Joseph Felix von Kurz

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Briefly on a copper engraving by Ferdinand Landerer , between 1763 and 1795, Herzog Anton Ulrich-Museum

Johann Joseph Felix von Kurz , known as Bernardon (born February 22, 1717 in Vienna ; † February 3, 1784 ibid), was an Austrian actor, playwright and impresario , who, due to his extraordinary acting skills , was known for his standing role of Bernardon and the so-called 'Bernardoniade ', a form of the impromptu comedy , became famous. Along with Josef Anton Stranitzky and Gottfried Prehauser, he is one of the most important and popular Viennese comedians and actors of the 18th century. His comedies are considered the highlight of the Viennese impromptu play.

Life

Johann Joseph Felix (von) Kurz was born on February 22nd, 1717 in Vienna. His parents were Felix (von) Kurz, known as " Comicus Felix ", a wandering theater principal and actor who originally came from Kempten , and Edmunda Kurz, known as the Felixin. His godparents were Josef Anton Stranitzky , the inventor of the Hanswurst and impresario of the Kärntnertortheater , and Johann Baptist Hilverding , also a comedian. "Comicus" Felix left Vienna in 1720, then played in Königsberg , and in 1724 in Breslau . In 1725, the father founded his own self-guided traveling troupe, which appeared between 1725 and 1730 as "Brno Comedians" in the winter in Brno and traveled around during the year (Moravia, Munich, Prague and Vienna). Further stations were Olomouc in 1726, Breslau in 1731 and Prague in 1734 and 1735. Until 1737 Johann Joseph Kurz took on children's roles in his father's theater performances.

Gottfried Prehauser as Hanswurst

In 1737 Kurz returned to Vienna and became an actor in the Kärntnertortheater, where he appeared alongside Gottfried Prehauser , Stranitzky's successor as the new Viennese Hanswurst, and Franz Anton Nuth , as a harlequin , and was engaged until 1740. Here he first played the second comic role, but within this period he developed his standing role Bernardon, which later formed the focus of his comedies and whose name became Kurz's second name.

In 1741, after the emperor's death in 1740 and the theater ban , Kurz traveled to Frankfurt with the Nuth couple, where they became a member of Gerwaldi von Wallerotty's troupe . Kurz received important impulses for the later composition of his own scenarios and pieces through his work with Wallerotty and the guest troupe Jean Baptiste Gherardis , a French principal. On the one hand, he came into contact with the French variants of the comic traveling theater , which were more strongly oriented towards the Commedia dell'arte . On the other hand, he also got to know Wallerotty's theatrical compositions. Wallerotty arranged his performances on the basis of scenarios that were based on the processing of templates, combined with interludes , dance, singing, machineries and fireworks, leaving plenty of room for impromptu play . Kurz's first own pieces also date from this period.

Kurz left Frankfurt in 1742, and in 1743 he performed with his father in Dresden. There he met the maid Franziska Toscani, whom he married on August 29, 1743. She performed with her husband from 1744. This marriage resulted in eight children who appeared in their father's children's roles and plays. The three elders, Anna Eleonora Theresia Franziska (* 1745), Bartholomäus Chrystophorus Josephus (* 1746) and Susanna Franziska Antonia (* 1747) were named in the theater's scenarios and payrolls.

From 1744 to the end of the 1752/1753 season, Kurz played again in Vienna at the Kärntnertortheater and now mainly performed his own pieces. In 1752, Empress Maria Theresa issued the “Norma” edict as part of her reform policy. As early as 1747, the reception of the Gottschedian theater reform - its banishment of the Hanswurst in favor of the 'regular', i.e. H. Dramas fixed in writing and not extemporated without a comic character and their rough nonsense - efforts for a Viennese theater reform in progress. The decree issued on February 17, 1752 aimed explicitly at the impromptu comedy as Kurz had developed it. In addition, it says: “All compositions by the so-called Bernardon [...] are forbidden for all time”. After this “ban”, Kurz “fled” from Vienna in 1753, played in Prague for the first time in 1753 and in Regensburg in the winter of 1753/1754. In 1754, however, he returned to the Kärntnertortheater. Maria Theresa's decree initially had little impact on theater operations. The "Bernardoniads" were too popular in aristocratic circles and Maria Theresa's husband, Franz Stephan von Lothringen , patronized the impromptu theater.

Between 1754 and 1760, Kurzen's “Bernardoniads” and his machine comedies were most popular in the Kärntnertortheater. Most of his surviving pieces date from this period, which is considered to be Kurz Bernardon's artistic heyday. As in 1751, Kurz cooperated with Joseph Haydn in 1758 , who composed the music for the new crooked devil , the score of which, however, is considered lost.

Kurz's wife Franziska died on July 14, 1755. On April 15, 1758 he married the dancer and actress Theresina Morelli . From then on she played the main female role Rosalba, written for her, alongside her husband as Bernardon.

From 1760, Kurz headed the Theater an der Kotzen in Prague until he was finally replaced as theater director in 1764. After a guest performance in Venice in the winter of 1763/1764, Kurz initially appeared occasionally in Prague, then in Pressburg and Nuremberg, until he was invited to Munich in 1765 and directed the Residenztheater there for a year . He gave a guest appearance in Nuremberg in the summer and autumn of 1766, then played in Mainz, Frankfurt, Mannheim and Cologne in the following years.

In 1768, Kurz and his wife Theresina separated, who took over the management of her own troop. After a reconciliation, both tried to re-establish themselves in Vienna in 1769. Kurz took over the management of the Kärntnertortheater for a short time. In the meantime , the Viennese theater landscape had changed in the course of the decades of smoldering " Hanswurst dispute ", which from 1760 was mainly carried out in the media, but also led to a gradual implementation of the reform of the popular comedy , and after the death of the famous extemporal comedian, ie especially Gottfried Prehauser and Friedrich Wilhelm Weiskern (1710–1768), largely displaced. With the reorganization of theater censorship by Joseph von Sonnenfels in 1770, the theater system was under state control, not only did the 'regular' dramatic texts have to pass the censorship before they were allowed to perform, the performances themselves were also checked to see whether the ban on extemporaries was observed.

In 1771 Kurz left Vienna and played in Breslau and Danzig. In 1772 he moved to Warsaw and took over the leadership of drama troops. The biographical facts of the last decade of life are sparse. There is evidence that after retiring from the stage, he managed the Warsaw theater and ran a paper mill. Kurz died alone in Vienna on February 3, 1784.

plant

In addition to 69 pieces or piece titles that have been handed down by name, a further 12 works can be ascribed briefly. In some cases, however, only the titles of the pieces and / or the arias have survived; very few were printed during their lifetime. In addition to 'regular' or later 'regular' comedies, Kurz wrote a travesty of the main and state actions with Die Getreue Prinzessin Pumphia as well as The New Crooked Devil , an “opera comique”, as the subtitle states, even if the dialogue part predominates . In addition to an interlude , the new crooked devil also contains a children's pantomime. These pieces also show the mixing and stringing of elements as a compositional principle that is characteristic of Kurz's own variant of the impromptu comedy.

Kurz achieved fame during his lifetime as an actor and theater writer, primarily through the role of Bernardon and the "Bernardoniade", a genre of the extemporized magic burlesque. In terms of theater history, Kurz-Bernardon's 'total theater' is considered the high point of the Viennese impromptu comedy and impromptu play. The "Bernardoniads" or machine comedies have been handed down as scenarios with comedy arias and songs. The approximate course of the performances can be reconstructed from the scenarios, for example the structure of the scene (the design of the stage) and the appearances of characters, sometimes also dialogues or dialogue sections are noted and instructions for improvised play are given.

Kurz's pieces are mostly built around the figure of Bernardon, his standing role. In contrast to the Hanswurst, for example, the Bernardon figure is not characterized by specific attributes, its origin, its profession, a constant type or a known constant costume. Rather, she has a transformative ability, diversity and role flexibility that the Bernardon role does not even define gender-specifically. In this respect, the Bernardon figure is characterized by its “shrewdness and lust for fun, deception and violence”, which the figure presents under the pressure of reacting to the circumstances of an uncontrollable game world. From a dramaturgical point of view, the figure functions as an “audience-effective actor” who also creates a connection between the scenes and episodes within the play. Due to Bernardon's ability to change and multiple roles, a continuous, identical stage presence of the character does not guarantee the connection between the Bernardon roles. A connection between the transformations is created by the same actor, i.e. Kurz, or the identical name of the character.

The “Bernardoniade” is a revue-like composition that remains formally open. She lines up scenes, episodes and transformations without following a logical development - in contrast to the historically earlier 'main and state actions', which with their interludes of the buffoon are “coherently organized according to the motifs of the love and state cabal”. A story is replaced by a theatrical event. Kurz not only combined different theatrical elements: ballet , pantomime , musical intermezzi, song compositions and various formal traditions: Singspiel , Commedia dell'arte, elements of Venetian opera , baroque opera and Jesuit theater , such as the theater machinery , allegory and the magic frame . Templates, motifs and set pieces of heterogeneous national origins, traditions and different languages ​​are also recombined.

Works

(Selection)

  • Turks and pirates ballets (1741)
  • Comoedie called: The Birth of Bernardons (before 1742)
  • The Jewish wedding or Bernardon the deceived cheater. A comical Singspiel in one act (1741)
  • Comoedie titled: Bernardon zu Sanct Marx (= Bernardon in the madhouse) (around 1742)
  • Comoedie titled: The honest Filou (1742/43)
  • Comoedie titled: Continuation of the Birth of Bernardons (1742–52)
  • Another continuation on Bernardon's birth titled: Der Todt des Bernardons (1742–52)
  • Comoedie called: Des Hanns-Wurst and Bernardon's terrifying women and boys pataille. Or the laughing bloody murder tragedy (version 1) (1744–53)
  • The new crooked devil. An opera comique of two acts plus a children's pantomime, titled: Arlequin, the new idol Ram in America (1751; printed 1758; digitized )
  • Comoedia titled: Columbina Bernardolin (1752)
  • Comoedia called: Hanns-Wurst, sorcerer for love or: The bewitched Tschihy (1752)
  • The burned magician Bernardon, living without wood. A comedy in three acts (1st version, printed in 1771; digitized version )
  • Comoedie: The Raging Zamor (1752)
  • Le Diable Marie, or Pelphegor the Married Devil, with Bernardon the Ambassadeur into the Underground Kingdom (1752)
  • Comoedie called: The Bernardon's life course (around 1753)
  • Comoedie called: The thrifty Bernardon, and his foolish housekeeping, Or: Bernardon the cat fool (around 1753)
  • Comoedie called: Bernardon the stupid successor of Doctor Faust (= Bernardon's journey to hell) (around 1753)
  • Comoedie called: Bernardon's Journey from Hell (around 1753)
  • Comoedie, or the other continuation of Bernardon's Journey to Hell; under the title: Bernardon's journey to his fatherland after Presburg (around 1753)
  • Comoedie called: Bernardon, the Weynende Amant, and Hanns Wurst the Coupler from Herod's wife Mariamne Princess of Jerusalem (around 1753)
  • Comoedie called: Bernardon the Silesian country nobleman (around 1753)
  • The wrong suspicion. A nachspill (= Bernardon, the innocent wrongdoer) (around 1753)
  • Comedy: Hanns-Wurst and Bernardon, the two heroic sons of the great knight Sacrapans, and brave liberators of Queen Lenorella, on the island of Lilliput (around 1753)
  • Comoedie titled: Bernardon, the volatile Mercurial spirit that emerged from a melting cone, together with a poetic prologue called: The Creut-weis bonded Cupid. Or the quarrel between the gods and goddesses about the innocently sued Bernardon Mercurium (around 1753)
  • Comoedie called: The divorced at the beginning, foolish in the middle, and divorced again at the end Bernardon, or the tyrannical Murat, King of Tripoli (around 1753)
  • Comoedie called: The eight times transformed Bernardon, and Hannß-Wurst the forced wood chopper (around 1753)
  • Comoedie titled: The foolish-jealous Bernardon (around 1753)
  • Bernardon the 30 year old A, b, c Schütz: or Hanswurst the rich builder and Pantalon the poor nobleman (and Colombina, the bonnet stapler who became happy) (1753)
  • Comoedie: Bernardon, who was again enthusiastic and animated, in addition to two pantomime children's ballets, under the title: The first who was revived by magical power and the work of the goddess Lachasis. The other, the fickle woman, or La fille Coquette (1754)
  • Comoedie called: Bernardon on the Gelsen-Insul or the Spatzen-Zauberey with the funny Regens Chori pantomime (1754)
  • Comedy: The Windmaker (1754)
  • A new tragedy, titled: Bernardon the faithful Princess Pumphia, and Hanns-Wurst the tyrannical Tartar-Kulikan. A parody in ridiculous verse. In addition to a children's pantomime, titled: Arleckin, the bridegroom made happy (1755, printed 1756; digitized )
  • Bernardon in the Seraglio (= The Dervish) (1755)
  • The three married Lehn-Laquais, or: The lost bet of Bernardons with Fiametta, the ridiculous sentinel according to the latest fashion (1755)
  • Comedy called: The three and thirty rascals of Bernardons, which are performed partly by him, but partly by his instigation by his brother Lucrino (around 1755)
  • The lover who turns deaf and mute against his will. A comedy, of two acts, in German verse with fourteen arias, which the Bernardon children introduced and which has never been performed here in the German language (1755)
  • Comedy: The ruined promise of Bernardons, in which a children's pantomime by dwarfs, along with poetry, and other ideas can be seen (1754-1758)
  • Comoedie: Bernardon the Hermit, and his unfortunate effort to see his bride at the goddess Diana. Operetta: Ormechus, a tyrannical lover of his son Cosroe. Pantomime: Bernardon's dream in the desert (around 1757)
  • New Comedy called: The Power of the Elements, or: The boozy family of Mr. Baron von Kühnstoks. Prologus: the stone brought to life. Operetta: The one who is lucky leads the groom home. Pantomime: The dissolute housekeeping of boozy cooks and spooned loafers (1757/58)
  • Comoedie: Bernardon's happy marriage, along with a children's pantomime, titled: Bernardon's happy dream (1758)
  • Comoedie titled: Bernardon's marital status, along with a pantomime performance (The shepherd Coridon, who is never content to himself) and a comedy by the Bernardon children (What kind of folly cannot jealousy do) (around 1758)
  • New Comedy: The innocence protected by Minerva, or the union of their love gods (around 1758)
  • Comoedie titled: The supposed murderer of his own person (around 1758)
  • Comoedie: Das Verhexte Tschihy, or Hanns-Wurst, the witch master out of love (around 1758)
  • Comoedie called: Colombina Maga (around 1758)
  • Comoedie titled: The possessed house of Pantalon (around 1758)
  • Bernardon and Bernardina, the two equals in two genders, or the stolen and finally happy twins (after 1758)
  • The terrifying, appalling and bloodshed women and boys Bataille des Bernardons and Hanns-Wursts (2nd version, after 1758)
  • The European laundry girl with Bernardon, the arrogant peasant judge's son and groom buried alive. Or: the faithful Jakerl and the constant Klumperl, otherwise called: The amorous rehearsal of Mehmets Bassa of Algiers. (after 1758)
  • Comoedie: The five little air spirits, or: The wonderful journeys of Hanns-Wurst and Bernardons to Hungary, Italy, Holland, Spain, Turkey and France (1758–1760)
  • Comoedie: Bernardon the drunk governess (1760–1763)
  • Comoedie: The Life and Death of the Conjuring Circe (1760)
  • New Comedy: The noble Cammer servant and the stubborn woman in love in mourning. Or: The dispute between revenge, love and high birth (1760)
  • Bernardon the Frightened Impressarius or: The Failed Rehearsal (1763/64)
  • New comedy: The island of common sense. Wobey Fiametta and Bernardon present the miracle of an unsophisticated nature. With Hannswurst, Count von Gerstenschleim, who pretends to be three times (1764)
  • Comoedie: The deified Bernardon (= the test of true persistence) (1764)
  • The Jewish Wedding or Bernardon the Deceived Cheater (Singspiel version) (around 1766)
  • Le mercure Galante, or The sword turned into a pen. With Odoardo, his son's ignorant rival, and Bernardon the Camelion in a six-serley form (around 1766)
  • Germany exulting in the realm of joy (1767)
  • La Serva Pardona. The servant of a woman, or the four unequal marriages, a new comedy with 17 of two sections in verses, arietas and duets, together with a chorus, drawn from an Italian interlude (1768; digitized version )
  • The exulting shepherds. A musical prelude in one act (1768)
  • The restless wealth. A comedy in three acts (1770; digitized )
  • Pantomimic Singspiel: Die Herrschaftskuchel in the country, with Bernardon the fat mouth cook, or: The boozy cooks and the parlor girls in love (1770; digitized )
  • The island of the savages or the fickle island woman with Arlequin, the king of the island of Chaleley who was made an idol by a magician (1770)

Text output

  • Johann Joseph Felix von Kurz: A completely new comedy ... Selected Bernardoniads and comedies (= texts and studies on Austrian literary and theater history. Vol. 3). Edited by Andrea Brandner-Kapfer. Lehner, Vienna 2010, ISBN 978-3-901749-79-7 .
  • Andrea Brandner-Kapfer: Johann Joseph Felix von Kurz: Das Komödienwerk. (Historical-Critical Edition). Graz 2007 (Graz, university, dissertation, 2007).
  • German arias, which were sung at the imperial-privileged Viennese theater in variously produced comedies, the title of which was here printed every time. Cod. Ms. 12706–12709 of the Vienna National Library (= Museion. Publications from the National Library in Vienna. First editions and reprints. Vol. 2, ZDB -ID 251503-9 ). Edited by Max Pirker with an introduction and comments. 2 volumes. Strache, Vienna et al. 1927–1929.
  • Otto Rommel (ed.): Die Maschinenkomödie (= German literature. Collection of literary art and cultural monuments in development series. 13: Baroque. D: Baroque tradition in the Austrian-Bavarian folk theater. Vol. 1, ZDB -ID 1171428-1 ). Reclam. Leipzig 1935.
  • Joseph Anton Stranitzky : Hanswurstiaden. A century of Viennese comedy. Edited and with an afterword by Johann Sonnleitner. Residenz-Verlag, Salzburg et al. 1996, ISBN 3-7017-1028-7 .

literature

  • Ulf Birbaumer: The work of Joseph Felix von Kurz-Bernardon and its scenic realization. An attempt at genealogy and dramaturgy of the Bernardoniad (= dissertations of the University of Vienna. Vol. 47, 1–2, ISSN  0379-1424 ). 2 volumes. Notring Verlag, Vienna 1971 (Vienna, University, dissertation, 1969).
  • Maria Laura Ferrari: Between the fair and the academy. Kurz-Bernardon and the reform of the German theater in the 18th century. Translated by Ingrid Eyer. In: Yearbook of the Vienna Goethe Association. Vol. 92/93, 1988/1989, ISSN  0250-443X , pp. 193-208.
  • Hilde Haider-Pregler : The Viennese way to the KK-Hof- and Nationalschaubühne. In: Roger Bauer, Jürgen Wertheimer (ed.): The end of the impromptu play - the birth of the national theater. A turning point in the history of European drama. Fink, Munich 1983, ISBN 3-7705-2008-4 , pp. 24-37.
  • Hilde Haider-Pregler: The moral citizen's evening school. Educational claim and educational mandate of professional theater in the 18th century. Youth and Volk, Vienna et al. 1980, ISBN 3-7141-6552-5 .
  • Joseph Kürschner :  Briefly, Joseph Felix . In: Allgemeine Deutsche Biographie (ADB). Volume 17, Duncker & Humblot, Leipzig 1883, pp. 426-428.
  • Anna Hilda Matzner: Review of the materials for the biography of Josef Felix v. Short. Vienna 1937 (Vienna, University, PhD dissertation, 1937, (typewritten)).
  • Karl Goedeke , Edmund Goetze: Outline of the history of German poetry from the sources. 2nd Edition. Ehlermann, Leipzig 1893, vol. 5, pp  303http: //vorlage_digitalisat.test/1%3D~GB%3D~IA%3DGoedekeGrundrissZurGeschichteDerDeutschenDichtung-2-5~MDZ%3D%0A~SZ%3Dn312~doppelsided%3D~LT%3D303~PUR%3D -308.
  • Beatrix Müller-Kampel: Hanswurst, Bernardon, Kasperl. Fun theater in the 18th century. Schöningh, Paderborn et al. 2003, ISBN 3-506-75812-8 .
  • Beatrix Müller-Kampel: Forbidden, expelled, forgotten. The total theater of Joseph Felix von Kurz using the example of the Bernardoniad “The five little air spirits”. In: Edward Białek, Manfred Durzak , Marek Zybura (eds.): Literature in the witness stand. Contributions to German-language literary and cultural history. Festschrift for Hubert Orłowski (= Opole Contributions to German Studies . Volume 5). Lang, Frankfurt am Main et al. 2002, ISBN 3-631-39495-0 , pp. 453-496.
  • Ferdinand Raab: Johann Joseph Felix von Kurz called Bernardon. A contribution to the history of German theater in the XVIII. Century. Edited from the estate by Fritz Raab. Rütten & Loening, Frankfurt am Main 1899, ( digitized ).
  • Josef Wolfgang Rademaker: "Johann Joseph Felix von Kurz, called Bernarden - Traveler of Hell, Mainz 1999 (Mainz, Johannes Gutenberg University, phil. Dissertation, 1999)
  • Otto Rommel: The old Viennese folk comedy. Your story from the baroque world theater to Nestroy's death. Schroll, Vienna 1952.
  • Gertraude Wilhelm:  Briefly, Joseph Felix. In: New German Biography (NDB). Volume 13, Duncker & Humblot, Berlin 1982, ISBN 3-428-00194-X , p. 335 f. ( Digitized version ).
  • Constantin von Wurzbach : Bernardon (von Kurz, Felix) . In: Biographisches Lexikon des Kaiserthums Oesterreich . 1st part. University book printer L. C. Zamarski (formerly JP Sollinger), Vienna 1856, p. 324 f. ( Digitized version ).

Web links

Remarks

  1. ↑ Andrea Brandner-Kapfer: curriculum vitae of Johann Joseph Felix von Kurz. In: Johann Joseph Felix von Kurz: A whole new comedy. 2010, p. 449; see also: Ferdinand Raab: Johann Joseph Felix von Kurz called Bernadon. 1899, p. 1 f.
  2. ↑ Andrea Brandner-Kapfer: curriculum vitae of Johann Joseph Felix von Kurz. In: Johann Joseph Felix von Kurz: A whole new comedy. 2010, p. 449; Raab: Johann Joseph Felix von Kurz called Bernadon. 1899, pp. 2-4.
  3. ^ Raab: Johann Joseph Felix von Kurz called Bernadon. 1899, pp. 5-16, especially pp. 5, 12 f.
  4. ^ Raab: Johann Joseph Felix von Kurz called Bernardon. 1899, pp. 16-19.
  5. ↑ Andrea Brandner-Kapfer: curriculum vitae of Johann Joseph Felix von Kurz. In: Johann Joseph Felix von Kurz: A whole new comedy. 2010, pp. 450-452.
  6. ↑ Andrea Brandner-Kapfer: curriculum vitae of Johann Joseph Felix von Kurz. In: Johann Joseph Felix von Kurz: A whole new comedy. 2010, p. 453 f .; also: Raab: Johann Joseph Felix von Kurz called Bernardon. 1899, p. 33 f.
  7. ^ Haider-Pregler: The moral citizen evening school. 1980, pp. 269-350.
  8. ↑ Quoted from: Karl von Görner: The Hans Wurst dispute in Vienna and Joseph von Sonnenfels. Konegen, Vienna 1884, p. 4 (source possibly uncertain).
  9. ↑ Müller-Kampel: Forbidden, expelled, forgotten. In: Edward Białek et al. (Ed.): Literature on the witness stand. 2002, pp. 453-496, here p. 474.
  10. ^ Haider-Pregler: The moral citizen evening school. 1980, p. 270.
  11. ↑ Müller-Kampel: Forbidden, expelled, forgotten. In: Edward Białek et al. (Ed.): Literature on the witness stand. 2002, pp. 453–496, here SS 470–474.
  12. ^ Raab: Johann Joseph Felix von Kurz called Bernardon. 1899, pp. 91-124.
  13. ↑ To Kurz 'collaboration with Haydn: Andrea Brandner-Kapfer: curriculum vitae of Johann Joseph Felix von Kurz. In: Johann Joseph Felix von Kurz: A whole new comedy. 2010, pp. 462-464.
  14. ^ Raab: Johann Joseph Felix von Kurz called Bernardon. 1899, pp. 124-175.
  15. ^ Raab: Johann Joseph Felix von Kurz called Bernardon. 1899, pp. 175-179.
  16. ^ Müller-Kampel: Hanswurst, Bernardon, Kasperl. 2003, p. 159.
  17. ^ Haider-Pregler: The moral citizen evening school. 1980, pp. 345-348.
  18. ^ Raab: Johann Joseph Felix von Kurz called Bernardon. 1899, pp. 179-184.
  19. ↑ Müller-Kampel: Forbidden, expelled, forgotten. In: Edward Białek et al. (Ed.): Literature on the witness stand. 2002, pp. 453-496, here p. 468.
  20. ^ Müller-Kampel: Hanswurst, Bernardon, Kasperl. 2003, p. 40.
  21. ↑ Müller-Kampel: Forbidden, expelled, forgotten. In: Edward Białek et al. (Ed.): Literature on the witness stand. 2002, pp. 453-496, here p. 468.
  22. ^ Müller-Kampel: Hanswurst, Bernardon, Kasperl. 2003, p. 36.
  23. ↑ On the variety of roles: Birbaumer: The work of Joseph Felix von Kurz-Bernardon and its scenic realization. 1971, Vol. 2, pp. 406-455.
  24. ^ Müller-Kampel: Hanswurst, Bernardon, Kasperl. 2003, p. 93.
  25. ^ Müller-Kampel: Hanswurst, Bernardon, Kasperl. 2003, p. 93.
  26. ^ Müller-Kampel: Hanswurst, Bernardon, Kasperl. 2003, pp. 82-84.
  27. ↑ Müller-Kampel: Forbidden, expelled, forgotten. In: Edward Białek et al. (Ed.): Literature on the witness stand. 2002, pp. 453-496, here p. 468.
  28. ^ Müller-Kampel: Hanswurst, Bernardon, Kasperl. 2003, p. 37 and p. 145; Birbaumer: The work of Joseph Felix von Kurz-Bernardon and its scenic realization. 1971, Vol. 2, p. 469.
  29. ^ Müller-Kampel: Hanswurst, Bernardon, Kasperl. 2003, p. 65; Birbaumer: The work of Joseph Felix von Kurz-Bernardon and its scenic realization. 1971, Vol. 1, pp. 33, pp. 39-41.
  30. ↑ The selection follows: Andrea Brandner-Kapfer in: Johann Joseph Felix von Kurz: A whole new comedy. 2010, pp. 449-481.
personal data
SURNAME In short, Joseph Felix von
ALTERNATIVE NAMES In short, Johann Joseph Felix von (full name); Bernardon
BRIEF DESCRIPTION Austrian actor, theater writer and impresario
DATE OF BIRTH February 22, 1717
PLACE OF BIRTH Vienna
DATE OF DEATH February 3, 1784
Place of death Vienna