Rodent and glove
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| Title: | Rodent and glove |
| Original title: | Nagerl and Glove or The Fates of the Maxenpfutsch Family |
| Genus: | New parody of a subject that has often been parodied in 3 acts |
| Original language: | German |
| Author: | Johann Nestroy |
| Literary source: | " Cinderella " (in Vienna "Cinderella") |
| Music: | Adolf Müller senior |
| Publishing year: | 1832 |
| Premiere: | March 23, 1832 |
| Place of premiere: | Theater an der Wien |
| Place and time of the action: | The action takes place partly in Maxenpfutsch's apartment, partly in Ramsamperl's palace and falls in the age of sorcery |
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Nagerl und Handschuh or The Fates of the Maxenpfutsch Family is a new parody of a subject often parodied in 3 acts by Johann Nestroy . The piece was written in 1832 and was first performed on March 23 of the same year as a benefit performance for Nestroy.
Nagerl refers to both the clove and the chanterelle ( chanterelle ) in Viennese . It is very likely that Nestroy chose the first version here, as a parodying counterpart to Rose and Schuh in the original title of the template.
content
As a secret messenger from Rampsamperl, Semmelschmarn comes to Maxenpfutsch's house, is thrown out as an alleged beggar by the imaginary daughters Hyacinthe and Bella, and pitying him with coffee. Rampsamperl, disguised as a stable boy, also appears. Although he is not yet in the mood to commit himself, according to his father's will, he must either marry or he will be disinherited. That's why he invites the whole Maxenpfutsch family to his palace for a party, but immediately falls in love with Rosa. Cap boots, disguised as Rampsamperl, lead all but Rosa into the castle, Semmelschmarn sinks Rosa into a magical sleep and brings her there too:
- “Child, I am a mighty being, don't judge by this broom.
- Just fall asleep there, / your awakening should be glad . " (Act I, Scene 14)
Hyacinthe and Bella argue who has the better chance of Rampsamperl. Cap boots announced that there would be a competition for his hand. Semmelschmarn wants to turn Rosa into a witty lady for the competition with the help of an enchanted rodent, but this makes her proud and conceited. But the enchantment can only be reversed if she voluntarily discards the rodent. In the girls' competition, Rosa wins, but since she believes she will have to marry cap boots, she throws the rodent away, leaves her glove in the hall and flees:
- “No, the unequaled booby / I can never reach out my hand;
- My mind / me lovingly draws towards someone else . " (Act II, Scene 12)
Semmelschmarn, also in love with pink, is hunted by Rampsamperl, but is able to escape while riding a dragon. Kappenstiefel discovers the daughters and father's deception, which he had to carry out on Rampsamperl's orders, but is supposed to marry one of the two. The lot decides for Bella, which is why Semmelschmarn advertises Hyacinthe at Maxenpfutsch's insistence. The two discover Rosa in the palace garden and want to chase her away, but they have to find out that she, of all people, should become the new mistress. Since the glove found only fits her, she becomes Rampsamperl's bride, whereupon her sisters and father immediately ingratiate themselves with her:
- Maxenpfutsch: “Do you see, my beloved child, the good results of a strict upbringing? Oh, I always knew that it would take another brilliant turn with you. " (Act III, Scene 10)
Factory history
Nagerl und glove is a parody of the Cinderella motif. The fairy opera Cendrillon by Nicolas Isouard has been performed in Vienna since 1810, and La Cenerentola by Gioachino Rossini since 1820 . The real reason for this parody, however, was Finette Cschenbrödel or Rose and Shoe, magic game with singing and groupings by Auguste Schreiber, actually the pseudonym of her husband Julius Ribics, premiered on April 23, 1830 in the Leopoldstadt Theater under the then director Ferdinand Raimund . It was the blending of a "local extravaganza" with the "poetic" fairy tale story and this has been the target of Nestroy's parody that he therefore take Rose and shoe as Nagerl (clove) and glove dubbed. In addition to this parody, he paints a sharp satire picture of the citizens of his time who were hungry for property and appearances.
Nestroy wrote the parody at the end of 1831, before the premiere of The Soulful Kerckermeister (February 7, 1832), but it was not premiered until March 23. A possible cause for this was an illness of director Carl Carl in October 1831, who after his return from the recreational stay in Salzburg wanted to perform again in November and had Nestroy write the parody of the ballet Adelheid von France . In the role of jailer Seelengutino, he was actually heavily acclaimed by the audience. Independently of this, he submitted the text for Nagerl and Glove to the censorship office for approval as early as 1831 .
Johann Nestroy played the Rampsamperl, Wenzel Scholz the Povernius Maxenpfutsch, Carl Carl the cap boot, Friedrich Hopp the Semmelschmarn, Ignaz Stahl the Wurler, Thekla Kneisel the Rosa, Eleonore Condorussi the Hyacinthe, Nestroy's partner Marie Weiler the Bella. The singing Fraulein and the Herald Pianissimo were missing from the theater bill, but Wurler was listed there. In the new production of the Carltheater from 1854, Nestroy played the cap boot , Karl Treumann the Ramsamperl (sic!), Alois Grois the Semmelschmarn and Elise Zöllner the Rosa.
On August 20, 1832 and May 22, 1854, Wenzel Scholz chose the piece for his own benefit performance, where he received stormy applause. Another successful performance took place on November 10, 1855 as a benefit for Elise Zöllner.
In Julius Ribics' play - in which his wife Auguste Schreiber also took part - Eleonore Condorussi played the Finette Cschenbrödel.
Nestroy's original manuscript has been lost, a copy by another hand with the censorship clause dated December 15, 1831 is in the theater collection of the Austrian National Library (signature Cth N 4b). On the title page, the original lily has been crossed out and replaced by Nagerl . The original score by Adolf Müller has been preserved in the music collection of the Vienna Library in the City Hall (signature MH 66).
The Potpourri Nagerl Waltz for the piano forte, arranged by Adolf Müller in 1832 based on motifs from the couplets , based on popular motifs from the parody Nagerl and Glove, composed by Adolph Müller, Kapellmeister (published by Anton Diabelli , Graben № 113), was one of the very few Pieces of music from Nestroy's works were a popular object for salon music of the time.
Contemporary reception
The reviews in the theater magazines were mostly positive and mentioned the excellent cast list.
The Viennese theater newspaper by Adolf Bäuerle , also later always benevolent to Nestroy, praised the benefit piece by the "good comedian" and the aforementioned trio of actors on March 26 (No. 61, p. 242) :
- “The appearance of Messrs Hopp, Nestroy and Scholz in modern women's suits is strikingly effective. Never before has such resounding laughter been heard in the theater as in this scene, and the hurray for it was stormy. [...] and Müller's music is very attractive. "
On March 27th, in a further review of this magazine, the ladies Condorussi and Weiler were named for their “practical and sensible” presentation of the two sisters and the latter also for the “quite brave performance of their aria in the second act” (quotations).
The collector of April 10, 1832 (No. 43, p. 172) confirmed that Nestroy's work was much better than the original by Schreiber / Ribics and named some actors separately:
- “The really wonderful shamrock Scholz, Carl and Nestroy plunged the audience from one whirl of laughter into the other, which culminated in the famous dance scene. Madame Kneisel (as Rosa) was also excellent and Dlle. Hamlet sang quite gracefully. The equipment was brilliant. "
The dance scene mentioned took place with the contenders for Ramsamperl's hand and was performed by the three protagonists in female ball costumes. However, the reviewer was wrong here, because not Mr. Carl, but Mr. Hopp was one of the "dancers".
The critic of the Viennese magazine for art, literature, theater and fashion wrote on April 5th (No. 41, p. 335 f.) A rather derogatory-sounding review in which he spoke about the poor understanding of culture among the public in the suburban theaters Thought:
- “We do not want to go any further about this parody, given the decided preference of the suburban public for such popularizations of serious objects, it would be very ill-advised to want to determine the essence and the limits of the parody. [...] She alone makes her laugh, and there was probably no one among the spectators who could not escape the stiff awkwardness of Hopp, the gigantic figure of Nestroy and the cherry-brown, stone face of Scholz, all three in the most modern female ball plaster, not at least for a moment Would have brought. Of course everyone is annoyed afterwards that something like this could happen to them, but he laughed. "
In the diary of the kk accounting officer ("Oberhoflandesjägermeisteramtssekretär") and chronicler Matthias Franz Perth (1788–1856) he wrote on March 26, 1832:
- “In the evening I visited the Schauspielhaus an der Wien. [...] The presentation was very successful and Mr. Scholz as Mr. von Maxenpfutsch /: Montefiascone: /, Hr. Carl as a groom /: Dandini: /, Mr. Hopp as the magician Semmelschmarn /: Magician: / like Mad. Kneisel as kitchen gretel /: Cinderella: / amused immensely. The latter stood out in particular with Mr. Nestroy, who gave the role of Mr. von Rampsamperl /: Prince: /, which he did not particularly like, through the successful performance of a very good Quodlibet. Also Dem. Weiler sang a bravura aria with applause. "
Later interpretations
Otto Rommel places the work in the category of those parodies “that use the magical apparatus” (quote). He also counted the magician Sulfurelectrimagneticophosphoratus , The soulful Kerckermeister , Zampa the day thief and Robert the Teuxel .
Helmut Ahrens notes that, just as after the premiere of the previous magic piece “The soulful jailer”, the Viennese press praised the actor Nestroy, but viewed the author much more critically. Nestroy's work was even more successful than the previous The Soulful Jailer . It filled the theater for weeks and kept coming back to new performances as long as Nestroy was alive.
The Austrian literary scholar Moriz Enzinger (1891–1975) calls this parody a “new accent that no longer targets a genre in a good-natured way” (quote). The journalist Otto Basil (1901–1983) appears
- "Kinky naively the piece as a historical theatrical event, we still see Wenzel Scholz, who entered as Nestroy Carl, already a popular local comedian, was the first time next to the poet in a body created by this role on stage." (Quote)
He sees this satire as such not only for a single work (by Ribics), but rather generally applied to fairy tales. The literary critic Otto Forst de Battaglia (1889–1965) assesses this early work by Nestroy in a similar way to these two mentioned ones, in which he could already recognize the characteristics of the later antics.
literature
- Helmut Ahrens: I'm not auctioning myself off to the laurel. Johann Nestroy, his life. Societäts-Verlag, Frankfurt am Main 1982, ISBN 3-7973-0389-0 .
- Fritz Brukner / Otto Rommel: Johann Nestroy, Complete Works. Historical-critical complete edition, third volume, Verlag von Anton Schroll & Co., Vienna 1925; Pp. 77-168, 437-472.
- Jürgen Hein / W. Edgar Yates : Johann Nestroy; Pieces 2 . In: Jürgen Hein / Johann Hüttner / Walter Obermaier / W. Edgar Yates: Johann Nestroy, Complete Works, Historical-Critical Edition. Jugend und Volk, Vienna / Munich 1993, ISBN 3-216-30343-8 ; Pp. 67-142, 275-451.
- Franz H. Mautner (Hrsg.): Johann Nestroys Komödien. Edition in 6 volumes, Insel Verlag , Frankfurt am Main 1979, 2nd edition 1981, 1st volume. OCLC 7871586 .
- Otto Rommel: Nestroy's works, selection in two parts, Golden Classics Library, German publishing house Bong & Co., Berlin / Leipzig / Vienna / Stuttgart 1908.
Individual evidence
- ↑ in the text, however, there is always act
- ↑ Rampsamperl , also Ramsamperl = in Viennese a restless, wanton young person (Franz Seraph Hügel: Der Wiener Dialekt , Vienna, Pest, Leipzig 1873)
- ↑ Semmelschmarrn = in Vienna a similar dish as the poor knight ( Peter Wehle : Do they speak Viennese? From Adaxl to Zwutschkerl. Verlag Carl Ueberreuther, Vienna / Heidelberg 1980, ISBN 3-8000-3165-5 ; p. 222.); here in the second meaning for something insignificant, nonsensical ( Viennese : Red 'kan' Schmarr'n! = You are talking nonsense!)
- ↑ rar = Viennese for rare, special
- ↑ fad = Viennese for boring, mindless
- ↑ Boots = Viennese for nonsense, nonsense
- ↑ Parodic allusion to senseless inventions, which cannot be further verified
- ↑ Poverinus also Povernius = from the French. pauvre , poor; Maxenpfutsch = Viennese for the money is gone (Peter Wehle: Do you speak Viennese? From Adaxl to Zwutschkerl. P. 202.); Maxen for money is probably derived from Maxd'or, a Bavarian gold coin by Elector Max Emanuel ago
- ↑ At that time, capitalist was understood to mean someone who can only live on the interest of his capital
- ↑ Küchengretl = younger kitchen staff; Gretl is the diminutive of Margarete
- ↑ maltreated, maltreated = badly treated
- ↑ wurl'n = Viennese for swarming around, making things important
- ↑ Confusionsrath = joking education: confusion advice
- ↑ first mentioned on the theater bill
- ↑ Peter Wehle: Do you speak Viennese? From Adaxl to Zwutschkerl. P. 208.
- ^ Hein / Yates: Johann Nestroy; Pieces 2 . P. 95.
- ^ Hein / Yates: Johann Nestroy; Pieces 2 . Pp. 122-123.
- ^ Hein / Yates: Johann Nestroy; Pieces 2 . P. 139.
- ^ Entry in Constantin von Wurzbach : Schreiber, Auguste . In: Biographisches Lexikon des Kaiserthums Oesterreich . 31st part. Imperial and Royal Court and State Printing Office, Vienna 1876, p. 279 ( digital copy ). (accessed on April 11, 2014)
- ^ Entry in Constantin von Wurzbach : Ribics, Julius . In: Biographisches Lexikon des Kaiserthums Oesterreich . 26th part. Imperial and Royal Court and State Printing Office, Vienna 1874, p. 9 ( digitized version ). (accessed on August 30, 2014)
- ^ Franz H. Mautner (ed.): Johann Nestroys Komödien. P. 314.
- ^ Hein / Yates: Johann Nestroy; Pieces 2 . Pp. 164, 172, 283.
- ↑ Facsimile of the theater slip in Hein / Yates: Johann Nestroy; Pieces 2 . P. 519.
- ↑ Facsimile of the theater slip in Hein / Yates: Johann Nestroy; Pieces 2 . P. 523.
- ↑ Urs Helmensdorfer: The song is a Proteus. Volume 1 of Vienna - Music and Theater, LIT Verlag Münster, 2010, ISBN 978-3-8258-0742-9 ; P. 166.
- ^ Brukner / Rommel: Johann Nestroy, Complete Works. Pp. 463-469. (for the entire chapter on contemporary reception )
- ↑ Dlle . or to the . was the abbreviation for Demoiselle (= Fräulein), the common name of the unmarried women of an ensemble at the time; the married actresses were titled Mad. (Madame)
- ↑ Entry in CERL Thesaurus
- ↑ Vienna Library in the City Hall, Volume XLII, p. 258 f.
- ^ Otto Rommel: Nestroys works. S. XXVI, XXX.
- ↑ Helmut Ahrens: I am not auctioning myself off to the laurel. Pp. 109, 121.
- ^ Hein / Yates: Johann Nestroy; Pieces 2 . Pp. 333-334.