The last day (Günter Eich)

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The last day (also: “The last day of Lisbon”) is a radio play by Günter Eich (co-author: Ilse Aichinger ), which was broadcast on January 31, 1956 by SWF , BR and RB under the direction of Friedrich-Carl Kobbe . According to Oppermann, "dealing with death" is the theme: none of the numerous actors can even remotely recognize the approaching, life-devouring death.

shape

The action takes place in Lisbon around 24 hours before the earthquake of 1755 . In the first of a total of 19 scenes, the speaker anticipates the outcome of the radio play. On November 1st around ten o'clock in the morning - at the time of the All Saints Day service - the hour of death for the 32 characters. In scenes two through twelve, new groups of figures are constantly introduced. As a rule, these have nothing to do with each other. Scenes thirteen to eighteen place fairly high demands on the listener's memory. Because the staff of the introductory scenes are used.

One of the formal elements are the flute signals of the flower sellers Vicente and Antonio.

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2

The clergyman, Senhor Conçalves, awaits execution at the stake in prison . His guard Tomaso - a sideline timber merchant - reassures the venerable gentleman. The wood would burn well. Before his conviction, Conçalves had usually read mass.

3

The two large flower sellers Antonio and Vicente agree who has sold the most bouquets by All Saints' Day can now claim the more lucrative of the two flower sales districts in the city.

4th

Emilia helps her mistress, Senhora Francisca, to remember. The landlord had died on a short walk into town. Just before he left the house for the last time, he had said something to his wife. But what? With the best will in the world, Dona Francisca cannot remember the sentence, which is becoming more and more meaningful to her every day.

5

Inez, the widow of the wealthy old Marchese, has no luck with her second bridegroom Henrique. The Lord wants the separation.

6th

Dona Margarida lost the two children. The son Duarte left the house without saying anything and went to sea. The daughter has long since died. The old garden gate screeches on its hinges. Only the seventh locksmith - José - can successfully repair it.

7th

Rehearsals are taking place in the apartment of the actor Luis, who is about to retire. On All Saints' Day - the king's visit has been announced in the theater - he is to appear one last time. He has already played the role two hundred and eleven times. This time Luis feels unable. The wife Mariana does not give up when prompting.

8th

The mother visits the cemetery with the teenage children Pedro and Teresina. The children find no contemplation in prayer at the grave of their father, who has been dead for so long. The mother lists her upbringing errors in this regard.

9

Two well-cared for wives in dialogue: Florentine turns to her friend Luisa in her need - she can hardly suppress the outbreak of a mental illness. The sick person is shown the door for reasons of social reservations.

10

Alfonso desperately wants a lunchtime in Isabell's apartment. However, Isabell expects Fernanda to visit. The growing daughter attends the convent school and wants to go home on the holiday.

11

Isabell lets herself be persuaded. She is going to school. In the conversation it turns out that Fernanda should study a little in the monastery on the feast day in peace. Alfonso's calculation does not work out. Fernanda would prefer to walk arm in arm with his dear mother on All Saints' Day on the banks of the Tagus .

12

Late in the evening a homecomer, the captain, complains about his Susanna in the tavern. During the long absence of the seafarer, the girl became dissolute.

13

Guard Tomaso is responsible for all forty prisoners in one fell swoop. Because his colleague was dragged before the tribunal and is sitting in the cell next to Conçalves. The overworked guard complains to the clergyman of his suffering; reports on the mistake he made.

It is now past midnight and November 1st.

14th

Alfonso cannot understand that Isabell would rather walk around with her daughter than give herself to him. The prostitute Susanna makes fun of the captain.

15th

Relieved, Francisca quotes the last sentence from the mouth of her blessed husband in front of her servant Emilia: "This year the swan's beaks will turn yellow faster."

16

When Dona Margarida goes to mass, the garden gate screeches stronger than ever.

17th

Mariana, the actor's wife, instructs the flower seller Vicente to surprise Luis with a large number of differently tied bouquets after his last performance. The actor shouldn't notice the vertigo. Vicente understands.

Henrique buys roses for Inez while going to church at Vicente's. The couple reconciles in front of the church. The bells ring.

18th

Quite a few of the voices in the radio play bring themselves back to mind with one of their characteristic sentences. For example, the mad Florentine says : "That I am Heinrich the Navigator ..."

19th

The Reverend Senhor Conçalves has been pardoned and must now hurry. The believers are waiting. He is to read mass at the behest of the superiors. "The bells are already ringing: ten o'clock."

Productions

reception

  • Karst gives details of Günter Eich's cooperation with Ilse Aichinger. In the autumn of 1955 the couple had stayed in Estoril for a long time .
  • Wagner quotes from Günter Eich's notebook; For example: "Priest a bit too pathetic ..." Wagner does not hide the less flattering reviews; for example “painted gray in gray” (“ Evangelical Press Service / Church and Radio ” of February 6, 1956).
  • Schwitzke writes that Conçalves would only have been pardoned "to be buried under the ruins of the cathedral."

Recent comments

literature

Used edition

  • Günter Eich: The Last Day (1955) . Pp. 197–243 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

Individual evidence

  1. ↑ Karst, p. 762, 13. Zvo
  2. ^ Wagner, p. 289, right column, center
  3. ↑ Karst, p. 762, 10th line from above
  4. ↑ Oppermann, p. 102, 2nd Zvu
  5. ↑ Oppermann, p. 102, 1. Zvu
  6. ↑ see also Oppermann, p. 102, 6. Zvo
  7. ↑ Edition used, p. 235, 4th Zvu
  8. ↑ Edition used, p. 241, 11. Zvu
  9. ↑ Edition used, p. 243, 1. Zvu
  10. ^ Wagner, p. 289, bottom right column
  11. ^ Wagner, p. 320 bottom right
  12. ^ Wagner, p. 346 top right
  13. ↑ Karst, p. 762 above
  14. ^ Günter Eich, quoted in Wagner, p. 291 right, 23. Zvo
  15. ^ Wagner, p. 292, right column, 9th Zvu
  16. ↑ Schwitzke, p. 187, 15. Zvu
  17. ↑ Oppermann, p. 102, 2. Zvo