Anyone
| Data | |
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| Title: | Anyone. The game of the rich man's death |
| Genus: | tragedy |
| Original language: | German |
| Author: | Hugo von Hofmannsthal |
| Publishing year: | 1911 |
| Premiere: | December 1, 1911 |
| Place of premiere: | Schumann Circus, Berlin |
| people | |
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Anyone. The play about the death of the rich man is a play by Hugo von Hofmannsthal , the December 1, 1911, Berlin Circus Schumann under the direction of Max Reinhardt premiered was. Ernst Stern designed the set for the premiere . Since 1920 the play has been performed every year at the Salzburg Festival founded by Reinhardt and Hofmannsthal .
The devil's last words after he didn't get the Jedermann :
- The world is stupid, mean and bad
- And violence always takes precedence
- Is someone honest, loyal and wise,
- Malice and deceit master him. (Exits.)
Following the example of late medieval mystery plays , Hans Sachs ' called by the dying rich people Hekastus (1549), the debt drama Hecastus (1539) of Macropedius and other dramatic arrangements from the early modern period ( Elckerlijc / Everyman , Homulus ) occur in everyone besides the Figures of God and the Devil also include death, mammon , faith and other abstract concepts as personifications . The wealthy everyone is unexpectedly confronted with death that wants to lead him before his Creator. Neither his loyal servant nor his friends nor his money want to accompany him to the grave. Only the appearance of his works and his faith lead him to profess Christianity and to go to the grave as a repentant convert.
content
When God sees that he is no longer valued on earth, he decides to remind people of his power again through death . He tells death to go to everyone's house and call him before divine judgment.
One day everyone orders the bailiff to bring him a sack of money so that he can pay for the property he wants to buy. He wants to create a pleasure garden there, which he wants to give to his passion . On the way there everyone meets a poor neighbor who asks him for money. But everyone gives him only one shilling. When the neighbor appeals to his Christian faith and wants more money because he was once rich himself, everyone sends him away.
Shortly afterwards, he meets one of his debtors who asks him to tear up his note of debt . But everyone refuses to do this and has him locked up. Everyone knows no mercy, but because the debtor's wife is crying so much, he agrees to pay her and her children maintenance and board.
After the meeting everyone loses the desire to visit the property for the pleasure garden and he decides to go to his fanatics. But hardly anyone leaves the house when they meet their mother. As is often the case, this tells him how he behaves towards God.
As soon as his mother has left him, he comes to meet him to pick him up for the festival that has been prepared for him. At the festival, however, everyone feels weak and sick and has strange appearances. No one can hear the ringing of bells that everyone hears. When he suddenly says he hears someone calling his name, they think he has a fever. But everyone has to do with the cruel reality. When he looks around, an unknown man stands behind him, who reveals himself to be dead and asks him to get ready for the last path. Only now does everyone become aware of his bad character, and he begs Death to give him only a short period of time so that he can find a friend who will come with him to God's judgment. After asking for a long time, death gives him an hour's respite.
First he asks his good friend, the journeyman, if he would like to do him a favor, because he has to travel a long way. The journeyman is ready to do him any favor, but when he hears that he should accompany him to the divine judgment, he refuses. The two cousins of Jedermann and their servants (servants) hardly act differently. Since he now feels abandoned by everyone, he at least wants to take his money with him into eternity. But Mammon comes out of his money chest and does not agree to go with him.
Now everyone is utterly lonely and close to despair. Then he hears a soft voice in the background calling his name. When he turns around, he sees a frail woman who tells him that she is his “good deed” and would like to accompany him to the afterlife. But it is too weak because he has always neglected it so much. But she is ready to ask her sister, the faith, for it.
Faith now points out to everyone the infinite love of God and advises him to ask the Lord for grace . Everyone seizes the last hope of salvation and tries to find God again after years of disbelief, with a monk helping him.
In the meantime the devil comes to fetch the guilty soul of everyone he is sure of and to drive to hell with it , but he has to see to his annoyance that it was snatched from him by the grace of God . A little later everyone returns completely clean and can now appear before God's judgment seat with a clear conscience, accompanied by faith and good works.
Emergence
Hofmannsthal used an English mystery play as a template: Everyman. A Morality Play , printed in London in the second decade of the 16th century. He also adopted elements from the comedy of the dying rich people by Hans Sachs as well as songs from medieval minnesang . A characteristic of the mystery play of the late Middle Ages is that not individuals appear, but personifications : for example the grim reaper , the mammon (money), the belief . The plot of the mystery play is therefore an allegory of the Christian world structure, before which man - "everyone" - has to answer. The Jedermann material was performed on the stage of the Benedictine University in Salzburg as early as 1632. The play with the title Anastasius fortunae pila, terrae piaculum, orci monstrum - "Anastasius, plaything of happiness, sacrifice of the world, diagram of hell" was written by Benedictine Father Thomas Weiss († 1651); University pedel Wolfgang Braumiller (1600–1683), a baroque star, shone in the title role .
Hofmannsthal's drama is entirely in verse; Because the number of unstressed syllables is not always the same, the meter is similar to the Knittel verse , which is typical of Middle High German and Early New High German poetry. Overall, the language has a Middle High German coloring. One can assume that Hofmannsthal wanted to create a kind of “imaginary language” here, as in the Rosenkavalier , which was created almost at the same time , which evokes a certain mood of the past without wanting to reconstruct it historically. Even the stage of the first production, a simple three-story structure, was based on the old English stage.
Rather, Hofmannsthal was concerned with creating a piece of time in which the present becomes visible in the past. The revival of the mystery play was an extraordinary attempt to renew the theater. He decided on allegory as a stylistic device because it was "in the idea of drama" to "condense the dissolving world being in such a way into fixed opposites" (1911). This makes allegory a timely means of making the confused world of the present understandable again in the first place.
Earlier versions
The Jedermann project dragged on for eight years. Hofmannsthal began with the first drafts in April 1903. An early version of the material from 1905 has been preserved; however, it is very different from the later piece. It was only finished in September 1911. Hofmannsthal writes that he had carried the material with him for years; in the end, the desire to do justice to the old material won out, "to let it go without interference, restore it without arbitrariness" (1911).
The version from 1905 is not in rhyme but in prose dialogues; even the language is not yet antiquated; the dialogues are kept in the high tone of Hofmannsthal's early work. The location of the game is clearly indicated: “A garden near Vienna”. Everyone is portrayed as "a wealthy homeowner", Mammon as his servant. The fragment consists of four dialogues, which Jedermann has with Mammon , Death ; who leads relatives and friends .
The fragment seems to reflect Hofmannsthal's own biographical situation very closely. He married in the summer of 1901 and moved into a house with his wife. He was financially independent thanks to his father's fortune. The first dialogue between everyone and the mammon reveals the relationship of domination between the two. Everyone quarrels with Mammon, his servant, whose service is unbearable to him.
Everyone's inner conflict between an insatiable thirst for life and inevitable impermanence is also central: “It is angry torment: I am there, I am a single life, and there is the world, sparkling up through the trunks, valley after valley. Not to be exhausted! And I, I'm dwindling, I'm already halfway there! ”When death wants to fetch him, everyone asks for a further lifetime, however not, as in the later version, to find accompaniment for the walk in front of his creator, but for himself, as death tells him to "comfort", to "learn to bear everyone and my face".
The reference to the death of Hofmannsthal's mother in 1904 is clear to her. The autobiographical Jedermann / Hofmannsthal's self-doubt applies to her: he remembers reading a “fearful, answerless question” in her eyes on his mother's deathbed, which was directed at him - but he had left the room. “(I) I must have been able to understand what her eyes were trying to say before dying. - If I have not understood it - what are we then living for - what then do we have eyes in our head and a mouth and a tongue and a brain and thoughts and feelings? "
The dialogue with the friend certainly alludes to the friendship with Stefan George , which by this point was almost destroyed. It begins as a nostalgic shared memory of "the splendor of our youth". Now it is time to make the “lush dreams” of youth come true; the dialogue ends with the break of friendship. One year later, in March 1906, Hofmannsthal and George were actually supposed to end their 15-year friendship.
Everyone at the Salzburg Festival
Jedermann premiered at the Salzburg Festival on August 22, 1920 in a production by Max Reinhardt . Reinhardt's idea was to perform the piece on the square in front of the Salzburg Cathedral , where after Hofmannsthal it seemed to have found its "natural place". The Middle Ages and the Baroque period, church and cemetery, monks and musicians seemed to be present here in the present:
“The marble five-meter-high saints, between which the actors emerged and then disappeared, looked like a matter of course, like a natural thing, the shouts of 'Jedermann' from the towers of the nearby church, from the fortress (Hohensalzburg) down, from the Petersfriedhof , like one It goes without saying that the roar of the big bells at the end of the game, the six angels stepping into the dawning portal, the Franciscan monks looking down from their tower, the clergy in the hundred windows of St. Peter's Monastery, the symbolic, the tragic, the funny as a matter of course , the music."
In bad weather, the performance moves to the Great Festival Hall, where the acoustic conditions are much better, but in the opinion of many observers the piece loses much of its effect.
Until 2001, the productions of the various directors - see below - adhered to Reinhardt's original concept, only Leopold Lindtberg deviated significantly from it. Since 2002, Jedermann has been shown in a modernized production by Christian Stückl , who in 2003 also introduced evening performances with artificial light. On August 5, 2003, the 500th performance of Jedermann took place as part of the Salzburg Festival. Since 2013, there has been a move from the Festspielhaus to the Domplatz before each performance.
The title role of Jedermann is seen in the theater world as an honor that is bestowed only on the most famous theater actors. The other roles in the play, especially those of affection, are traditionally top-class. Jedermann played at the Salzburg Festival:
- Alexander Moissi (1920, 1921, 1926–1931)
- Paul Hartmann (1932–1934)
- Attila Hörbiger (1935–1937, 1947–1951)
- Ewald Balser (1946)
- Will Quadflieg (1952-1959)
- Walther Reyer (1960–1968)
- Ernst Schröder (1969–1972)
- Curd Jürgens (1973–1977)
- Maximilian Schell (1978–1982)
- Klaus Maria Brandauer (1983–1989)
- Helmuth Lohner (1990–1994)
- Gert Voss (1995–1998)
- Ulrich Tukur (1999-2001)
- Peter Simonischek (2002-2009)
- Nicholas Ofczarek (2010–2012)
- Cornelius Obonya (2013-2016)
- Tobias Moretti (2017–)
- Philipp Hochmair (2018 [stepped in for the sick Moretti])
The following could be seen in Salzburg as a tribute:
- Johanna Terwin (1920, 1921)
- Dagny Servaes (1926-1937)
- Grete Zimmer (1946)
- Elf Gerhart (1947)
- Maria Becker (1948, 1949)
- Judith Holzmeister (1950, 1951)
- Lola Müthel (1952)
- Heidemarie Hatheyer (1953–1955)
- Martha Wallner (1956-1959)
- Sigrid Marquardt (1960)
- Ellen Schwiers (1961, 1962)
- Maria Emo (1963)
- Anna Smolik (1964)
- Eva Kerbler (1965, 1966)
- Nadja Tiller (1967, 1968)
- Christiane Hörbiger (1969–1972, 1974 [stepped in for Senta Berger, who was ill])
- Nicole Heesters (1973)
- Senta Berger (1974 [only the last performance on August 25], 1975–1978, 1980–1982)
- Christine Buchegger (1979)
- Marthe Keller (1983–1986)
- Elisabeth Trissenaar (1987–1989)
- Sunnyi Melles (1990-1993)
- Maddalena Crippa (1994-1997)
- Sophie Rois (1998)
- Dörte Lyssewski (1999-2001)
- Veronica Ferres (2002-2004)
- Nina Hoss (2005, 2006)
- Marie Bäumer (2007)
- Sophie von Kessel (2008, 2009)
- Birgit Minichmayr (2010–2012)
- Brigitte Hobmeier (2013-2015)
- Miriam Fussenegger (2016)
- Stefanie Reinsperger (2017, 2018)
- Valery Tscheplanowa (2019)
- Caroline Peters (2020)
The directors of the Salzburger Jedermann :
- Max Reinhardt (1920, 1921, 1926–1937)
- Heinz Hilpert (1946)
- Helene Thimig (1947–1951, 1963–1968)
- Ernst Lothar (1952-1959)
- William Dieterle (1960)
- Gottfried Reinhardt (1961, 1962)
- Leopold Lindtberg (1969–1972)
- Ernst Haeusserman (1969–1983)
- Gernot Friedel (1984-2001)
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Christian Stückl (2002–2004, 2007–2012)
- Martin Kušej (2005) and Henning Bock (2005, 2006), directors of the resumption of the staging of Stückl
- Brian Mertes and Julian Crouch (also stage) (2013-2016)
- Michael Sturminger (2017, 2018)
Further Jedermann performances
Ever since 1922, Jedermann has been performed in Mondsee in July and August. It is the dialect version of Franz Löser . This version has also been performed every three years since 1956 in Faistenau on the village square under the 1000-year-old linden tree.
From 1994 to 2018 the play was performed in a version by Michael Batz every summer in Hamburg in the " Theater in der Speicherstadt ". The piece has been played annually since 1999 in the courtyard of Fortress Hohensalzburg , and since 2001 in Bamberg Cathedral .
The Eduard-von-Winterstein Theater in Annaberg-Buchholz has played Jedermann every summer since 2011, with the exception of 2017, in front of the [St. Anne's Church]. Everyone is played by Nenad Žanić.
In 2014 Wismar also got its Jedermann . The piece is to be performed every summer in the church of St. Georgen . In the founding year Sascha Gluth played the title role, Charlotte Sieglin the Buhlschaft, Achim Wolff the Death and Andreas Conrad the Mammon. In the 2015 season, Sascha Gluth (Jedermann), Charlotte Sieglin (Buhlschaft), Robert Glatzeder (Devil) and Andreas Conrad (Mammon) starred again, while Reinhard von Hacht was new in the role of Death. Directed by Holger Mahlich .
2014 Berlin actor played Claudio Maniscalco to everyone at the Summer Festival of Clingenburg in Klingenberg am Main.
In September 2021, a Jedermann performance is planned under the title frauJEDERmann at the “birthplace” of the text in Rodaun . In the shadow of the Rodaun mountain church , Hugo von Hofmannsthal repeatedly worked on the text in his Garten-Salettl. In Rodaun, his original text is to be played in a modern staging, but everyone in 2021 is Frau Jedermann and the Buhlschaft a wooer.
Jedermann is also performed by a number of other theaters and amateur theater groups, some in dialect adaptations.
Historical productions
From 1925 to 1969, with a few exceptions, Jedermann was performed at the Schwäbisch Hall open-air theater , which was also called the Jedermann Festival until the Second World War . Since then, the piece has been played in the anniversary years of the festival, for example for the city's 850th anniversary in 2006, with a resumption in the following year. In 2019 there was a new production under Christian Doll , which was resumed in 2020.
In Berlin there were 1987 to 2014, the annual Berlin Everyman Festival . Brigitte Grothum directed the productions , she also took on the role of faith in all performances. The venue was first the Kreuzberg Südsternkirche , later the Marienkirche , but also the Gethsemane Church and the Kaiser Wilhelm Memorial Church . In 1993 Brigitte Grothum re- staged the Mystery Play with music by Johann Bach . Since then, the Berlin Cathedral has been the venue. Everyman played among other travesty Star Georg Prussian known as "Mary" , Glatzeder Winfried , Rüdiger Joswig and Francis Fulton-Smith , the role of Paramour took Mariella Ahrens (2008), the former figure skater Katarina Witt (2009), Eva Habermann (2010) as well as the television stars Barbara Wussow (2012) and Jeanette Biedermann (2013). Other well-known actors were Herbert Feuerstein in the role of the devil, Achim Wolff as Death and Ilja Richter as Mammon.
The Jedermann production of the Hinterwinkler Kulturbühne by Peter Willy Willmann († 2012) was seen in various locations in Austria and Germany from the 1990s, for around nine summers in the Brunnenhof of the Munich Residence , and in 2004 and 2011 at the Thurn und Taxis Palace Festival in Regensburg, 2005 at the Rheingau Music Festival and 2007 at the Mannheim Palace Festival. Willmann used his own, streamlined version of the text, played the main role himself and was increasingly able to attract well-known actors from film and television for the project - such as Christine Neubauer as Buhlschaft and Hanna Schygulla , Lis Verhoeven or Jutta Speidel as mother. The voice of God was spoken by Otto Sander . It was played in the historical costumes of the 1959 Salzburg production.
Editions of Jedermann
- The Mondseer Jedermann by Franz Löser
- Ein Jedermann , play by Felix Mitterer
- Jedermanns Fest , updated film adaptation by Fritz Lehner
- Six monologues from Jedermann , songs by the composer Frank Martin
- Incidental music by the composer Jean Sibelius
- Everyman , bestselling novel by Philip Roth , 2006
- Ene Mene Mu , play by Raoul Biltgen
- Jedermann , song by Georg Ringsgwandl
- The Franconian Everyman by Fitzgerald Kusz
- The Bavarian Jedermann by Oskar Weber
- Der Kurpfälzer (Nusslocher) Jedermann by Peter Nassauer
- Everyone by Werner Zwarte - freely based on v. Hofmannsthal
- The Hessian Everyman by Fitzgerald Kusz; in front of the cathedral
- Central German Jedermann by Bernd Kurt Goetz
- Jedermann - The rock opera by Wolfgang Böhmer and Peter Lund , DomStufen-Festspiele in Erfurt 2014
- The Perchtoldsdorfer Jedermann by Karl Leopold Schubert
In allusion to the title character, the German translation of the novel The Salzburg Connection (1968) by Helen MacInnes was also published under the title In Salzburg only everyone dies .
The Jedermann-Kalypso (musically a cover version of the then popular Banana Boat Song ), written by Gerhard Bronner and interpreted by Helmut Qualtinger , was published in 1958 and provides a satirical commentary on the marketing of Jedermann and unchanged performance. The Bavarian songwriter Georg Ringsgwandl published the song Jedermann on his album Das letzte (1986) , which describes contemporary contemporaries who correspond in character to the Hofmannsthal figure. Der Tod , a song by the group Erste Allgemeine Verunsicherung from the album Liebe, Tod und Teufel (1987), also refers to the piece.
literature
- Max Reinhardt : Director's book for Hugo von Hofmannsthal's "Jedermann". Volume I: Facsimile. Edited by the Salzburg Festival Fund. Volume II: Edition & Comments. Edited by Harald Gschwandtner, Evelyn Annuß, Edda Fuhrich and Norbert Christian Wolf for the Salzburg Festival Fund. Hollitzer Verlag, Vienna 2020 ISBN 978-3-99012-622-6 .
100 years of everyone at the Salzburg Festival
On August 22, 2020, the anniversary was celebrated with an "Everyman" day and an evening gala performance with Tobias Moretti in the title role - due to the corona pandemic under strict hygiene regulations. Austria’s Federal President Alexander Van der Bellen and his German counterpart Federal President Frank-Walter Steinmeier were guests.
See also
Individual evidence
- ↑ Christoph Brandhuber and Franz Witek: The first Salzburg “Jedermann”. In: Grazer Contributions, Journal for Classical Classical Studies, Vol. 27 (2010), pp. 91–129.
- ↑ Program archive of the Salzburg Festival ( Memento of the original from September 1, 2011 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. (Search for "Jedermann" results in performance dates and line-ups since 1946)
- ↑ a b orf.at - Buhlschaft ends again . Article dated August 30, 2016, accessed August 30, 2016.
- ↑ Bernhard Flieher & Hedwig Kainberger: Pneumonia : Moretti fails , Philipp Hochmair takes over "Jedermann". Salzburger Nachrichten , August 8, 2018, accessed on August 9, 2018 .
- ↑ Tscheplanowa becomes a new compassion. November 13, 2018, accessed November 13, 2018 .
- ↑ Caroline Peters is the "Centenary" of the Salzburg Festival. November 7, 2019, accessed November 7, 2019 .
- ↑ Julian Crouch . In: salzburgerfestspiele.at , accessed on June 6, 2013.
- ↑ Bernhard Flieher: Everyone has to learn to let go . In: salzburg.com , June 5, 2013, accessed June 6, 2013.
- ↑ orf.at: “Jedermann” is being re-staged . Article dated April 6, 2017, accessed April 6, 2017.
- ↑ hamburger-jedermann.de
- ↑ Everyone's performance by the Burgspiele association in the courtyard of the Hohensalzburg Fortress
- ↑ Jedermann Festival Wismar
- ↑ [1]
- ↑ Internet site of the Rodauner Jedermann Theaterproduktion frauJEDERmann.at, accessed on July 25, 2019
- ^ Philosophy on the website of the Schwäbisch Hall open-air theater .
- ↑ Schwäbisch Hall open-air theater: Summer 2020. Accessed on November 3, 2018 .
- ↑ Jedermann Festival in Berlin
- ↑ TrendJam Magazine: Berliner Jedermann Festspiele 2012 with Francis Fulton-Smith, Barbara Wussow, Ursula Karusseit and Herbert Köfer , October 8, 2012
- ↑ Berliner Jedermann Festival: [2] /
- ↑ Performance on May 7th and 8th, 2010 in the New Church in Emden [3] .
- ↑ Director: Wolfgang Kaus - Open Air - [4] - with Helmut Markwort , Ralf Bauer u. a. - 17-27. July 2010
- ↑ Central German Jedermann
- ↑ Reference to the author and this work, point 10.
- ↑ Salzburg celebrates 100 years of "Jedermann" with the Federal President. August 22, 2020, accessed on August 22, 2020 .
Web links
- Everyone at Zeno.org .
- Everyone in the Gutenberg-DE project
- Figure lexicon on Jedermann by Katharina Meiser in the portal Literaturlexikon online .