The Glembays

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Data
Title: The Glembays
Genus: tragedy
Original language: Croatian
Author: Miroslav Krleža
Publishing year: 1928
Premiere: February 14, 1929
Place of premiere: HNK , Zagreb
people
  • Ignaz Jaques Glembay (Croatian Naci (Ignjat Jacques) Glembay) , banker, head of Glembay & Co Ltd., real privy councilor (69 years old)
  • Charlotte, Baroness Castelli-Glembay (Croatian Barunica Castelli-Glembay) , his second wife (45 years old)
  • Dr. phil. Leo Glembay (Croatian Dr. phil. Leone Glembay) , son of Ignaz Glembay from his first marriage to Irene Basilides-Danielli (38 years old)
  • Sister Angelica Glembay (Croatian Sestra Angelika Glembay) , Dominican, widow of the eldest son Ignaz Glembays Ivan, née Baroness Beatrix Zygtmuntowicz (29 years old)
  • Titus Andronicus Fabriczy-Glembay , cousin of the banker, chief chaplain . i. P. (69 years old)
  • Dr. jur. Robert Fabriczy-Glembay (Croatian Dr. iuris Puba Fabriczy-Glembay) , his son, lawyer and syndic of Glembay & Co Ltd. (28 years old)
  • Dr. med. Paul Altmann , family doctor for the Glembay family (51 years old)
  • Dr. theol. et phil. Aloys Silberbrandt (Croatian Dr. theol. Et phil. Alojzije Silberbrandt) , private tutor Oliver Glembays and confessor of Baroness Castelli (39 years old)
  • Oliver Glembay , son of Baroness Castelli and the banker Glembay (17 years old)
  • Ulanski Oberleutnant von Ballocsansky, Ulanenoberleutnant (24 years old)
  • Valets, maids, guests

The Glembays (Croatian Gospoda Glembajevi: drama u tri čina iz života jedne agramerske patricijske obitelji ) is a drama in three acts by the Croatian writer Miroslav Krleža .

Origin and premiere

The drama was written between 1926 and 1928 and was first published in 1928 by DHK ( Društvo hrvatskih književnika ) publishing house in Zagreb . The first performance of the drama took place on February 14, 1929 in the Croatian National Theater ( HNK ) in Zagreb under the direction of Alfons Verli. It was a great success from the very first performance. The Glembays and Krležas U agoniji ( In Agony ) are the most frequently performed dramas by the Croatian writer, both in Croatia and abroad. The drama has been performed in Munich , Prague , Moscow , Budapest , Graz , Vienna and Trieste , among others .

Place and time of the action

The action takes place in 1913, a year before the start of the First World War . The drama begins with the farewell to the guests at the 70th anniversary celebration of Glembay & Co Ltd. The setting is the Glembay family estate, which is located in Zagreb.

Table of contents

first act

After the 70th anniversary celebration of Glembay & Co Ltd. the guests, who belong to a high social class - high-ranking officers, the bishop u. a. - represent, adopted. The artist Dr. phil. Leone Glembay, Ignaz Glembay's son from his first marriage, returned home for the first time in eleven years.

Leone and sister Angelika, the widow of Leone's brother named Ivan, talk about the relationship between the rational and the sensory . Their conversation has several subtle erotic hints and is referred to as "flirting" in the stage directions. While looking at the paintings of the ancestors of the Glembay family, Titus Andronicus Fabriczy-Glembay, Dr. theol. et phil. Aloys Silberbrandt and Glembay's general practitioner Dr. med. Paul Altmann about it. In addition to the discussion about a portrait of Angelika by a Hungarian artist Ferenczy, Leone's self-identity is also an issue. He sees himself as a "passerby" in the Glembay house and draws a clear line between himself and the family. This has been surrounded by fraud, crime and suicide for generations.

Suddenly Robert (Dr. Puba Fabriczy), Ignaz Glembay's nephew, comes into the house with an urgent message. A letter to the editor was published in a socialist magazine in which Baroness Charlotte Castelli-Glembay is held responsible for the deaths of two women. The baroness hit the proletarian Rupert in her carriage. Rupert's unmarried daughter-in-law Fanika Canjeg threw herself out the window of the Glembay house after she was not given any help she had asked for. Robert reads this text to the Glembay family gathered in the living room while looking for a defense strategy. The baroness presents herself as innocent and does not even want to hear the contents of the letter. Nevertheless, she did not want to see the young mother, who was pregnant with the second child, because she could not present a business card. Charlotte quickly says goodbye because she has migraines. After the letter was read out and its contents discussed, it turns out that Leone had overheard Canjeg at the door asking for a Singer sewing machine and was refused. He went up to her and told her not to humiliate herself. Better to jump out the window than beg in front of a house. Shortly afterwards he bought her a sewing machine and sent it to her by courier, which the young mother did not notice. This puts Leone in contrast to his family. His statement is hotly debated, especially by Silberbrandt, who is of the opinion that Leone was to blame for the death because he had killed all belief in the woman.

As a result, at the end of the first act, Leone points out to Silberbrant that he knows that he has a relationship with Charlotte. In addition to Fabriczy, Ignaz, who is in the next room, listens to the conversation.

Second act

The entire action of the second act takes place in Leone's room. Leone is about to pack his things for departure when Silberbrandt asks him not to tell his father about his relationship with the baroness, or rather to make it look like a joke. Leone rejects him and Ignaz enters the room. Father and son have a hard time talking because their relationship has always had problems. In addition to Leone's position as an artist, Ignaz's unhealthy lifestyle, Leone's late mother is also an issue. Leone is of the opinion that Charlotte is to blame for the death of her mother. Ignaz meanwhile talks about the fact that the baroness first taught him life and makes many erotic hints.

During the conversation, Ignaz tries to get what he heard in the living room confirmed before. It leads to a dispute between father and son, in which Leone denies the entire personality of his stepmother, who is said to come from an hour hotel. Leone reveals all of Charlotte's lovers and proves them. He even admits to his father that he himself had a relationship with her in his twenties while studying at Cambridge. In the heat of the moment, the father hits his son in the face. Ignaz calls the valet who is to summon Charlotte. Ignaz falls dead while the valet is looking for her, because she cannot be found in her room, in which she is said to have said goodbye because of the migraines.

Third act

Leone sits in front of his father's deathbed and draws him in the dead state. The relatives, the priest and the doctor talk about the dead man and admire Leone's drawing. Leone himself is dissatisfied with his work of art and tears it up. The phone at Glembay is ringing. Robert calls company partners and it turns out that the company has high debts. Charlotte is not yet aware of the family's new financial situation because she thinks that as a widow she inherited a great fortune. She tries to talk to Leone and confesses that she married his father for financial reasons. Among other things, they talk about Leone's mother and Charlotte's lover; however, Leone mainly expresses his allegations against her. Charlotte reports on her childhood and youth, compares Leone's “simple life” with hers, in which it was not easy, and makes it clear that she earned the money she inherited. Ultimately, she agrees that she would still love Leone. Leone does not get carried away with this pathetic story, but provokes him. After explaining the finances to Charlotte, she goes mad and accuses everyone of "stealing her well-earned money". She tries even more to prove her love for Leone by showing his lock of hair, which she still wears in a locket since their relationship. Meanwhile, Leone's anger grows. When Charlotte at the end accuses Angelika, who has so far remained quiet and has not contributed to the conversation, that she has a relationship with the cardinal and thus hinted at the hypocrisy of the sister, Leone bursts. Charlotte runs out of the room when she sees Leone taking a pair of scissors from the table and warning her to be quiet. Leone pursues Charlotte and the drama ends with the words: "Doctor stabbed the baroness!"

Productions and films

Productions

  • T. Tanhofer (Osijek 1929; Split 1945, 1961; Zrenjanin 1954)
  • Đ. Petrović (Zagreb 1946, 1954)
  • A. Štimac (Rijeka 1948, 1959)
  • B. Špoljar (Osijek 1949; Varaždin 1955)
  • H. Tomašić (Osijek 1953)
  • T. Strozzi (split 1957)
  • M. Perković (Zagreb 1960; Maribor 1962)
  • V. Gerić (Zagreb 1974)
  • P. Veček (Zagreb 1984)
  • Ž. Orešković (Rijeka 1985)
  • B. Gavella (Belgrade 1929; Ljubljana 1931; Brno 1931; Maribor 1933; Trieste 1951)
  • V. Kosić (Banja Luka 1935; Sarajevo 1953)
  • Z. Rogoz (Prague 1937)
  • B. Stupica (Ljubljana 1946; Belgrade 1962)
  • J. Kulundžić (Novi Sad 1946)
  • R. Plaović (Belgrade 1952; Skoplje 1955; Niš 1963)
  • F. Delak (Banja Luka 1956)
  • A. Muradbegović (Tuzla 1959)
  • I. Little (Prague 1960, 1977; Cologne 1963)
  • P. Dinulović (Subotica 1965; Banja Luka 1972)
  • M. Fotez (Sarajevo 1969)
  • M. Belović (Moscow 1975)
  • V. Milčin (Skoplje 1974)
  • M. Kušej (Munich, Vienna 2013)

Film adaptations

Interpretative approaches

A central theme of the drama is the position of the modern artist in society at the time. This is also discussed in the secondary literature and referred to as artist drama. (On this: Gall 2009; Žmegač 2002)

The specialty of the drama lies among other things in the language: In the original there is a constant code-switching between Croatian, German, Latin and Italian. German dominates as a foreign language, as it was part of the expression of higher society in Zagreb. It is often referred to as macarronism or multilingualism. (On this: Novak 2006; Sujoldžić 2008)

The drama is also the novel Buddenbrooks by Thomas Mann brought a family connection because of the theme of decay. (On this: Oklopčić 2008) The drama shows some typical features of a family novel in which the adult child grapples with his genealogy and tries to prove to himself that he is not part of this family.

The drama also offers a wide range of intertextual references . For example, there are all references to Dante Alighieri's Divine Comedy and Fyodor Dostoyevsky's brothers Karamazov .

Translations

  • 1956: A Glembay-család. Budapest: Uj Magyar Konyvkiado.
  • 1956: Glembajevi. Ljubljana: Državna založba Slovenije. Translator: Fran Alb Dreh .
  • 1963: Pani Glembayove: hra o trech dejstvich. Praha: Obris.  Translator: Irena Wenigova.
  • 1963: The Glembays: A play in three acts. Graz / Vienna: Stiasny Verlag. Translator: Milo Dor .
  • 1964: A Glembayak. Proza. Novi Sad: Forum Konyvkiado. Translator: Dudas Kalman.
  • 1965: Glembajovci. Bratislava: Slovenske vydavatel'stvo krasnej literatury. Translator: Branislav Choma.
  • 1972: The Glembays. Berlin: Verlag Volk und Welt. Translator: Barbara Sparing .
  • 1973: Glembajet . Prishtine: Rilindja. Translator: Vehap Shita.
  • 1975: Господа Глембаи (Russian Gospoda Glembai ). Moskva: B. Translator: R. Afanas'ev and D. Mannsfeld.
  • 1983: Glembaevi. Skopje: Naša kniga. Translator: Ilya Milčin.
  • 2007: De Glembays. Taal: Nederlands.

literature

  • Crnković, Gordana P. 2000: Gender Construction in Literature: A Historical Survey. In: Ramet, Sabrina P. (ed.): Gender Politics in the Western Balkan. University Park, Pennsylvania: Pennsylvania State Univ. Press.
  • Gall, Alfred 2009: The artist drama as a social drama: The Glembays (Gospoda Glembajevi) by Miroslav Krleža. In: Frank Göbler (ed.): The artist drama as a mirror of aesthetic and social tendencies. Tübingen: Francke.
  • Graffius, Ivanka 1985: Possibilities and limits of the translatability of Serbo-Croatian literary prose: illustrated on German translations by Ivo Andrić and Miroslav Krleža. Munich: Sagner.
  • Lauer, Reinhard 2010: Biography: Who is Miroslav K.?: Life and work of the Croatian classic Miroslav Krleža. Klagenfurt: Wieser-Verlag.
  • Lauer, Reinhard (ed.) 1990: Artistic dialectics and the search for identity: literary studies on Miroslav Krleža. Wiesbaden: Harrassowitz.
  • Lauer, Reinhard 1984: Miroslav Krleža and German Expressionism. Göttingen: Vandenhoeck & Ruprecht.
  • Novak, Kristian 2006: Croatian-German Code Switching in Miroslav Krleza's drama Gospoda Glembajevi. In: Zagreb Germanistic Contributions (9), 51–61.
  • Oklopčić, Biljana 2008: Stereotipija u prikazu zenskoga lika u genealoškim ciklusima Williama Faulknera i Miroslava Krleže: Eula Varner Snopes i Charlotta Castelli-Glembay. In: Fluminensia , god. 20 br. 1, 99-118.
  • Sujoldžić, Anita 2008: Multilingualism in Northwestern part of Croatia during Habsburg rule. In: Jezikoslovlje (13.2), 327-350.
  • Žmegač, Viktor 2002: On the Reception of Expressionist Art Theory in Krleža and AB Šimić. In: Zagreb Germanistic Contributions (11), 1–15.

Web links

Individual evidence

  1. ↑ a b c Krležijana. In: Leksikografski zavod Miroslav Krleža. Retrieved December 19, 2017 .
  2. ↑ Verli, Alfons. In: Hrvatska enciklopedija. Retrieved December 19, 2017 .
  3. ↑ Miroslav Krleža - Leo Mujić. Gospoda Glembajevi. (No longer available online.) HNK, archived from the original on December 22, 2017 ; Retrieved December 19, 2017 . 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. @1@ 2Template: Webachiv / IABot / www.hnk.hr
  4. ↑ Господа Глембаи (1975). In: vakhtangov.ru. Retrieved December 19, 2017 .
  5. ↑ Господа Глембаи (1979). In: kino-teatr.ru. Retrieved December 19, 2017 .
  6. ^ Antun Vrdoljak: Glembajevi. In: IMDb. June 30, 1988. Retrieved December 19, 2017 .
  7. ↑ Opac NSK01 - Jednostavno pretraživanje. National and University Library Zagreb , accessed December 19, 2017 .
  8. ↑ Электронный каталог РНБ. Retrieved December 19, 2017 (ru-RU).