Hanneles Ascension

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Hanneles Himmelfahrt - Traumdichtung in two parts is a drama in two acts by Gerhart Hauptmann . The premiere took place on November 14, 1893 in the Royal Theater in Berlin . The first book was published in the same year under the title Hannele Matterns Himmelfahrt . The piece combines features of literary naturalism and neo-romanticism .

Hannele Mattern's Ascension (1893)
Emil Orlik : Alexander Moissi as Gottwald's teacher. Volksbühne Berlin (1918)

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The drama Hanneles Himmelfahrt , which was initially called Hannele Matterns Himmelfahrt and was only called Hannele at the premiere , describes the death of the 14-year-old girl Hannele. After the girl has lost her mother, she tries, terrified of her stepfather, bricklayer Mattern, who brutally mistreated Hannele, to drown herself in the village pond of a remote Silesian mountain village in winter . She is pulled out still alive. In her last lesson she falls into a feverish dream in which a motley group of people gathers around the girl: doctor, head of office, teacher, worker, a squabbling crowd of residents, angels, the dead mother. Reality and visions mix. The frightening experiences with the violent stepfather, the tender childhood love for the teacher Gottwald, the memory of children's fairy tales and finally the deep religious belief in a beautiful being after death are discussed .

premiere

Max Grube staged the work under the directorship of Count Bolko von Hochberg , Count Bolko von Hochberg , who was well-known in his youth from Wroclaw . The dramaturge Felix Hollaender had advised Hauptmann to delete the third act and to take part in the second act. The title role was played by Paula Conrad , the teacher Gottwald Adalbert Matkowsky . Max Marschalk composed the music for the stage , Eugen Quaglio designed the set . Also in the audience were André Antoine , who acquired the stage rights for France, and the translator Jean Thorel, who then translated the piece together with Louis de Gramont under the title Hannele Mattern. Rêve lyrique came out. At the social get-together that followed, Maschalk's eighteen-year-old daughter Margarete , from then on Hauptmann's lover and later wife, was also present. With 18 performances the production was a considerable success.

reception

Before the premiere in 1893 in the Königliches Schauspielhaus Berlin, the word Ascension was avoided on posters and announcement texts, as it could be perceived as offensive by the predominantly Christian-conservative audience. Circles close to the court wanted to have the play banned. While part of the daily press criticized the “naturalistic” beginning as well as the “symbolistic-mystical” end of the play, Gustav Freytag praised the stage knowledge with which Hauptmann “created something that only a real poet, perhaps only one from the government district of the mountain spirit Rübezahl. [...] Here, too, the poet's art has strengthened itself in intercourse with people and nature. This poetry too is rooted in the woes of the earth. But the top of the head is crowned by heavenly light. ” Fürst zu Hohenlohe-Schillingfürst , Reich Chancellor from 1894 to 1900, responded to the Berlin premiere with the remark:“ A horrible piece of work, social democratic-realistic, with a pathological sentimental mysticism ... ” Thomas Mann , on the other hand, said:“ The Poor Hannele's feverish sky, what is it but naturalistic pathology, elevated to the purest poetry? ”In February 1894, the 24-year-old Ernst Barlach had a key experience in one of the following productions in Dresden . In the play he found “the loudest, most wonderful, most intimate German poetry”.

In 1896 Hauptmann received the Franz Grillparzer Prize for Hanneles Ascension .

Book editions

  • Hannele Mattern's Ascension. S. Fischer Verlag, Berlin 1893. The edition from 1897 appeared with the original title of the drama Hanneles Himmelfahrt.
  • Hanneles Ascension. Dream poetry in two parts (= Insel-Bücherei . 180). Insel Verlag, Leipzig 1942.

Adaptations: films and opera

The Danish director Urban Gad made a silent film in 1922 with Margarete Schlegel in the role of Hannele Mattern. In 1933/1934 Hauptmann's drama des Hannele was filmed in Berlin under the direction of Thea von Harbou with Inge Landgut in the leading role, produced by Gabriel Levy , and premiered in Bremen in February 1934. The sound film deviated far from the literary model, for example in that well-known fairy tale motifs were inserted into the plot and colored in. After the performances in Bremen and Berlin, the press reacted with exuberant reviews. In Berliner Film-Kurier , a parallel was drawn between the suffering of Hanneles and the suffering of the Hitler Youth, Quex, in the National Socialist propaganda film of the same name.

"We don't want a 'proletarian' Hannele, but as we saw the nameless Quex who suffered his victim, we are looking for the nameless Silesian child of the weavers' misery so that we can sacrifice."

In his volume Vom Werden der Deutschen Filmkunst (1935), the film historian Oskar Kalbus compared Hauptmann's drama with Thea von Harbou's film and judged:

“With Hauptmann: battle between brutality and soul, with Thea von Harbou: play of sentimentalities. For Hauptmann, this struggle against amorality results in the weaker man's flight from the world, for Thea von Harbou the game becomes a pictorial chat. With Hauptmann unheroic, poseless word, with Thea von Harbou cinematic pomp. "

In 1927 the two-act opera Hanneles Himmelfahrt, composed by Paul Graener , was premiered at the Dresden State Opera . His cousin Georg Gräner wrote the libretto based on Hauptmann's drama. The Austrian composer Franz Mittler composed the incidental music of Hannele Mattern's Himmelfahrt in 1931 .

literature

Web links

Individual evidence

  1. ↑ a b c d e Wolfgang Leppmann: Gerhart Hauptmann: the biography. 1995, pp. 171-174.
  2. ^ A b c Peter Sprengel: Gerhart Hauptmann: Bourgeoisie and great dream. 2012, pp. 227-244.
  3. ↑ Eberhard von Cranach-Sichart : Quaglio, Eugen . In: Hans Vollmer (Hrsg.): General lexicon of fine artists from antiquity to the present . Founded by Ulrich Thieme and Felix Becker . tape 27 : Piermaria – Ramsdell . EA Seemann, Leipzig 1933, p. 493 .
  4. ↑ Ulrich Lauterbach (arrangement): Reality and Dream, Gerhart Hauptmann 1862–1946: Exhibition of the State Library of Prussian Cultural Heritage in Berlin. Reichert, Wiesbaden 1987, p. 166.
  5. ↑ Commentary by Rainer Marwedel In: Theodor Lessing : Nachtkritiken. Small writings 1906–1907. (Ed. By Rainer Marwedel), Wallstein Verlag, Göttingen 2006, ISBN 3-89244-614-8 , p. 442.
  6. ^ Paul Schlenther : Gerhart Hauptmann. Life and works . S. Fischer, Berlin 1922, p. 113–114 ( Textarchiv - Internet Archive ).
  7. ^ A b Eberhard Fromm : Gerhart Hauptmann: Hanneles Himmelfahrt. In: Berlin Reading Signs. 08 + 09 2000, Edition Luisenstadt. Luise Berlin
  8. ^ A b Peter Sprengel : History of German-Language Literature, 1870–1900. CH Beck, Munich 1998, ISBN 3-406-44104-1 , p. 507.
  9. ↑ Peter Sprengel: History of German-Language Literature, 1870-1900. Munich 1998, p. 143.
  10. ↑ Hanneles Himmelfahrt at filmportal.de
  11. ^ Sigfrid Hoefert: Gerhart Hauptmann and the film - with unpublished film drafts by the poet . Erich Schmidt, Berlin 1996, ISBN 3-503-03728-4 , p. 52 , footnote 14. ( books.google.de ).
  12. ^ Sigfrid Hoefert: Gerhart Hauptmann and the film ... Erich Schmidt, Berlin 1996, ISBN 3-503-03728-4 , p. 41 ( books.google.de ).
  13. ↑ Hanneles Ascension. Opera by Paul Graener on text by Georg Gräner based on the play of the same name by G. Hauptmann. Dresden State Opera, world premiere February 17th, 1927 under the direction of Fritz Busch.  in the German Digital Library