Interlude (Schnitzler)
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Title: | Interlude |
Genus: | Comedy in three acts |
Original language: | German |
Author: | Arthur Schnitzler |
Publishing year: | 1905 |
Premiere: | October 12, 1905 |
Place of premiere: | Burgtheater , Vienna |
Place and time of the action: | Vienna, present |
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Interlude is a comedy in three acts by Arthur Schnitzler , which premiered on October 12, 1905 in the Burgtheater in Vienna. Composed between 1904 and 1905, the text was published by S. Fischer in Berlin in 1906.
time and place
The play takes place in Vienna in 1906.
title
The title is ambiguous. One alludes to the interlude in the Capriccio of the fourth symphony by conductor Amadeus Adams. And on another occasion , the interlude ironically hints at an interlude from the everyday marriage of the couple Cäcilie and Amadeus. The man breaks the marriage. It will most likely not be his last betrayal.
content
1st act
Amadeus Adams has a five-year-old boy with the internationally successful soprano Cäcilie Adams-Ortenburg. In the first act it becomes apparent that Amadeus has a relationship with the opera singer Countess Friederike Moosheim in Vienna. He is not aware of any guilt and agrees - with a slight hesitation on the part of Cecilia - to replace conjugal fidelity with friendship and complete truth towards the other. At the end of the day, the singer has a separate summer trip and a stay in Berlin, whereby she also has a potential lover with the figure of 26-year-old Sigismund, Prince of and to Maradas-Lohsenstein, who is only mentioned in the list. When asked, Cecilia gives an evasive answer. The couple split up and want to remain good friends.
2nd act
The second act begins with the return of Cecilia from Berlin, where she celebrated great success. Their return is accompanied by a rumor, a Viennese journal writes that Cäcilie had a relationship with Prince Sigismund in Berlin and that the two now wanted to marry. This makes Amadeus jealous. His affair with the countess is over, he wants his wife again. He sees a duel with the prince as the only way out. Cecilia, having returned home after a long absence, pours oil on the fire. Sigismund really followed her. They went to the Pergamenisches Museum together . But the duel that Amadeus wanted does not take place. Because Sigismund anticipates the conductor's seconds. The prince visits Amadeus and kindly suggests that he divorce him. Then the way would be free and he could fulfill his most ardent wish - marry Cäcilie. Amadeus rejects the request, but realizes that the two had no affair, but that it was only Cecilia's means to win Amadeus back.
3rd act
Amadeus confesses his love for Cäcilie and, with some force, persuades her to sleep with him again. But he only succeeds once, Cäcilie is convinced that he only fell in love with her all over again because she seemed a stranger to him. While Amadeus believes she would have remained loyal to him, she leaves it open that she did not sleep with Sigismund, but with others. Cäcilie appears to the viewer to be yielding after her new intercourse, but appearances are deceptive. The woman does not like to live in a marriage "where one cheats - and reconciles - and cheats again, depending on the mood". Amadeus has to object. Both he and she had given up after all. Amadeus now plays the lover, the protector of his wife. But Cecilia cannot come to terms with such a course of events: "We will not be divorced [...] We will divorce." Cecilia recognizes the big mistake in her marriage, which can no longer be saved. Amadeus is leaving. Cecilia stays behind with the little son, weeping softly.
Quotes
- "You should never tell people what they mean to you."
- "If possible, one should look at all living beings nearby."
- "If you have no obligations, there is nothing more to fear."
reception
structure
- "Interlude" is one of Schnitzler's pieces in which marital conflicts regarding infidelity are "carried out in a conversational tone". The viewer can only extract what is meant from what is said with difficulty, especially since unambiguous words are seldom used.
- Scheible: Schnitzler can make the sexual permissiveness of the two spouses more or less believable by taking two artists as man and woman. Amadeus is the weaker of the two spouses. First of all, the freedom he has given his wife ultimately arouses his desire, which ends freedom. And secondly, in contrast to Amadeus, Cecilia did not use her freedom. Amadeus cannot understand that.
comedy
- Sprengel is not sure whether the play is a comedy. Many a painful thing predominates. At most, the comments of the lyricist Albertus on the events of the pretended marriage are funny.
- Le Rider : For Schnitzler, freedom of movement in civil marriage and the emancipation of women are an illusion. In such patriarchal conditions, women usually submit to men or submit without contradiction. Nevertheless, the author puts a patriarchy in decline on the stage. Because Cecilia is the more discerning.
- Perlmann: Amadeus is not up to the freedom of movement in marriage that he advocated. After Amadeus has broken the marriage, he wants to own Cäcilie - whom he had generously released - again.
Quintessence
- Perlmann: Although Schnitzler does not offer a happy ending, he does at least offer the prospect of reconciliation. Scheible: Cäcilie is pretty sure that Amadeus cannot be faithful in the long run.
- Sprengel: The breakaway from the social role agreed by the spouses fails and leads to disguise.
literature
- Perlmann gives further leading positions (Swales 1971, Kilian 1972, Jon D. Green 1973 and Offermanns 1973).
filming
- "Interlude or The New Marriage". Directed by Gedeon Kovács . ZDF 1971. With Peter Weck , Erika Pluhar , Hans Putz , Senta Wengraf , Eva Kinsky and Wolfgang Hübsch .
Radio plays
Entries 95 and 96 in: Radio plays ( Memento from December 5, 2008 in the Internet Archive )
- "Interlude". First broadcast: June 2, 1992. Director: Klaus Gmeiner . ORF , BR , SFB . With Michael Heltau as Amadeus, Silvia Lukan as Cäcilie and Peter Wolfsberger as Sigismund.
- "Interlude". First broadcast in 1995. Director: Renate Heitzmann . DLR .
literature
source
- Arthur Schnitzler: Interlude. Comedy in three acts p. 411 to 489 in Heinz Ludwig Arnold (ed.): Arthur Schnitzler: Der einsame Weg. Time pieces 1891 - 1908. With an afterword by Hermann Korte . S. Fischer, Frankfurt am Main 1961 (2001 edition). 525 pages, ISBN 3-10-073558-7
First edition
- Arthur Schnitzler: Interlude. Comedy in three acts . 139 pages. Linen. Gold stamping. S. Fischer Berlin 1906
Secondary literature
- Willi Handl : Schnitzler and his "interlude". For the performance at the Burgtheater. In: Die Schaubühne , Vol. 1, No. 7, October 19, 1905, pp. 187–191. on-line
- Hartmut Scheible : Arthur Schnitzler. rowohlt's monographs. Rowohlt Taschenbuch Verlag, Reinbek near Hamburg, February 1976 (December 1990 edition). 160 pages, ISBN 3-499-50235-6
- Therese Nickl (Ed.), Heinrich Schnitzler (Ed.): Arthur Schnitzler. Youth in Vienna. An autobiography. With an afterword by Friedrich Torberg . Fischer paperback. Frankfurt am Main 2006. 381 pages, ISBN 978-3-596-16852-1 (© Verlag Fritz Molden , Vienna 1968)
- Michaela L. Perlmann: Arthur Schnitzler. Metzler Collection, Vol. 239. Stuttgart 1987. 195 pages, ISBN 3-476-10239-4
- Wolfgang Sabler: Modern and Boulevard Theater. Comment on the effect and the dramatic work of Arthur Schnitzler . Pp. 89-101 in: Heinz Ludwig Arnold (Ed.): Arthur Schnitzler. Publisher edition text + kritik, magazine for literature, issue 138/139, April 1998, 174 pages, ISBN 3-88377-577-0
- Peter Sprengel : History of German-language literature 1900 - 1918. Munich 2004. 924 pages, ISBN 3-406-52178-9
- Gero von Wilpert : Lexicon of world literature. German Authors A - Z . S. 555, 2nd column, 18. Zvu Stuttgart 2004. 698 pages, ISBN 3-520-83704-8
- Jacques Le Rider : Arthur Schnitzler or The Vienna Belle Époque . Translated from the French by Christian Winterhalter. Passagen Verlag Vienna 2007. 242 pages, ISBN 978-3-85165-767-8
Web links
- The text in the Gutenberg-DE project
Individual evidence
- ↑ Nickl, H. Schnitzler, p. 369, entry from 1905
- ↑ Source, p. 523, penultimate entry
- ↑ Source, p. 412 below
- ↑ Source, p. 422, 5. Zvo
- ↑ Source, p. 450, 2nd Zvu
- ↑ Source, p. 457, 11. Zvu
- ↑ Heike Söhnlein (Tübingen 1986), quoted in Sabler, p. 96, 21. Zvo
- ^ Korte in the afterword of the source, p. 520, 12. Zvo
- ↑ Scheible, pp. 88-91
- ^ Sprengel, p. 503 above
- ↑ Le Rider, pp. 115-116
- ↑ Perlmann, pp. 91-92
- ↑ Perlmann, p. 92 middle
- ↑ Scheible, p. 91 above
- ↑ Sprengel, p. 503 middle
- ↑ Perlmann, p. 107, 2. Zvo