | December 18, 1823 |
| Place of premiere: | Theater in the Leopoldstadt , Vienna |
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The barometer maker on the magic island is a magic posse with singing in two acts by Ferdinand Raimund . It was premiered anonymously for the time being on December 18, 1823 in the Theater in der Leopoldstadt as a benefit performance for the poet. It was only from the third performance onwards that Raimund's name appeared on the theater bill as an author.
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Every hundred years the fairy Rosalinde has to give her magic gifts to a mortal with a staff, horn and sash. The staff turns everything into gold, the horn summons an army and the sash takes the owner everywhere.
- "If I didn't have to fulfill the dictum of fate, I would let the magic gifts rest forever in their oblivion." (Act 1, first scene)
This time she leaves it to chance who should get the magic gifts. This is how Bartholomew receives the magic gifts, which fate had brought to a magic island. The barometer maker soon begins to throw money around and in this way arouses the interest of the ruler of the magic island, who is looking for a groom for his quarrelsome daughter Zoraide. In itself, he is satisfied with not having to do anything:
- “I succumb to the burden of business! Be quiet so that I can occupy myself asleep. " (First act, fourth scene)
Zoraide shows less interest in the barometer maker than in his magic gifts, which she can steal from him bit by bit through feigned love. Although Linda is loyal to him, he barely manages to escape from his pursuers into a mysterious forest:
- “Now I stand fresh! Now I have no horn, no staff, no belt and the chambermaid is also looking at things. All I have left is the beautiful awareness that I was a donkey and let myself be led. " (Act two, sixteenth scene)
Desperate and hungry, he eats figs from a magic tree and immediately a big nose grows. The forest dweller Zadi shows the barometer maker a spring with whose water he can lose his nose again.
After Linda has rediscovered her Bartholomew in solitude, they decide to take revenge on the evil Zoraide and give her and her father and the body servant Hassan a long nose with the help of the figs. The plan succeeds and Mercury gets his magic gifts again after he conjured away the long noses, except for Zoraide's, with the magic water. He happily celebrates engagement to Linda and promises to gild her life.
- "Vivat! Now my barometer is pointing to nice weather. Tomorrow we leave this island, but today I want to celebrate my engagement here on a golden hill. Linderl, you promised yourself golden mountains with me, you should have them. " (Second act, twenty-seventh scene)
template
The fabric is the dramatization of the fairy tale "The Princess with the long nose" of Friedrich Hildebrand von Einsiedel from the Collection "Dschinnistan" by Christoph Martin Wieland .
The theme is a French conte de fées , namely the (fairy tale) 1720 in the "arabes Contes, les aventures d'Abdalla" appeared "Histoire du prince Tangut et de la princesse au pied de nez" (Prince and the Tangut snooty princess). The first part of this story was told by the Brothers Grimm in 1819 under the title " The satchel, the hatlet and the horn " , who declared it to be a story from the Lower Rhine region and tried to prove it in Hans Sachs . A “graceful depiction” of the subject can be found in 1808 in the magazine Phönix , published by Heinrich von Kleist and Adam Müller von Nitterdorf .
Which actually was the source of Karl Meisl or Ferdinand Raimund can no longer be determined. However, the nasal enlarging figs and the healing spring water are missing in Grimm's fairy tale and can only be found at Einsiedel.
Factory history
Originally Karl Meisl was supposed to write a benefit piece for Raimund with the title Horn, Pouch and Cap , which was rejected by Raimund ( "[...] a miserable junk from a first act" ). That is why he wrote this, his first play, himself between October 15 and November 15, 1823.
At that time the repertoire of the three Viennese suburban theaters (Theater in der Leopoldstadt, Theater in der Josefstadt and Theater an der Wien ) consisted mainly of magic and fairy tale games. Raimund followed the tradition that had already made the work of the poets easier for the poets before him, since the intervention and the quarrel of good and bad spirits, the personification of virtues and vices, were gratefully and uncritically accepted as dramatic abbreviations by the audience. If, for example, in this play the fairy Rosalinde has to distribute her gifts every hundred years on the basis of a fateful saying, then no deeper reasons are asked at all, but this is simply accepted.
Raimund relocates the fairytale story to the Viennese milieu. With Raimund, the main character of the fairy tale, the prince, becomes a barometer maker who has failed and perished in bourgeois life and wants to make his fortune far from home. This comical figure, comparable to the Hanswurst of the old Viennese Volkstheater , becomes the main character. The island rulers Tutu designed Raimund caricature of a sleepy-phlegmatic ruler, a parody of the Austrian Emperor Francis I . New people are added: Linda, modeled on Colombina in the Commedia dell'arte , the opponent of Zoraide and Hassar and in the magic sphere the fairy Rosalinde, the nymph Lidi and the misanthropic forest dweller Zadi.
After the poet was named, a public debate began as to whether Raimund was actually the author of the play, or whether he had just given Meisl's model some "jokes". Raimund replied quite sharply that from Meisl's first act he had only taken over the opening scene with the nymphs and the fifth scene with Tutu's appearance.
Ferdinand Raimund played the Bartholomäus Mercury, Friedrich Josef Korntheuer the tutu.
Later interpretations
Karl Goedeke , Raimund's great admirer, is probably going too far when he puts the barometer maker far above William Shakespeare's The Tempest , because Raimund's play is more valuable than his
- "[...] demanding mixture of the unslaughtered, the heroic, the tragic, the magical and the ethereal."
When Rudolf Fürst is to read this first work of Raymond was to see the start of his dramatic creation and yet from the standpoint of parody from. A uniformly formed satire was not to be expected in this debut.
- “The fairy tale motif is the coincidental, its reduction from the heroic into the everyday, stupid Viennese is the essential thing. That the prince (with Grimm he is only a poor devil) became a decrepit Viennese businessman, as he is indispensable to the folk dramatists who are always a little moralizing, one of those half impudent, half good-natured, now haunted by bad luck, now by Outrageous luck favored, sometimes thrown out everywhere, sometimes petted everywhere, who achieved a certain, not quite faded fame through Bäuerle's ' Staberl ', that's the fun of it. "
Kurt Kahl reminds us that Raimund's drama in this work sprang entirely from the Baroque legacy, which had a longer and stronger effect in Vienna than anywhere else. What the audience was quite familiar with as an expression of the baroque imagery, the authors before Raimund were able to impose on their audience without hesitation: the division into upper, lower and human as a dramaturgical move. It was one of Raimund's merits to have animated, so to speak, humanized this magical apparatus through the closer interweaving of the fate of ghosts and people.
Franz Hadamowsky sees in Raimund's arrangement the meeting of the strong Viennese tradition of the folk play with its stereotypical "comic characters" and his own rich theater experience, which showed him as a born dramatist in the first work, which he wrote in full. Coming from the tradition of Josef Anton Stranitzky , "his" Hanswurst as Bartholomäus Mercury has adopted an individual name and traits.
In Hein / Mayer noted, "motifs, figures, voice, comedy and action are still completely designed in the manner of traditional magic game," but a new aspect, namely a morality, a thesis ( "loyalty is rewarded" ) have for the Piece received a formative meaning. Parallel to the story of the fairy tale, there is an event of self-knowledge in the sense of the Biedermeier conception of happiness.
Modern performances
In Günther Haenel's production in March 1946 at the Vienna Volkstheater , Karl Paryla played the barometer maker Mercury, while Gustav Manker designed the stage . The staging avoided false cosiness and the clichéd belittling of the magical fairy tale.
In 1985 the play was produced under the name "Simsalabim Bam Bum or The Barometer Maker on the Magic Island" in a co-production by ORF and ZDF based on the idea and direction of Ernst Wolfram Marboe as the first interactive television play.
literature
- Rudolf Fürst (Ed.): Raimund's works. First part. German publishing house Bong & Co., Berlin / Leipzig / Vienna / Stuttgart 1908.
- Franz Hadamowsky (Ed.): Ferdinand Raimund, Works in Two Volumes, Volume I, Verlag Das Bergland Buch, Salzburg 1984, ISBN 3-7023-0159-3 .
- Jürgen Hein / Claudia Meyer: Ferdinand Raimund, the theater maker at Vienna. In: Jürgen Hein / Walter Obermaier , W. Edgar Yates , Volume 7, publication by the International Nestroy Society, Mag. Johann Lehner Ges.mbH, Vienna 2004, ISBN 3-901749-38-1 .
- Kurt Kahl: Ferdinand Raimund . Friedrich-Verlag, Velber near Hanover 1967.
- Ferdinand Raimund: The barometer maker on the magic island. Magic posse in two lifts . With an afterword by Jürgen Hein. Published by Gottfried Riedl on behalf of the Raimund Society. Verlag Lehner, Vienna 2002 ISBN 3-901749-27-6 .
- Jürgen Hein / Walter Obermaier (eds.): Ferdinand Raimund. Complete Works. Historical-critical edition. Volume 1. The barometer maker on the magic island. The ghost king's diamond. Deuticke, Vienna 2014, ISBN 978-3-552-06176-7 .
Web links
swell
- ↑ Prince: Raimunds Werke , p. 3.
- ↑ Prince: Raimunds Werke , p. 9.
- ↑ Now I stand fresh! = Expression, means: "Now I'm stupid!"
- ↑ Guckguck = dialect for cuckoo
- ↑ Prince: Raimunds Werke , p. 35.
- ↑ Prince: Raimunds Werke , p. 47.
- ↑ Christoph Martin Wieland: The princess with the long nose . From: “Dschinnistan or exquisite fairy and ghost tales, partly newly invented, partly newly translated and reworked” . Vol. 3, 1810. Newly published by Manesse-Verlag, Zurich 1992 ISBN 3-7175-1818-6 .
- ^ Prince: Raimunds Werke , pp. XXVII – XXXI. (for the entire chapter template )
- ^ Letter from Raimund to his partner Antonie Wagner; in Fürst: Raimunds Werke , S. XXV.
- ↑ Kahl: Ferdinand Raimund . P. 35.
- ↑ a b Kahl: Ferdinand Raimund . P. 21.
- ↑ Facsimile of the theater slip in Hadamowsky: Ferdinand Raimund, p. 1110.
- ^ Karl Goedeke: Outline of the history of German poetry from the sources: From World Peace to the French Revolution in 1830 , Volume 11, Part 2, L. Ehlermann, Leipzig 1881.
- ↑ Prince: Raimunds Werke , p. XXX.
- ↑ Hadamowsky: Ferdinand Raimund, pp. 90-95.
- ^ Hein / Mayer: Ferdinand Raimund, p, 26.
- ^ Paulus Manker : The theater man Gustav Manker. Search for clues. Amalthea, Vienna 2010, ISBN 978-3-85002-738-0
- ↑ mediaresearch.orf.at/chronik.htm ( Memento of the original from June 22, 2006 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. 1983-1986
- ↑ The audience as a television maker. In: news.orf.at. June 22, 2017. Retrieved November 3, 2018 .
