Humorous express car journey through the theater world
| Data | |
|---|---|
| Title: | Humorous express car journey through the theater world |
| Original title: | Humorous express car journey through the world of theater [...] together with an accompanying prelude, under the title: The theater servant, the benefit performance and the Quodlibet |
| Genus: | Quodlibet in two acts |
| Original language: | German |
| Author: | Johann Nestroy |
| Music: | Overture by Kapellmeister FK Albrecht |
| Publishing year: | 1832 |
| Premiere: | May 23, 1832 |
| Place of premiere: | Theater an der Wien |
| people | |
|
of foreplay:
of the quodlibet:
|
|
Humorous express car journey through the theater world. Tragic-comic, created in the best possible style, placed without shadow and light, avoiding everything that has never been seen before, composed, arranged and reworked Quodlibet from several old pieces in two acts plus an associated prelude, under the title: The theater servant, the benefit performance and the Quodlibet is a Quodlibet in two acts. It was performed on May 23, 1832 in the Theater an der Wien as a benefit evening for the actor Friedrich Hopp . It cannot be determined with certainty whether he himself or Johann Nestroy carried out the compilation with text changes.
Closely related to this work is the play Magische Eilwagenreise through the comedy world (1830).
For more of Nestroy's quodlibets and general comments on this genre, see the article The dramatic Quodlibets by Johann Nestroy .
content
- Foreplay:
Pfauenfeder learns his self-written role by heart in his theater chancellery, but the manuscript for the theater attendant has meanwhile been torn up by a dog in the tavern. In his distress he tears some pages out of other manuscripts and has them rebound. He is overheard by Fett, who immediately betrays him to the director and mocks Strobelkopf:
- "Thuas rectum, et Scheucha Nobody," says the Latin. " (Prelude, Scena 6)
Since at this moment the prompter reports that the house is overcrowded, the director dares to perform the Quodlibet that happened by chance. Strobelkopf sings about his job:
- "At the theater he says / he says to be a servant,
- He'd rather say the same, / Tighten me up, he says,
- At the Fiaker he says, / As a horse he says,
- There is d'Plag he says, / Nit so big. " (Vorpiel, Scena 7)
- The content of the quodlibet can be reconstructed fairly well from the list of roles and the (incomplete) manuscript:
Franz Ignaz von Holbein's Fridolin with the inserted figure of Mercury from Ferdinand Raimund's The Barometer Maker on the Magic Island is followed by the patriotic play Karl von Österreich or Die Wunder im Erzberg , then The Orphan and the Murderer by Frédéric Dupetit-Méré (1785–1827), one Scene from Friedrich Schiller's Die Räuber , a parody of a scene from The Barber of Seville by Gioachino Rossini , then Karl August Lebrun's piece number 777 . Now the Pfeffer-Rösel from Charlotte Birch-Pfeiffer's Pfeffer-Rösel or the Frankfurt fair with the pumice from Adolf Bäuerle's Aline or Vienna in another part of the world are brought together in a comical love scene, arrested and first sent to King Philip II and then to the " Tyrants of Padua “ Ezzelino da Romano delivered. The deus ex machina Winziwinzi from Joachim Perinets The siege of Ypsilon or Evakathel and Schnudi frees them. Hugo and Elvira from Adolf Müllner's tragedy Die Schuld are saved by the King of the Alps, Franz Grillparzer , followed by Madame Punkt and Joujou, a caricatured old pair of lovers who sings a duet from Othellerl, the Mohr of Vienna or Die Heilte Jifersucht by Karl Meisl . A slot machine scene is no longer comprehensible; Franz Grillparzer's Sappho murders Sansquartier from Twelve Girls in Uniform by Louis Angely , because she catches him on an affair. Sansquartier therefore comes to the spirit realm, where he meets all the known ghosts and ghosts of the old Viennese folk theater , who are now getting married all over the place.
Factory history
This Quodlibet was performed anonymously in the Theater an der Wien to the advantage of the actor Friedrich Ernst Hopp . The public's need for undemanding entertainment in order to be able to forget the horrors of the cholera epidemic in Vienna in 1830/31 with around 2,000 deaths was recognized and satisfied by the poets of the suburban theaters. This led, among other things, to the rapid emergence of Nestroy's parody The soulful Kerckermeister (first performance on February 7, 1832).
In the other quodlibets and auditions of Nestroy, his authorship is undisputed, here things are a little different. Otto Rommel assumes that this work probably represents a further processing of the Pressburg-Grazer Magische Eilwagenreise from 1830, which was attributed to Nestroy on the theater bill. The playlist for this play does not name Nestroy, however, neither does it name any other author or arranger. However, this is not a sure indication of his non-authorship, because at that time he was still mainly seen as an actor and, despite some more or less successful stage works, not yet seen as an author. Such occasional works were usually put together by the beneficiaries themselves or by younger members of the ensemble, which was considered routine work for them. As a beneficiary it could have been Hopp, but as a young ensemble member it could have been Nestroy. The fact that the work from 1830 is a forerunner does not seem impossible - however, the fact that some of the pieces arranged in this Quodlibet do not appear in the Vienna work and that the Vienna manuscript (see below) does not even contain any corrections by Nestroy. The collector of June 28, 1832 even expressly attributes the compilation to Friedrich Hopp, who was an experienced playwright. This would also explain the fact that, in contrast to 1830, the work from 1832 showed a surprising mess (quote in the collector ) of the text excerpts, which otherwise could not be observed in Nestroy.
The foreplay could be based on the earlier foreplay fear of conscience, revenge, forgiveness and quodlibet , because the idea that the theater servant Strobelkopf somehow put together texts torn by the dog is said to have also occurred in this previous version. From the text it is also not possible to deduce who the author was, because the director without peer Pfauenfeder says cryptically:
- “I wish today's beneficiary luck, the thought of assigning me the role of the youthful lover in his play has earned him all my respect. […] Between us, boasting is not my thing, but I want to trust them - the piece is from me. " (Prelude, Scena 1)
A passage that could, if at all, point to Hopp, although it is about a fictional benefit piece called Paphnuzius the curious noble-minded youth or Der Felsensprung der Despasserung in der Rosenthal der Liebe .
Johann Nestroy played the theater servant Strobelkopf in the prelude, in the Quodlibet the robber captain Carl Moor, the genius Winziwinzi, the faithless lover Madame Punkt, the veteran Sansquartier; Further roles in the prelude Ignaz Stahl as director Pfauenfeder, in the Quodlibet Wenzel Scholz as Pipinus Schildhahn, who is silver-plated beer, Bims on the ship, Notarius Joujou, the ghost of the bastion; the beneficiary Friedrich Hopp as barometer maker Mercury, owner of the curiosity institute Ali Mali Sali Quali, rose-colored ghost; Franz Gämmerler as the villain knight Günther von Rollingen; Nestroy's partner Marie Weiler as a highly underage and marriage-loving ward raisin and as a Danube female .
A manuscript by another hand with the text and the chants for the Quodlibet and the handwritten note submitted by Director Carl Carl for the KKp Theat: adWien with his signature and the date 14 t May [1] 832 is preserved. At the end, the censorship approval from the kk Polizey Hofstelle dated May 21st is noted.
Contemporary receptions
Only two Wiener Blätter brought discussions after the premiere on May 23rd.
In Adolf Bäuerle's Wiener Theaterzeitung , Franz Carl Weidmann reported on May 29th (No. 407, p. 427) in great detail and praising the performance:
- “This quodlibet is put together in a not unsuitable way and offers several delightful moments. […] Mr. Nestroy was very busy in this piece, and in some parts did an excellent job. […] The. Weiler, on the other hand, sang the aria of the raisin from the 'Barber of Seville' with a lot of enthusiasm and also made itself very well noticeable in the so-called harmonica with its clear, confident performance. "
Not until June 28 was a review in the collector (No. 77, p. 307 f.), Albeit somewhat more critical:
- “These products stand out without any claim, and therefore none should be placed on them, as at most a good selection of the comic scenes. Art has nothing in common with these dramatic peep boxes, but it can tolerate them in its temple, as minors, but not as unworthy. The compilation which Mr. Hopp met, entertained, and thus the purpose was achieved. [...] Dlle. Weiler sang an Italian aria quite nicely, and Dlle. Frey the well-known 'little brother fine' quite wrong. Some casualties also ran from time to time, such as B. the extremely boring game of dall. Revie on the violin - but the whole thing entertained. "
As already mentioned, Hopp's "composition" was called here; Whether Nestroy was significantly involved or even in charge of the necessary text revisions, especially the foreplay, remained open again.
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 in fifteen volumes. ninth volume, Verlag von Anton Schroll & Co, Vienna 1927, pp. 436–500.
- 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. 453-512.
- Otto Rommel: Nestroys Works. Selection in two parts, Golden Classics Library, German publishing house Bong & Co., Berlin / Leipzig / Vienna / Stuttgart 1908.
Web links
- Factory data in nestroy-pieces / 12_eilwagen / 12tit
- Directory of persons in nestroy-stuecke / 12_eilwagen / 12pers.
Individual evidence
- ↑ the addition of a denunciator has been removed from the censors
- ↑ Strobelkopf = tousled head, someone with disheveled hair
- ↑ Thuas rectum, et Scheucha Nobody = pseudo-Latin: Do what is right and do not shy / fear anyone
- ^ Hein / Yates: Johann Nestroy; Pieces 2. p. 500.
-
↑
Bavarian / Austrian folk song Archived copy ( memento of the original from July 17, 2014 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. , emerged from the final chorus of Adolf Bäuerle's posse Moderne Wirthschaft and Don Juan's pranks , composed by Adolf Müller senior :
If a man wants it, he says, / is it smart, he says,
Don't take it, he says, / it's no joy, he says, [...] - ^ Hein / Yates: Johann Nestroy; Pieces 2. p. 502.
- ^ Brukner / Rommel: Johann Nestroy, Complete Works. Pp. 490-492.
- ↑ a b Facsimile of the theater slip in Hein / Yates: Johann Nestroy; Pieces 2. p. 525.
- ^ Hein / Yates: Johann Nestroy; Pieces 2. p. 496.
- ↑ Manuscript collection in the Vienna City Hall , call number IN 156.400 (Ia 149.399)
- ^ Hein / Yates: Johann Nestroy; Pieces 2. pp. 505-507.
- ↑ Dem. Or Dlle. is the abbreviation for Demoiselle (= Fräulein), the name used to describe the unmarried women of an ensemble; the married actresses were titled Mad. (Madame)
- ↑ the nose harmonica was produced by some actors singing in the backdrops, while Friedrich Hopp apparently played the instrument in the foreground
