Me, Feuerbach

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Ich, Feuerbach is a play by Tankred Dorst , which premiered on October 18, 1986 under the direction of Volker Hesse at the Residenztheater in Munich .

The aging actor Feuerbach (who has nothing to do with either the painter or the philosopher ) is allowed to audition in a large house and fails.

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Tankred Dorst puts a depressed Feuerbach on the empty stage. The inconspicuous, widowed actor has chosen a passage from the Tasso:

Yeah just go and get away sure
that you persuade me what you want.
I am learning to pretend because you are
a great master and I grasp easily.
So life forces us to shine, yes ...

But the director Lettau keeps the mimes waiting. Feuerbach met Lettau at a young age at the Hanover Theater . The actor should apparently now make do with a younger assistant director. He does not agree with that. Feuerbach, who pretends to be a celebrity, wants to wait and lets his disappointment out on the supposed beginner; prophesies the younger one that he will never become a director.

The assistant, who has been at the theater for five years, cannot be disturbed by the frontal attack and starts a counter-attack: he has never heard of a Feuerbach. He can't either, says Feuerbach, because he hasn't performed for seven years. The assistant wants to know what Feuerbach actually did in the seven years. The actor evades, brags about his big roles " Rauhnacht ", "Pippa dances", "Vasantasena or Das earthen Wägelchen", "Gilles and Jeanne", "The poor cousin", "The river" von Halbe , "The ice cream man is coming." ”,“ Mind creates suffering ”and“ Pericles ”by Shakespeare . The assistant has only heard of Barlach's drama. Feuerbach is an excellent master of the role play. He quickly slips into the role of the horrified: “You better do import-export!” He exclaims. However, the assistant is never at a loss for a quick-witted, dry reply.

Because the director stays away, the assistant learns in the waiting time how Feuerbach became an actor and how he paid for it with his life. Perhaps the payment had started with falling off the theater stairs into nowhere. That happened after the scene with Desdemona . Feuerbach had exceeded a stage direction. He should only have climbed three steps. Later in Ulm, however, Professor Bäumler attested to his great talent as an actor. The assistant cannot quite follow Feuerbach's speech. He happens to know a little about the Ulm Theater . There is no Professor Bäumler there. As much as Feuerbach talks, talks and explains his speech - the assistant knows better. Then Feuerbach slips the word about the "other patients". The smart assistant has an inkling of who Professor Bäumler could be. The assumption becomes certain when Feuerbach brings up the institution in which he had spent seven years. Even today he can only keep himself mentally stable with a drug. Finally, Feuerbach reveals why he absolutely has to have the role in Lettau. Two white-coated men took him off the stage seven years ago. The reason: Again, Feuerbach over-fulfilled an instruction from the director. Feuerbach should throw a loaf at his teammate. But he couldn't stop throwing. When all the loaves had been thrown, almost all of the props within reach would have become projectiles.

The assistant calms Feuerbach down with a trick. Director Lettau praised the old acquaintance from Hanover in front of him. For his Oswald , for his Don Juan , for his Gloster ? asks Feuerbach. The assistant confirms it, but asks an unsuitable question: “Are you not receiving any social assistance?” When Feuerbach offers the assistant cash for the engagement, the time has come. The assistant also loses his composure and has to cover his ears. In his distress, the assistant finally falls for the announcement of Mr. Lettau. Feuerbach is allowed to perform the self-chosen Tasso monologue. Feuerbach wanted - implored - a reaction from the invisible Lettau, who is supposed to be sitting in one of the dark back rows of the dark, empty house. Long silence is the answer to this "monologue of the fear of a madman". The assistant informs that Mr. Lettau has left. Feuerbach leaves and does not turn back when the assistant draws his attention to his shoes. Feuerbach had monologized in stockings.

Productions

  • 1987, Thalia Theater Hamburg . Director: Tankred Dorst. With Wolf-Dietrich Sprenger as Feuerbach. Bekes has a stage photo on p. 73 (photographer: Ralf Brinkhoff).
  • December 18, 1989, Ro Theater, Rotterdam . Director: Tankred Dorst. With Lou Landré as Feuerbach, Peter Sonneveld as assistant director and Sylvia Poorta as the woman. On pages 210–215 of the edition used there are twelve stage photos of the Rotterdam production (photographer: Leo van Velzen).
  • May 2004, Kammerspiele Bochum . Director: Tankred Dorst. With Wolf-Dietrich Sprenger as Feuerbach.
  • October 2011, Theater Das Spielbrett, Cologne. Director: Gisela Olroth-Hackenbroch. With Willi Feldgen as Feuerbach, Thomas Traeder as assistant director and Raffaela Bel as the woman.
  • 2012, Theater im Marstall , Munich. Direction: Veit Güssow, music: Hans-Günter Brodmann . With Robert Joseph Bartl as Feuerbach, Shenja Lacher as assistant director and Gabriele Scheuchenpflug as the woman.

reception

  • Helmut Schödel at the Munich premiere: Yesterday in Flensburg in the " Zeit " of October 24, 1986.
  • According to Georg Hensel, Dorst did not lapse into realism with his play , rather the actor problems negotiated stood for life problems.
  • “A person who is not praised suffers”, Jan Strümpel expresses the all too human and hits the core of the piece with the reference to Feuerbach's “insatiable drive for validity”. In addition, Strümpel brings some interpretative approaches worth considering. For example, there is this analogy between religion and theater . What is meant is everything that points to the so-called equality of God of the director Lettau in the play. Feuerbach waited for Lettau like a deeply believer waiting for the miracle promised in Scripture. A believer like Feuerbach could not fall from the grace of Lettau, think the failing mime.
  • Bekes calls the assistant director arrogant.

literature

expenditure

Secondary literature

Web links

Remarks

  1. ↑ Gerhart Hauptmann : And Pippa is dancing! A glassworks fairy tale. Drama, first performance on January 19, 1906 in Berlin.
  2. ↑ Vasantasena or Das earthen Wägelchen : An ancient Indian play attributed to King Çūdraka, freely rendered by Michael Haberlandt .
  3. ↑ Gilles and Jeanne : Stage play in three parts by Georg Kaiser .
  4. ↑ The Ice Cream Man is Coming : Play in four acts by Eugene O'Neill .
  5. ^ Understanding creates suffering : Comedy in four acts by Alexander Sergejewitsch Gribojedow .

Individual evidence

Partly in Dutch and Spanish

  1. ↑ Edition used, p. 445, third entry
  2. ^ Johann Wolfgang von Goethe: Torquato Tasso. Leipzig 1790, p. 177. ( digitized versionhttp: //vorlage_digitalisat.test/1%3Dhttp%3A%2F%2Fwww.deutschestextarchiv.de%2Fbook%2Fview%2Fgoethe_torquato_1790%3Fp%3D185~GB%3D~IA%3D~MDZ%3D%0A~SZ%3D~ double-sided% 3D ~ LT% 3D ~ PUR% 3D )
  3. ↑ Edition used, p. 182, 10th Zvu
  4. ↑ Edition used, p. 1994. Zvo
  5. ↑ Dutch Ro theater
  6. ↑ Dutch Lou Landré
  7. ↑ Edition used, p. 209, 6th Zvu
  8. ↑ Edition used, p. 446, first entry
  9. ↑ Pitt Herrmann in the Sonntagsnachrichten ( memento of the original from March 4, 2016 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. Herne @1@ 2Template: Webachiv / IABot / www.sn-herne.de
  10. ↑ The game board
  11. ↑ Wolf Banitzki in Theater Reviews Munich: Shine and misery of a mime
  12. ^ Hensel in the afterword of the edition used, p. 437, 10th Zvu
  13. ^ Strümpel in Arnold, p. 64, 8. Zvo
  14. ↑ Strümpel in Arnold, p. 65, 7. Zvo
  15. ↑ Bekes, p. 72, 6. Zvo
  16. ↑ see also Eisenhans (film)
  17. ^ Spanish Teatro Camino