Theatrical stories
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| Title: | Theatrical stories |
| Original title: |
Theatrical stories through love Intrigue, money and stupidity A fool's passions |
| Genus: | Farce with singing in two acts |
| Original language: | German |
| Author: | Johann Nestroy |
| Literary source: | Olympia de Clèves by Alexandre Dumas père |
| Music: | Carl Binder |
| Publishing year: | 1854 |
| Premiere: | February 1, 1854 |
| Place of premiere: | Carltheater |
| Place and time of the action: | The action takes place in the first Act in a small provincial town, in the 2 th Act, 8 days later, in a capital city |
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Theatrical stories through love, intrigue, money and stupidity is a farce with singing in two acts by Johann Nestroy . The play was written in 1854 and had its world premiere on February 1 of the same year as a “benefit performance” for the poet.
content
Mathias Damisch, Philippines groom, absolutely wants to go to the theater. His role model is Stößl's son Conrad, who, however, has already left the theater disappointed and has become a painter. Damisch disregards Conrad's warnings and Philippines requests, although Stößl threatens:
- "[...] as council chief I will flash, as a pharmacist I have thunder, and as guardian I'll beat 'maybe." (I. Act, 2 te Scene)
Although his first stage appearance, in which he represented Spornhofer who had left, was interrupted by a thunderstorm, Damisch moved on with Schofel's troupe and fell in love with Rosaura. Conrad tries in vain, disguised as Rosaura, to drive this crush on him; only when she shows her selfishness does he go crazy. Damisch is therefore sent to a madhouse, where Schofel also seeks refuge in order to avoid the fee demands of his actors:
- "That is very easy; I'm word'n narrisch about all these misfortunes, and therefore, meld 'I am bey you. " (II. Act, 21 st Scene)
Maxner promises to pay the outstanding fees and to take over the troops. Damisch still cannot understand that his obsession with becoming an actor is nonsensical. Then Conrad discovers those present that Rosaura is his wife, from whom he absolutely wants to separate. Rosaura also agrees because, with the help of Inslbull, she has received a contract for a big city stage. Damisch now gives up and decides to return to Philippine and become a pharmacist. Maxner becomes the new director and promises Schofel:
- "You're no longer a director, but much better than you'll find my first comic you in future." (II. Act, 35 st Scene)
Factory history
After the failure of Secret Money, Secret Love, and despite the suburban audiences' new fondness for vaudevilles , Nestroy dared to present a Viennese comedy. Although this time, as so often, a French model served him, he created a very local farce. This time he stayed in a subject he knew all too well, the theater. A stage on the stage was the highlight of Act I, a smear theater was the milieu. Nestroy used this opportunity to pour out bitter irony on colleagues and the whole theater business. He put it in the mouth of the disappointed ex-mime Conrad:
- "[...] like every actor is a great mime who just lacks luck, never talent - just as no poet has ever written a bad play, but every victim has only been thrown by the actors - like every actress only art and Platonic and no other love feels - and how every chorister is a good girl - and how every dancer only accepts something because she has a 65 year old mother and a 4 year old sister - all of that - in a word, I got sick of it ". (I. Act, 4 th Scene)
After years of research, the source for Nestroy's work was the novel Olympia de Clèves by Alexandre Dumas the Elder .
The piece was initially performed very often - even during a guest performance in Berlin in 1854 - and was not forgotten until the later 19th century. An attempt to resume it in 1872 was unsuccessful.
Johann Nestroy played Mathias Damisch, Wenzel Scholz played Schofel, Alois Grois played Sebastian Stößl, Karl Treumann played pulpit player Werner. During his guest appearance in Berlin , Nestroy played Mathias Daemlich and Wilhelm Knaack played Sebastian Stössel (names of the characters adapted for this performance).
An original manuscript of Nestroy’s theater stories has not survived, only the censorship act is still available. However, an incomplete original manuscript exists under the title Eine Dummkopfs Passenschaften , a preliminary work for the final work, which for the most part is very close to the final piece. A few handwritten drafts of monologues and couplet stanzas are also kept.
Contemporary reception
The approval came from the audience, while the critics gave Nestroy's new piece mixed reviews.
The humorist of Moritz Gottlieb Saphir , who was often very critical of Nestroy, wrote on February 2, 1854 (No. 27, p. 106):
- “As a piece, the piece is under every consideration! Nothing about it. As a 'Mardi Gras parody', the thing has precious details, successful couplets, drastic scenes, and if you don't count on whether the boring English scenes kill a hundred comic scenes, you can indulge in the lust for laughter. [...] The house was packed and very animated. "
The Wanderer of the same day is different (No. 53, Morgenblatt):
- "But for this Nestroy has spread an abundance of his best humor over it, woven in rich, striking scenes, and especially with the reproduction of an arena whose imagination Jupiter Pluvius interrupts, has made a happy, lively and effective grip on life."
On February 5, Adolf Bäuerle's Wiener Theaterzeitung (No. 28, p. 26) particularly emphasized the great success of the “Cassastück” compared to other suburban stages . In the Austrian audience on February 8th (No. 11, p. 175) it was emphasized that the piece was “ just right for the great carnival season” . The farce was also referred to as "carnival joke " in the " Fremd-Blatt " , which excuses some things. In the Ost-Deutsche Post on February 2nd (No. 27) it was read that the work should rather be rated as “a student's work” , but it was very entertaining.
In the Wiener Zeitung on February 3rd (No. 29, p. 318) one read:
- “The new farce by Mr. Johann Nestroy, 'Theatrical stories through love, intrigue, money and stupidity', performed for the benefit of the author for the first time on Wednesday in the Carl Theater, has had a brilliant success and will undoubtedly be the same in a long one Assert the series of repetitions in full. "
Later interpretations
Otto Rommel thinks that this work is to be counted among the “plays of the last [creative] period”, it has, just like Nur keck! (1855) and free! (1857),
- "No other purpose than to give Nestroy and Treumann the opportunity to show themselves in as many different roles as possible."
As a result, the content tends to take a back seat, the focus is on the permanent swap of roles and costumes, so it can be described as a disguise farce.
Helmut Ahrens points out that the theater director Schofel was immediately recognized by the Viennese as a parody of the director Carl Carl , who is very frugal in terms of fees . He thinks it is astonishing that he nevertheless allowed the piece, but the expected financial success has convinced him. Nevertheless, these scenes would have a macabre aftertaste, because on August 2nd of this year the seriously ill Carl initially handed over his agenda to the actor Alois Grois, then died on August 14th in his summer vacation in Bad Ischl .
text
- Complete text on Project Gutenberg (accessed April 28, 2014)
literature
- Otto Rommel: Nestroy's works , selection in two parts, Golden Classics Library, German publishing house Bong & Co., Berlin / Leipzig / Vienna / Stuttgart 1908.
- Fritz Brukner / Otto Rommel: Johann Nestroy, Complete Works. Historical-critical complete edition, fourteenth volume, Verlag von Anton Schroll & Co., Vienna 1930.
- 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 .
- Jürgen Hein (Ed.): Johann Nestroy; Pieces 33. In: Jürgen Hein / Johann Hüttner : Johann Nestroy, Complete Works, Historical-Critical Edition. Youth and People, Vienna / Munich 1993, ISBN 3-224-16908-7 .
Individual evidence
- ↑ means Vienna
- ↑ Stössl - Viennese for mortar
- ↑ Damisch - Viennese for stunned, in a frenzy, also simple-minded, stupid; in Berlin performance of the name was changed to Stupid changed
- ↑ schofel = shabby, kinky
- ↑ concessioned = having a license to play
- ↑ Maxen - Viennese for money
- ↑ Theater master = chief of stage assistants
- ↑ Inspicient = employee who is responsible for the performance of the performance
- ^ Jürgen Hein: Johann Nestroy; Pieces 33. p. 8.
- ^ Jürgen Hein: Johann Nestroy; Pieces 33. p. 65.
- ^ Jürgen Hein: Johann Nestroy; Pieces 33. p. 81.
- ↑ Helmut Ahrens: I am not auctioning myself off to the laurel. Pp. 336-338.
- ^ Jürgen Hein: Johann Nestroy; Pieces 33. pp. 11-12.
- ↑ Chapter division and table of contents in Jürgen Hein: Johann Nestroy; Pieces 33. pp. 100-109.
- ↑ Facsimile of the two theater bills in Jürgen Hein: Johann Nestroy; Pieces 33. pp. 370-371.
- ↑ Lower Austrian Provincial Archives , No. PRnbsp; No 286 1854.
- ↑ Manuscript collection in the Vienna City Hall , call number IN 33.428.
- ↑ Manuscript collection in the Vienna City Hall, call numbers IN 33.430, 33.431, 33.444, 33.445, 36.791, 91.407, 99.487, 104.600, music collection, call number MH 9039 / c.
- ^ Jürgen Hein: Johann Nestroy; Pieces 33. pp. 176-184. (entire chapter contemporary reception )
- ↑ Arena = former name of an open-air theater
- ↑ Jupiter Pluvius = Juppiter as weather god, here as rainmaker
- ↑ the previous edition was "due to complaint of an article" drafted
- ^ Otto Rommel: Nestroys works, first part , S. LXXXII.
- ↑ Helmut Ahrens: I am not auctioning myself off to the laurel. Pp. 337-338.