Liliom

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Data
Title: Liliom
Original title: Liliom
Genus: play
Original language: Hungarian
Author: Ferenc Molnár
Publishing year: 1909
Premiere: December 7, 1909
Place of premiere: Vígszínház (Comedy Theater) in Budapest
people
  • Liliom
  • Julie
  • Marie
  • Mrs. Nutmeg
  • Luise
  • Mrs. Hollunder
  • Ficsur
  • The young elder
  • Wolf Beifeld
  • The turner
  • Linzmann
  • The city governor
  • Berkovics
  • The police concipist
  • An old policeman
  • Two police officers on horseback
  • The Breitensee policeman
  • Two detectives
  • doctor
  • Dr. rich
  • Stephan Kadar

Liliom is the title of the most famous play by the Hungarian playwright Ferenc Molnár , edited for the German stage by Alfred Polgar as a “suburban legend in 7 pictures and a scenic prologue ”. The world premiere was on December 7, 1909 in Vígszínház ( Budapest ), the first German-language performance in 1912 in the Lessing Theater in Berlin , the first successful performance on February 28, 1913 in the Theater in der Josefstadt in Vienna (in the German version by Alfred Polgar) .

content

Liliom is re- commander of a carousel in the Budapest City Park (in the German translation in the Vienna Prater ). He is employed by the carousel owner, Mrs. Muskat, and is her lover. When he falls in love with the maid Julie and Frau Muskat berates the maid with jealousy, he gives up his job because of her. The two get married and find an apartment in the shack of Schnell photographer Hollunder. There Julie complains to her friend Marie that Liliom is work-shy and even beats her. Although Liliom loves his wife, he often beats her out of grief over his unemployment and to hide his vulnerable feelings .

Liliom comes home with the underworld character Ficsur. He proudly refuses when Mrs. Muscat offers him his old position at the Ringelspiel again. The couple's distress becomes particularly pressing when Julie is expecting a child. Liliom is happy, but for the first time in her life she feels a sense of responsibility and has to look after his family. To find a way out, Liliom lets himself be seduced into a robbery on Linzmann, the cashier of a factory. According to Ficsur, Linzmann should walk past the embankment every Saturday at a certain time with 16,000 crowns. Liliom only had to ask the cashier what time it was and Ficsur would stab him from behind. Liliom takes Mrs. Hollunder's kitchen knife. While Liliom and Ficsur wait for their victim on the embankment, they play cards, and Liliom loses 9,600 kroner, more than his expected share. The plan fails, Linzmann draws a pistol and summons two mounted police officers to patrol nearby. Ficsur escapes, but Liliom stabs herself before being arrested. When he is carried on a stretcher into Frau Hollunder's studio, he can only say a few words to Julie about his failed life before he dies. Julie remains alone with the dead man and speaks to him tenderly.

Two "policemen of God" bring the dead before the heavenly suicide court, before which he finally has to confess that he killed himself out of love for Julie and the unborn child. After sixteen years of repentance, he is allowed to return to earth for a day to do good. On the way he steals a star for his daughter Luise. In the guise of a beggar, Liliom pretends to be a friend of the deceased before his family and tells his daughter, who has grown up, the bitter truth about her father until Julie expels the unrecognized guest of the house. When Liliom angrily slaps the girl's hand, she feels no pain. It is as if someone has caressed her hand lovingly. The heavenly detectives lead Liliom off, shaking her head. Now the girl asks her mother whether it is possible that such a violent blow would not hurt. Julie replies: "It is possible, my child, for someone to hit you and it doesn't hurt at all."

The author of the piece

Ferenc Molnár (1918)

On the occasion of the first performance of Liliom on December 7, 1909 in the Vígszínház Theater in Budapest, Franz Molnár was asked by the daily Magyar Szinpad ( Hungarian Stage ) to write an advance notice about Liliom in the section The Author about his play :

“Everyone has seen a shooting gallery in the city park. Do you remember how childish, how weird all the characters are? Poor, bad sign painters paint these figures the way they imagine life. I wanted to write the piece that way too. With the thoughts of a poor rocking fellow in the city park, with his imagination and his roughness. "

- Franz Molnár

Performance history

In addition to countless humores and satires, Franz Molnár had already brought out several works for the stage when, at the age of thirty-one, he decided one night in a Budapest café in New York to write his suburban legend Liliom. This favorite café of the writers was his preferred place of work. He wrote in "Siberia", as a bay extension in the splendid café was called, in the immediate vicinity of the military band, which played every evening; in twenty-one days the piece was finished.

The elegant premiere audience in Budapest's Vígszínház comedy theater on December 7, 1909 was used to light and amusing French fare; they mainly came to the theater to be able to admire the actors in the latest Parisian models. In Liliom, however, the popular actor Gyula Hegedűs suddenly appeared on stage as a suburban Hallodri in frayed trousers, an affront, as many found. Liliom was panned by the daily press - with a few exceptions. The Budapest audience at the time lacked an understanding of poetry on stage .

It was followed by the German-language premiere in the Lessing Theater in Berlin in 1912 after a broadcast by Alfred Polgar , which was also a failure.

The first successful performance (and also the breakthrough for Liliom ) was on February 28, 1913 in the Theater in der Josefstadt in Vienna. Polgar had translated the play into an Austrian idiom, moved it to the Vienna Prater and added a prologue to the Hungarian original, the director Josef Jarno played the title role, his wife, the popular popular actress Hansi Niese , played the Julie. This performance was followed by anthemic reviews, with Polgar's adaptation of the play between fairy tales and social drama , Liliom began his international triumph and was subsequently played from Berlin to Amsterdam and from London to New York .

The Italian opera composer Giacomo Puccini was so enthusiastic about Liliom that he asked Molnar if he would let him have the piece set to music. Molnár refused to agree on the grounds: “If you set my piece to music, everyone will speak of a Puccini opera. But it remains a piece of Molnár. "

The first setting as an opera was performed by the Austrian composer Johanna Doderer , premiered on November 4, 2016 in Munich by the State Theater on Gärtnerplatz .

In 1945, the piece served Richard Rodgers and Oscar Hammerstein II as a model for the successful Broadway - Musical Carousel (for which she also later by Elvis Presley and as a football anthem became known song You'll Never Walk Alone wrote).

Productions

Hans Albers as Liliom at the Hebbel Theater in Berlin in 1946

Liliom is one of the star roles for actors. Have embodied him u. a. Hans Albers (who played it over 1,800 times), Harald Juhnke , Charles Boyer , Max Pallenberg , Karl Paryla , Paul Hörbiger , Curd Juergens , Hans Putz , Heinz Conrads , Josef Meinrad , Karlheinz Hackl ; the Julie played u. a. Ingrid Bergman , Hanna Schygulla , Inge Konradi , Gertraud Jesserer , Martha Wallner , Andrea Clausen , Fritzi Haberlandt ; as ficsur one saw u. a. Helmut Qualtinger , Hugo Gottschlich , Heinz Petters and Hanno Pöschl .

1913 Theater in the Josefstadt Vienna. Director: Josef Jarno (world premiere of the Viennese version), with Josef Jarno as Liliom and Hansi Niese as Julie.

1922 Theater am Kurfürstendamm Berlin, with Max Pallenberg (Liliom), Lucie Höflich (Marie), Ilka Güning (Frau Muskat), Paul Morgan (Fiscur)

1931 Volksbühne Berlin , director: Karlheinz Martin (Berlin version), with Hans Albers and Therese Giehse as Frau Muskat; for Albers the waltz Komm auf die Schaukel, Luise (music: Theo Mackeben ; text: Albert Polgar ) was added. The play was deleted from the repertoire after 1933 due to the author's Jewish origin, whereupon Albers no longer took on stage roles. It was not until April 25, 1946 that Liliom had its premiere again at the Hebbel Theater in Berlin with Hans Albers in the title role, where he was on stage for the first time in 12 years. In 1948 Karl Heinz Martin staged the play again at the Die Auslese theater in Hamburg, again with Hans Albers. The critic Friedrich Luft celebrated Albers by taking everything disparaging from the term folk actor , which was favorably attributed to Hans Albers.

“One goes there to see him, to strengthen his unscrupulous self-confidence. Because Albers doesn't seem to know any difficulties with himself, he is always thoroughly satisfied with Hans Albers. He shines, first of all he likes himself, that's why people like him so much. Guys like him are a godsend because you would like to be yourself ... "

In 1940 Ingrid Bergman played Julie in an American production with Burgess Meredith . Liliom became a favorite in the repertoire.

1946 Bavarian State Theater, Theater im Brunnenhof. Production by Friedrich Ulmer , with Curd Jürgens (Liliom) and Christa Berndl (Luise) (premiere July 24, 1946)

1946 Burgtheater Vienna (in the Redoutensaal). Director: Philipp Zeska, with Paul Hörbiger (Liliom), Alma Seidler (Julie), Maria Eis (Frau Muskat), Kramer (Marie)

1951 performance with Curd Jürgens (Liliom) and Heidemarie Hatheyer (Julie)

1953 Vienna Volkstheater . Direction: Günther Haenel , with Hans Putz (Liliom), Martha Wallner (Julie), Hugo Gottschlich (Ficsur), Hilde Sochor (Marie), Dorothea Neff (Mrs. Hollunder), Walter Kohut (The Young Elder), Otto Schenk (Wolf Beifeld ), Ernst Meister (Stephan Kadar), Lotte Ledl (Luise), Oskar Wegrostek (City Governor)

1963 Burgtheater Vienna. Director: Kurt Meisel , with Josef Meinrad (Liliom), Inge Konradi (Julie), Hans Moser (Police Concipist), Susi Nicoletti (Frau Muskat), Lotte Ledl (Marie), Michael Janisch (Fiscur)

1971 Vienna Volkstheater . Director: Gustav Manker , with Hans Putz (Liliom), Elfriede Ramhapp (Julie), Hilde Sochor (Frau Muskat), Heinz Petters (Fiscur), Brigitte Swoboda (Marie), Franz Morak (The Young Elder), Carlo Böhm (Stefan Kadar ), Susanne Ganzer (Luise), Gustav Dieffenbacher (police concipist)

1972 Schauspielhaus Bochum , directed by Rainer Werner Fassbinder , with Liliom ( Wolfgang Schenck ), Julie ( Hanna Schygulla ), Marie ( Irm Hermann ), Frau Muskat ( Margit Carstensen ), Luise ( Jutta Wachsmann ), Fiscur ( Kurt Raab ), Frau Hollunder ( Ingrid Caven ), Der Junge Hollunder (Rudolf W. Brem), Wolf Beifeld ( Peter Kern ), Drechsler, Linzmann (Rainer Hauer), City Governor ( Ulli Lommel ), Berkovice (Karl von Liebezeit), Police Concipist (Margit Carstensen), 2 Police officers (Karl von Liebezeit, Ulli Lommel), Liliom in Heaven (Kurt Raab), El Hedi ben Salem (Engel); Music: Peer Ravens

“Liliom, a fairground crier with charm and vitality, plus a reckless and playful suburban Casanova, is giving up his position on a Paris fairground because of the maid Julie, who is expecting a child from him. At first overjoyed, he soon sinks into despair and lets a drinking buddy win him over for a robbery. When the coup fails, Liliom commits suicide while fleeing from the police. Two black-clad men escort him to the heavenly police station, where Liliom has his trial. Footage is shown as evidence showing how he slapped his wife for no reason. To do this, he has to suffer hellfire for sixteen years. Then he can go back to earth for a day to do something good for his grown daughter. He speaks to her as a stranger and describes her father, whom she never knew, as a good-for-nothing. When she refuses to believe that, he gets so excited that he slaps his child in the face in an uncontrolled manner. The devil triumphs, the angels have always known: Liliom is an incorrigible person! Another punishment threatens, but the tears of mother and daughter, which are meant for the memory of Liliom, fall on the scales of heavenly justice and are decisive in his favor. "

1974 Schauspiel Frankfurt , directed by Hans Neuenfels , with Gottfried John , Elisabeth Trissenaar , Lore Stepanek, Wilfried Elste, Eva-Maria Strien, Hermann Treusch , Christian Redl

1981 Bregenz Festival , director: Ernst Haeusserman , with Heinz Marecek (Liliom), Maria Bill (Julie), Dolores Schmidinger (Marie), Erni Mangold (Muskat), Michael Schottenberg (Ficsur), Hans Thimig (conceptualist)

1985/86 Volkstheater Wien , director: Dietmar Pflegerl , with Wolfgang Böck (Liliom), Ulrike Jackwerth (Julie), Katharina Manker (Marie), Wolfgang Böck was awarded the Karl Skraup Prize .

1986 Theater am Meer - Niederdeutsche Bühne Wilhelmshaven , first performance in Low German on November 7, 1986, directed by Harald Dornseiff, with Liliom ( Arnold Preuß ), Julie (Marion Zomerland)

1993 Burgtheater Vienna, director: Paulus Manker , with Karlheinz Hackl (Liliom), Andrea Clausen (Julie), Gertraud Jesserer (Frau Muskat), Maria Happel (Marie), Johann Adam Oest (Wolf Beifeld), Hanno Pöschl (Fiscur), Ingrid Burkhard (Mrs. Hollunder), Pavel Landovský (Stefan Kadar), Eva Herzig (Luise), Johannes Krisch (Heavenly Policeman), Haymon Maria Buttinger (Heavenly Policeman), Karl Fischer (Policeman), Markus Werba (Prater crier), Maxi Blaha (Prater visitor) and Kurt Meisel (who staged the play at the Burgtheater in 1963) as a police concipist.

2000 Thalia Theater . Director: Michael Thalheimer , with Peter Kurth (Liliom) and Fritzi Haberlandt (Julie), the production also became known because of the interjection from Klaus von Dohnanyi : "It's a decent piece, you don't have to play it like that!"

“Michael Thalheimer has so radically purged and defaced Molnár's fairground classic that nothing is left of all the beautiful Prater bliss, the Strizzi and maid sentiment. Instead of romance there is drastic, instead of tears sperm, instead of milieu smooth walls, instead of magic booths pictograms. But the miracle happens: Molnár's 'Liliom' survived the assassination attempt - and now looks as vital as if it were a piece by Büchner or Horváth. In the boned version, lightened by plenty of text and personnel, the wretched romance of the rowdy carnival crier turns into the bitter cold tragedy of two speechless human children who cannot be helped on earth or in heaven. "

2005 Schlossspiele Kobersdorf , director: Michael Gampe with Wolfgang Böck in the title role, Gerti Drassl as Julie and Peter Uray as the draftsman.

2007 Württembergisches Staatstheater Stuttgart , director: Karin Henkel , with Felix Goeser and David Bösch at the Schauspiel Essen with Günter Franzmeier in the title role.

2008 German National Theater Weimar . Director. Nora Schlocker , with Jürg Wisbach as Liliom and Karoline Herfurth as Julie.

2010 Schauspielhaus Graz , director: Viktor Bodó , with Jan Thümer (Liliom) and Kata Petö (Julie).

2010 Wiener Volkstheater , director: Michael Schottenberg , with Robert Palfrader as Liliom and Katharina Straßer as Julie.

2013 Schauspielhaus Bochum , director: Christina Paulhofer , with Florian Lange (Liliom) and Kristina Peters (Julie). Production with bumper cars and acrobats of the Bochum Capital of Culture project Urbanatix .

2013/2014 Burgtheater Vienna, director: Barbara Frey , with Nicholas Ofczarek (Liliom), Katharina Lorenz (Julie), Mavie Hörbiger (Marie) and Jasna Fritzi Bauer (Luise).

2019 Thalia-Theater , Hamburg, coproduction with the Salzburg Festival (premiere August 17, 2019), director: Kornél Mundruczó , with Jörg Pohl (Liliom), Maja Schöne (Julie), production with industrial robots.

Opera

2016 Staatstheater am Gärtnerplatz Munich, music by Johanna Doderer, libretto and direction Josef E. Köpplinger , world premiere on November 4, 2016 in the Reithalle Munich . With Daniel Prohaska (Liliom), Camille Schnoor (Julie), Angelika Kirchschlager (Frau Muskat), Cornelia Zink (Marie), Matija Meić (Ficsur), Katerina Fridland (Luise) and Dagmar Hellberg , Christoph Seidl , Maximilian Mayer , Erwin Windegger , Tamás Tarjányi as well as the choir, children's choir and orchestra of the State Theater on Gärtnerplatz.

ballet

2011 Hamburg State Opera , Hamburg Ballet , ballet by John Neumeier

Film adaptations

Reviews and texts

Friedrich Luft , April 27, 1946

“It is one of the great successes in New York, in Vienna, in Budapest, in Munich, in Hamburg - heaven knows where Liliom got hit on the boards. And always in the dress of the environment. Always in the jargon of the venue. Hans Albers makes the melody for Berlin. When he lets his wonderful, god-forgotten mouth run free and his tongue runs under his nose, the enjoyable parquet cheers. "

Otto F. Beer , 1979

Alfred Kerr , portrayed by Lovis Corinth (1907)
“Without a doubt, Liliom is more poetic than any other of his (Molnar's) stage works, at any rate it has resulted in a fruitful collaboration between the great stage magician Molnar and the great word artist Alfred Polgar. Because he translated Liliom into German and gave him a word form that was largely responsible for the survival of this 'suburban legend' on German stages "

Alfred Kerr , 1917

"As in a masterpiece that shakes, there is a trace of kitsch at its strongest point, there is a genius here in the midst of kitsch."

Alfred Polgar :

“'Liliom' is Franz Molnár's 'good work', which will testify for the poor literary sinner before the judge who decides on life or death after death. Liliom, the tramp, tries a robbery. Because he wants to create money for his unborn child. He obeys love. But not love as a gentle magic, but love as an inescapable law of nature. The beauty of this soulful poetry is that it depaths feelings. Here, good and bad are not moral categories, but: forces. As undistractable as the eternal stars, they determine, shape man's fate and build his inner world. Love is something given, equal to gravity or centrifugal force. Molnár's suburban legend speaks of the violence of her commands ... the touching thing about obeying her is just a poetic by-product (far less worthless).
The feeling level of the work is laid out by a line in which brutality and tenderness intersect. There it can happen that beatings don't hurt and that a wave of kindness sweeps up a murder plan. This irrational of the heart - shown in a simplest type of person in a simplest example - gives the game its higher ratio. The Berlin critics treated the piece arrogantly because it is not as boring, humorless and sweaty as the drama attached to it, whose pathetic rubbish will long have crumbled into nasty dust when people laugh and cry over Liliom's walk in earth and sky. I am involved in the formulation of the German “Liliom” text, but I still love the piece, feel self-conscious and, if the Berlin criticism is right, I wholeheartedly on the side of injustice. In 'Liliom' the poetic seed, sunk in black, fertile theater soil, has risen to a colored blossom. The little Budapest herb that grows out of the herb can exude its fine scent - c'est la nature! - do not cover up. There is air and light in this weightless game, his figurines, sculpted with the most witty meticulousness, have face and breath, his little world revolves according to its law and praises the creator. "

Felix Salten , 1921:

Felix Salten, ca.1910, photograph by Ferdinand Schmutzer
“In all of Molnár's witty comedies, in the many cleverly seen and skillfully 'caught' people he drives across the scene, in the dialectical curve of his dialogues, you can always feel one thing quite strongly: Budapest. You could also feel it in his personal being, whenever it pulsed through his works. You can feel it to an even higher degree in his suburban legend 'Liliom'. But you can feel it more pleasantly - better. It is one of his previous work, and it is one of his best. There is youth in it, freshness, and a strong root in the home soil. The whole, strange nature of this talent opens up in 'Liliom'. The special mixture of Molnár's skills. His inclination for the Capriccio, his passion for the baroque. His slipping into the unreal. His tendency to indulge in the fantastic without having any real imagination. Above all, however, its strange, dramatic clout, which is always bathed in a bit of irony, and with this irony protects itself from appearing banal. The comedy Lilioms, the hatchling, the record brother who caresses the maids outside in the city forest, who becomes a criminal out of ignorance of life, out of shame in front of his beloved and in front of the still unborn child who turns into a suicide, who then comes to a better afterlife in one, as his poor brain imagines, an afterlife with a police station and the like, which then returns to earth, soothed in purgatory, but not changed, and yet has the strength to deeply reconcile his bereaved, this Liliom comedy that half clinging to a well-known, well-described earth, half floating in a sky poor in imagination, already contains the whole of Franz Molnár.
With irony and yet with benevolence these little people are looked at from the depths of the people. When you see these maids in front of you Molnár bringing them onto the stage, you can tell that he has learned to understand them through one of his strongest qualities: through his sensuality. This instinct opens the way to such simple creatures for his poetic knowledge. He sees how they are good-natured and simple, and humble, and still innocent even when they fall. See their silent suffering and bravery. How intoxicated by their virtue and loosely devoted to their fate. He has an ironic smile for these poor creatures, but with a lot of affection and a lot of kindness. In his comedy he has an artistically strong grasp of folk characters. He doesn't sentimentalize them, but he shows their complexity with masterful touches. He makes them appear before us covered in the dust of poverty, the filth of vice. But suddenly, at some moment, he blows the dust away from them, and then a real, even a pure humanity shines movingly towards us. This Liliom, who is hired as a crier by the stallholders in the city park outside, because he attracts the women, this fellow who is a good-for-nothing in all his looks; in its essence has nothing of the criminal and the bad guy. He has gone astray, is lost, has never known anything else from existence than show booths, hats, ring games, organ casings and women who give him their money and their tenderness. He has no idea about this world, and in this he resembles some of the characters from Gorky, resembles Nikita from Tolstoy's 'Power of Darkness' in that he is a child. Molnár's Russian role models are most clearly visible in this figure. But in this character he again asserts his own style most vigorously. It is lovely how Liliom's severity cannot be tamed. He cannot be tamed. He hides his feelings very deep in his chest, still gives bold answers in the heavenly police office, denies nothing so vehemently as the love and repentance that he feels, and even after sixteen years of purgatory has so little changed in his way that he returned to earth for an hour, beating his daughter, to whom he wanted to do something beautiful. Nevertheless, he has shown her, has done something beautiful to his former companion. The woman he once mistreated now learns that one can be beaten without feeling pain. A wisdom of love. Molnár is able to direct his characters into an interesting perspective, even if sometimes, as in the last pictures of 'Liliom', it is not the Molnár perspective, but more reminiscent of Anatol France. In this piece he has a great art of atmosphere, he has a social feeling. And: talent, talent, talent. "

Trivia

literature

  • “Liliom” - the author about his piece (Franz Molnár); On the occasion of the “Liliom” premiere on December 7, 1909 in the Vígszínház Theater in Budapest, Franz Molnár was asked by the Theatertageblatt “Magyar Szinpad” (“Hungarian Stage”) to give advance notice of “Liliom” in the tried and tested category “The author about his play “To write. (from the Hungarian by Andrea Seidler), Burgtheater Vienna, program book 1993
  • Liliom ( Felix Salten ); from: Looking and Playing, Volume 2; Wila-Verlag, Vienna / Leipzig 1921
  • Franz Molnar - Liliom ( Alfred Polgar ); from: Kleine Schriften, Volume 5 (edited by Marcel Reich-Ranicki in collaboration with Ulrich Weinzierl ); Rowohlt-Verlag, Reinbek near Hamburg 1985.

Works by Molnár related to "Liliom":

  • The magician and the little maid , in: Kis hármaskönyv (Three in one), stories (from the Hungarian by Andrea Seidler). Franklin-Társulat, Budapest 1914
  • Epilogue to a suicide attempt , in: Ferenc Molnár, the laughing magician - satires, anecdotes, humoresques (ed. By Sandor Ujváry). Interbook-Vaduz, Munich 1965
  • Schlummermärchen , in: The confectioner's golden crown, short stories. German-Austrian publishing house, Vienna / Leipzig 1913

Individual evidence

  1. ↑ Quoted from: Burgtheater Wien, Programmbuch zu Liliom , 1993, edited by Paulus Manker , translated from the Hungarian by Andrea Seidler
  2. ↑ From drama to musical (Karin Dietrich); from Carousel , program booklet, published by the Staatstheater Darmstadt, Darmstadt, 2008
  3. ↑ Henning Rischbieter: "Misunderstood melodrama". Die Zeit , December 8, 1972.
  4. ↑ Homepage Theater am Meer: http://www.theater-am-meer.de/das-archiv/1980er-jahre/397-liliom
  5. ↑ Time. Quoted from http://www.musical-lounge.de/index.php?id=1663  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.@1@ 2Template: Toter Link / www.musical-lounge.de  
  6. ↑ Homepage Schloss-Spiele Kobersdorf: http://www.kobersdorf.at
  7. ↑ Friedrich Luft: Voice of Criticism: Berlin Theater since 1945 . Friedrich, Berlin 1965, p. 49.
  8. ^ Alfred Kerr: Collected writings: Das Neue Drama. Vol. 2. S. Fischer, Berlin 1917, p. 272.
  9. ↑ The world stage . NA Berlin 1978, 1st edition Weltbühnenverlag, Charlottenburg 1933, p. 147.
  10. ↑ Cf. Georg Kövary: The playwright Franz Molnár. Wagner - Universitätsverlag, Innsbruck 1984, p. 47f ISBN 3-7030-0141-0 .