Muses (film)
| Movie | |
|---|---|
| Original title | Muses |
| Country of production | GDR |
| original language | German |
| Publishing year | 1981 |
| length | 105 minutes |
| Rod | |
| Director |
Cox Habbema (theater) Annelies Thomas (film) |
| production | Television of the GDR |
| camera |
Jürgen Gumpel Ina Kredewahn Hans Joachim Dobler |
| cut |
Veronika Rost Inge Riecke |
| occupation | |
| |
Musen is the GDR television recording created in 1981 of a studio production by Cox Habbema based on three one-act plays by Peter Hacks from 1979 .
action
Scene 1: In 1811, Johann Wolfgang von Goethe is in his study together with his long-time secretary Friedrich Wilhelm Riemer , also known as the “doctor”. When he hears footsteps in the hallway, he knows that it can only be his cook Charlotte Hoyer. But he does not want to face him, because his wife has just released her. Knowing that there will be trouble with the servant, he disappears into an adjoining room, not without instructing Riemer to knock three times on the door after the cook has disappeared. Charlotte engages the "doctor" in a conversation and mocks him when he speaks of himself in the plural, because he feels that he is on a par with the privy councilor. In order to reinforce a sentence, the cook has to knock three times on wood and uses the door behind which Goethe is standing. He thinks it's his secretary and goes back into the study. After Riemer has left the room, the cook and the privy councilor have a long conversation. Primarily it is about the menu that Goethe wants to agree on for his next reception. But the cook does not want to follow his instructions, especially she refuses to prepare frog legs. Since she also cleverly contradicts the poet prince in her unruly manner, the latter has no further option than to emphasize her resignation several times, which she is no longer interested in. Only Goethe cannot continue writing his Faust in his current condition.
Scene 2: Charlotte Stieglitz stands at the desk in her attic apartment on Berlin's Schiffbauerdamm and writes a farewell letter to her husband, the unsuccessful poet Heinrich Wilhelm Stieglitz . It is December 29th, 1834 and she is of the firm opinion that with her suicide she can help her wives to new inspirations, because the latter at times sinks into his self-pity and produces nothing more than phrase-like verses, but considers himself an important poet . Before Stieglitz, the friend of the house, Theodor Mundt , arrives , with whom she has a long conversation. But he does not notice anything of their affection, which can be seen in their words. But she is particularly impressed by Mundt's literary power, which she judges decidedly higher than that of her husband and what she also tells him. Before Mund's arrival, she had already taken the dagger she had once given her husband from the wall to kill herself with. In the course of the conversation she put it on the desk with the farewell letter. After Mundt said goodbye, her husband came soon after. While Charlotte takes the dagger and goes into an adjoining room, Stieglitz reads the farewell letter, which he doesn't understand at first. When the contents become clear to him and he finds his dead wife in the room next door, he goes back to the desk and begins to write without ceasing.
Scene 3: On July 8, 1864, Richard Wagner , the devoted pianist and conductor Hans von Bülow and his wife, Liszt's daughter Cosima, had a conversation in the salon of the Villa Pellet on Lake Starnberg . Hans von Bülow traveled to Wagner to support him despite his handicap, his right arm is paralyzed by a stroke. But Wagner received salvation from the greatest financial hardship and personal despair by being received by King Ludwig II . Wagner is not only the king's favorite composer, but also becomes his “fatherly” friend and advisor. What von Bülow also does not know is that Cosima von Bülow has been the composer's lover since last year and he does not recognize it either. Only when Wagner and Cosima no longer leave any doubts about their relationship through their behavior, he is taught better. But that is no reason for von Bülow to give up his original German loyalty to the great master of composition. For Wagner, for whom Cosima is only an episode, the situation changes when she explains to him that she is pregnant. Cosima deliberately controls the practical cementing of the liaison.
production
In 1979 Peter Hacks created his work Muses , which consisted of four scenes. The television broadcast was limited to three scenes. The full version was shown for the first time in 1983 at its stage premiere in Magdeburg.
The production design came from Heinz Wenzel and the costumes from Ute Rossberg and Karin Freitag was responsible for the dramaturgy. The recording, which was created in color, was first broadcast on October 13, 1981 in the first program of GDR television .
criticism
In the daily newspaper Neues Deutschland, Peter Hoff attached great importance to the fact that the three actors involved and the director played a major role in the success of the play. Furthermore, the set design and the costume supported the parodic line of the staging.
Mimosa Künzel from the Neue Zeit wrote that it was a sheer pleasure to hear the polished satirical dialogues. You could tell that Hacks himself felt pleasure in his flashes of inspiration. His dialogue escapades, his language is a daring mixture of ingenious exaggeration and a diction with formulations that the people can read from their mouths, even from the lowest box. The grotesque ideas, the witty and witty banter, the finely spun irony are astonishing.
Web links
- Muses in the online dictionary of GDR television
Individual evidence
- ↑ Neues Deutschland from October 17, 1981, p. 4
- ↑ Neue Zeit of October 16, 1981, p. 7