The soulful Kerckermeister
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| Title: | The soulful Kerckermeister |
| Original title: | The soulful Kerckermeister or Adelheid, the persecuted Wittib, etc. |
| Genus: | parodying magic piece with singing in three acts (acts) |
| Original language: | German |
| Author: | Johann Nestroy |
| Literary source: | “The Guardian Spirit” by August von Kotzebue |
| Music: | Adolf Müller senior |
| Publishing year: | 1832 |
| Premiere: | February 7, 1832 |
| Place of premiere: | Theater an der Wien |
| Place and time of the action: | The action takes place somewhere and falls into the year so and so much |
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The soulful Kerckermeister or Adelheid, the persecuted Wittib. Spoken and sung parody of a danced drama, with metamorphoses, groupings, utterances, conjectures, imprisonments, kidnappings, abuse, rescues, things there and everything you can think of, in three acts , is a parodying magic piece with singing by Johann Nestroy . The play was written in 1832 and premiered on February 7th of the same year as a benefit performance for the popular young actress and local soubrette Thekla Demmer-Kneisel . She was the daughter of Caroline Demmer and died on August 22, 1832, at the age of only 30.
content
Berengario wants to force Adelheid to marry, but since she refuses - albeit not very convincingly - he lets her be thrown into dungeon with Bubino and G'schicktus. He sends four murderers after her, but the loyal soul gutino can make the fiends drunk and flees the castle with the prisoners.
- Dalkopatscho: "Good night you scoundrels!"
- Seelengutino: "Now the cow is aus'n stable!" (I. Act, 13 th Scene)
While Berengario begins the persecution, the refugees arrive at Seelengutino's godfather Pantoffelino in the village. The farmers dress up Adelheid as a farmer's wife and want to hide her among the dancing wedding guests, but Berengario is able to expose them with the help of the treacherous Pumpfo. The refugees escape with the help of a whale on a ship mill .
- Berengario: “Ha there she echaps! To ships! to ships! " (II. Act, 17 th Scene)
The "wise" old man they seek out in his cave is supposed to help them with advice and action, but he turns out to be a "white (hairy) man" fool. His only advice when Berengario shows up with his gunmen is parroted platitudes. At the last moment, Krotto the little one appears with his magic ship, banishes Berengario and his family to the underworld and asks for Adelheid's hand:
- "Well come to my Star Empire, there the marriage will gefeyert." (III. Act, 10 th Scene)
Factory history
The historical-pantomime ballet in five acts 'Adelheid von Frankreich' by Louis Henry, ballet master at this theater, music by Cesare Pugni , has been performed with great success in the kk Hoftheater next to the Kärnthnerthore since January 5th, 1832 . Nestroy's parody of it appeared on February 7th in the Theater an der Wien and for a long time both pieces could be seen at the same time. Both works were based on the dramatic legend "The Guardian Spirit" (premiered in Berlin in 1814, in Vienna in 1815 at the Theater an der Wien under the title Adelheid of Italy ) by August von Kotzebue , in which the story of the German Empress and Saint Adelheid of Burgundy ( 931–999) is told. She was the widow of King Lothar II (in the parody Pfundar ), who was presumably poisoned by Margrave Berengar II (in the parody Berengario ), and fled to the German King Otto the Great (in the parody Krotto the Little ), whom she married.
In the Wiener Haupt- und Staatsaktion (Part II, p. 185 f.) Published by Rudolf Payer von Thurn in Vienna in 1910, the following piece is noted: The defeated Obsieger Adalbertus König in Wälschlandt or the betrayal of the betrayal of forced love with Hanswurst ... Component A ° 1724 from a Comico. In this piece marries Adelheide, widow of Lotarius, king of Wälschlandt, Berengario sought a wife for Adalbertum, his son and auffgenohmenen Mitgehilffen the government to Lidolpho, son of Kayser Ottonis.
Nestroy, who finally moved from Graz and Preßburg to Vienna in 1831 to be director Carl Carl in the Theater an der Wien, wrote his first own piece for this stage in 1832 with the “Emotional Kerckermeister” . This parody led the then popular set pieces of romantic-sentimental stencil-like motifs and characters and props to absurdity. Apparently entirely dedicated to the elements of the magical fairy tale, it was nevertheless just a game with the elements of this genre of comedy that from the beginning heralded the lack of seriousness with which it parodied the genre. Despite the initially surprised audience, it was a great success and played twenty times in the course of 1832.
Johann Nestroy played Dalkopatscho, Carl Carl the Seelengutino, Friedrich Hopp the old man, Ignaz Stahl the Pantoffelino and Flegelino, Franz Gämmerler the murderer Würgano, the beneficiary Thekla Kneisel the Adelheid. On the theater bill it was noted: "Arranged by Carl" .
An original manuscript by Nestroy entitled Adelheid. Parody in three acts by Johann Nestroy, February 1832 on the cover sheet (the complete title on the first page as above) has been preserved, it bears three signature numbers because it came into the collection of the collection at different times. Some mute figures also have names: Dabini , one of Adelheid's wives, Avanto , leader of Berengario's guard, Mordio, the second gunman, Dolchosi, Würgano, Strickoni, Giftino , the four murderers. The original score by Adolf Müller with a glued-in table of contents and many subsequent entries and corrections has also been preserved.
Contemporary reception
The reception by the audience was enthusiastic, with the critics - and later with Nestroy's pieces - rather mixed. Above all, the direction of the director Carl, the music of Adolf Müller and the performance of Thekla Kneisel were praised.
The hiker of February 14 (No. 45, p. 84) stated:
- “The new parody of Mr. Nestroy: 'The soulful jailer,' keeps the Theater an der Wien full of houses. Mad. Kneisel, the HH. Carl, Nestroy and Werle find it the greatest opportunity to receive an award. "
Adolf Bäuerle's Wiener Theaterzeitung wrote in the fourth, this time very detailed, review by this paper on February 15, 1832 (No. 33, p. 130 f.) About Nestroy's art of representation, he showed "an excellently witty game" , with great applause clearly demonstrated to him “how much his diligent effort to fully win the favor of the audience was also recognized.” The author Nestroy was initially even less praised, much more the arrangement of the piece by director Carl.
In the collector , Ignaz Franz Castelli wrote under the pseudonym Sigmund on February 21 (No. 22, p. 88) rather cautiously:
- "[...] that the Pièce apparently only owes its luck to the apparent unity of the idea and the exact mechanism, and every subsequent speculation of this kind must fail. […] By the way, Mr. Carl, as the jailer, was such a delightful and diaphragmatic figure that he really did not need such makeshift remedies. Mr. Nestroy does a little too much of a good thing; Mad. Kneisel, however, proves her loveliness and usefulness in this role too. "
Later interpretations
Otto Rommel places the work in the category of those parodies “that use the magical apparatus” (quote). He also counted the magician Sulfurelectrimagneticophosphoratus , Nagerl and Handschuh , Zampa the day thief and Robert the Teuxel .
In Brukner / Rommel you can read that Nestroy's parody was primarily directed against the deficiencies in the performance and direction of the ballet. Numerous improbabilities and exaggerations, owed to the performance as a dance theater, would have challenged him to ridicule. Most sharply he parodied the pathos of the soulful Krekermeister, the noble Wittib and the wise hermit. Since these are almost immortal theatrical templates, the piece works even without knowledge of the ballet, even though the direct comparison with the dancers they are familiar with was particularly enjoyable for contemporaries.
Helmut Ahrens notes that this intricate, flippant, crazy piece was something new for the Viennese audience, even though it used the elements of the magic fairy tale, but only used these set pieces of the old Viennese folk theater to do it at the same time to parody. Ahrens attributes the fact that the critics judged very differently to the fact that the journalists of Vienna at the time were not always fair, and sometimes even surprisingly corrupt.
Jürgen Hein and W. Edgar Yates particularly point out that this play was Nestroy's first - albeit anonymous - successful Viennese play, although Nagerl und Handschuh had already been submitted to the censorship by director Carl. From the modern point of view it can be seen that Nestroy targeted the “ballet romance” of his time with this parody. With the sobering-satirical ending that is so typical of Nestroy, he once again clearly reduced this kitschy romance of the original to absurdity when Adelheid sings very prosaically in the final chants Adelheid / Dalckopatscho / Seelengutino:
- “I'm getting a man now, he's not very handsome
- Now I have a peace before the persecution.
- He's rich, that's the main thing in this world now,
- A Wittwee needs nothing but a man and a lot of money. " (III. Act, 10 th Scene)
literature
- Helmut Ahrens: I'm not auctioning myself off to the laurel. Johann Nestroy, his life. Societäts-Verlag, Frankfurt am Main 1982, ISBN 3-7973-0389-0 .
- Fritz Brukner / Otto Rommel: Johann Nestroy, Complete Works. Historical-critical complete edition, third volume, Verlag von Anton Schroll & Co., Vienna 1925; Pp. 1-76, 413-436.
- Jürgen Hein / W. Edgar Yates: Johann Nestroy; Pieces 2 . In: Jürgen Hein / Johann Hüttner / Walter Obermaier / W. Edgar Yates: Johann Nestroy, Complete Works, Historical-Critical Edition. Jugend und Volk, Vienna / Munich 1993, ISBN 3-216-30343-8 ; Pp. 1-65, 144-273.
- Franz H. Mautner (Hrsg.): Johann Nestroys Komödien. Edition in 6 volumes, Insel Verlag , Frankfurt am Main 1979, 2nd edition 1981, 1st volume. OCLC 7871586 .
Individual evidence
- ↑ Act instead of elevator is used throughout the text
- ^ Typical writings by Nestroy, also found in other works
- ↑ Dalckopatscho, Dalkopatscho = corruption of clumsiness , Hungarian talpas , clumsy person
- ↑ in the original manuscript the confidante bears the name Spatzifarino
- ↑ In the original manuscript the farmer bears the name Pfifficone , then Pantoffel , Pantoffelino for the first time on the theater bill
- ↑ Glachelio = in Austrian a Klachel or Glachel is a sluggish and coarse-bodied person
- ↑ Gareissl, Gareisl = Viennese for crucian carp
- ↑ Pumpfo = from Pumpf, rough man
- ^ Hein / Yates: Johann Nestroy; Pieces 2 . P. 33.
- ↑ echappieren = out of date for escape, escape
- ^ Hein / Yates: Johann Nestroy; Pieces 2 . P. 53.
- ^ Hein / Yates: Johann Nestroy; Pieces 2 . P. 64.
- ^ Franz H. Mautner (ed.): Johann Nestroys Komödien. Pp. 313-314.
- ↑ a b c Brukner / Rommel: Johann Nestroy, Complete Works. Pp. 431-436.
- ↑ Helmut Ahrens: I am not auctioning myself off to the laurel. Pp. 108-109.
- ↑ Manuscript collection in the Vienna City Hall , shelf marks IN 33.320, 94.346, 94.347.
- ↑ Music collection of the Vienna Library in the City Hall, call number MH 660.
- ^ Hein / Yates: Johann Nestroy; Pieces 2 . P. 190–. (for the entire chapter on contemporary reception )
- ↑ the reviewer criticized the almost fearful-meticulous accuracy of the imitation of some original ballet scenes
- ^ Otto Rommel: Nestroy's works, selection in two parts, Golden Classics Library, German publishing house Bong & Co., Berlin / Leipzig / Vienna / Stuttgart 1908, pp. XXVI, XXX.
- ↑ Helmut Ahrens: I am not auctioning myself off to the laurel. P. 109.
- ^ Hein / Yates: Johann Nestroy; Pieces 2 . Pp. 1-2.
- ^ Hein / Yates: Johann Nestroy; Pieces 2 . P. 64.