Fernando Krapp wrote me this letter

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Fernando Krapp wrote me this letter is a play by Tankred Dorst based on the novella A whole man (span. Nada menos que todo un hombre ) by the Spaniard Miguel de Unamuno from 1916. It was directed on May 15, 1992 premiered by Wilfried Minks at the Akademietheater Vienna . On June 24th of the same year, Alexander Brill staged the German premiere at the Staatstheater Kassel .

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The beautiful Julia - very self-confident - does not want to know anything about the eponymous written marriage proposal of the rather wealthy and impetuously rushing forward Fernando Krapp. What the hell? Krapp helped Julias' bankrupt father financially effectively. So the unruly marries the widowed daredevil.

Julia heard a rumor. Then Krapp smothered his first wife, a rich elderly millionaire, in bed with his hat.

Julia gives birth to a son in her young marriage. Krapp leaves all the affectionate affection to the happy mother. He only wants to intervene as soon as the little one has mastered understanding and speaking to some extent. Julia admits the frequent visits of Count Juan Bordavela to her husband. Krapp doesn't mind. He despises this "jumping jack" whose wife betrays him. Julia doubts Krapp's love for her because he indifferently acknowledges her revelation regarding the count's visits.

Julia's rendezvous with the Count are not free from discrepancies. For example, the count claims that Julia said that Krapp did not love her. The young mother protests against it. But the count stays with it - only he loves Julia. And he prophesies Julia that her husband will kill her as a repeat offender .

Krapp tells Julia about a conversation with a fine gentleman. The latter claimed that Julia was putting horns on her husband . Julia urges Krapp to forbid the count from the house. The husband doesn't think about it. He doesn't forbid or demand anything, he protests in a macho manner. The couple travels to the country. There Julia accuses her husband of adultery with a maid. Krapp admits the fling - in his opinion a trifle. When Julia continues to verbally condemn the husband's misconduct, Krapp seriously worries about his wife's neurasthenia . Julia then claims that she slept with the count several times at home during Krapp's absence. The husband dismisses this as a lie and is considering putting his wife in a madhouse .

It turns out towards the end of the play that really every character - as Julia's father mentioned above - is financially dependent on Krapp: Krapp supports both the psychiatrists and the count. Before Julia is locked away, she scolds the count as a coward. The sensitive aristocrat had recently denied any intimate relationship with Julia at Krapp's direct request. Then in the madhouse Julia shares her firm conviction with the two doctors. Krapp's first wife, a Mexican, was driven to her death by her husband.

Released from the madhouse and very ill, Julia confesses her lies to the serious husband. At Krapp's instigation, she also apologizes to the Count for her inventions. The cowardly nobleman forgives her in the presence of Krapps. A few minutes later - Krapp has left - the count turns around; conjures up the love affair. Vain. Krapp won the game.

But Krapp won't be happy. When he drops the mask of the strong man, speaks of his love for Julia and weeps in the face of his wife, it is too late. The weakened Julia dies. Krapp commits suicide.

shape

Tankred Dorst shakes the expectation of those viewers who would like to see normal everyday processes on stage in two ways. First, he lets an actor appearing in the picture comment on the future - usually at the end of one of the fourteen pictures. Julia's last sentence at the end of the second picture reads, for example: “She is marrying him” and of course means herself. Sometimes the commentator - again a figure already known to the viewer - appears with that final sentence for the first time in the relevant picture. Example - the count in the sixth picture: "You were traveling to the country the next day." Second, the two psychiatrists in the clinic in the ninth picture turn out to be Krapp and the count.

Self-testimony

Tankred Dorst said in an interview in 1992:

“My intention was to write a piece in which I leave out everything superfluous that does not serve the story itself. I didn't do that before because I was of the opinion that a person only comes to life when he or she utters superfluous things. I thought that having only the act of serving a person's wealth is limited. The piece is built in such a way that an exemplary case is dealt with on the stage, with a new aspect added in each scene, which causes the story to turn in a new direction. The issue is that we can't figure out what the truth is. Fernando Krapp can be read as a story of brainwashing. Or as a question: does he who has power also determine what the truth is? The key point for me in this story was that the woman said to her husband: "I'm cheating on you!" And he replies: "That's impossible, I can't be cheated at all." The reaction is not jealousy and anger, but excessive self-overestimation. And that is continued excessively. The man ignores reality and turns it around in such a way that the woman ends up in the madhouse. It's a piece about manipulation and I thought it had to be built like a model, as simple and exemplary as possible. "

- Tankred Dorst : KGT

Productions

Adaptations

reception

literature

Text output

  • Tankred Dorst: Fernando Krapp wrote this letter to me - an attempt at the truth. Collaboration with Ursula Ehler. Suhrkamp, ​​Frankfurt am Main 1992, 96 pages. ISBN 978-3-518-40428-7 .
  • Fernando Krapp wrote me this letter. An attempt at the truth. Pp. 93-134 in Tankred Dorst. The shadow line and other pieces. Collaboration with Ursula Ehler . Edition 6 (content: Parzival . Fernando Krapp wrote this letter to me. Mr. Paul . To Jerusalem . The shadow line . The history of the arrows ). Epilogue: Günther Erken. Suhrkamp Verlag, Frankfurt am Main 1995 (1st edition), without ISBN, 375 pages (edition used).

Secondary literature

Individual evidence

Partly in French and English

  1. ↑ Kässens in the afterword of Tankred-Dorst-Werkausgabe 7, p. 389, 9. Zvo
  2. ^ Erken in the edition used, p. 367, 5. Zvo and also in Arnold, p. 87, left column, last entry
  3. ↑ Edition used, p. 375, second entry
  4. ↑ Edition used, p. 132, 6th Zvu
  5. ↑ Edition used, p. 100, 3. Zvo
  6. ↑ Edition used, p. 113, 1. Zvu
  7. ↑ Edition used, p. 123, 6. Zvu and p. 124, 12. Zvo
  8. ↑ Fernando Krapp wrote this letter to me . Art Society Thun. Archived from the original on November 27, 2011. Retrieved on April 7, 2019.
  9. ↑ Thomas Heine ( Memento of the original from December 13, 2015 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 the BZ  @1@ 2Template: Webachiv / IABot / uebertheater.blogspot.de
  10. ↑ Werkbühne Berlin
  11. ↑ eng. Théâtre Montparnasse
  12. ↑ French Bernard Lortholary
  13. ↑ French performance in Paris in 1999
  14. ^ Ariane Theater
  15. ↑ French Bernard Murat
  16. ↑ Film adaptation France in 2000
  17. ↑ Recognize in the afterword of the edition used, p. 367, 13. Zvu
  18. ↑ Recognize in the afterword of the edition used, p. 368, 19. Zvo