By William C. Reeve
Given that an account of each identified staging will require numerous volumes, Kleist on level is restricted to significant productions in Germany, Austria, and Switzerland that attracted greater than the standard press assurance, and to interpretations and variations open air the German-speaking international locations. Reeve provides a chronological degree background of every of the performs, starting with Die Familie Schroffenstein and finishing with Prinz Friedrich von Homburg. He additionally discusses the various difficulties confronted through a director trying to placed a Kleistian drama on degree, and pleads for larger knowing and cooperation among the tutorial and theatrical traditions.
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Additional resources for Kleist on Stage, 1804-1987
In fact, his own great comedy, Der Biberpelz (1893), owes much of its inspiration and tone to Der zerbrochene Krug. Although Hauptmann kept very closely to the original text and procured the services of some excellent actors, Julius Bab remarked about the production - still very successful by the standards of the day with thirty-five performances in 1913 alone - that it was "sehr amiisant in den Einzelheiten des Milieus, aber ... "17 Der zerbrochene Krug, the first Kleist drama to be translated into French (1884 by Alfred de Lostalot), was also the first to be performed in France, on 20 February 1904 in the Theatre Victor Hugo in Paris.
As Gustav Buchtenkirch has noted, "[der] Stil der Hamburger Biihne enthalt ... "7 When Friedrich Schmidt decided to produce the comedy, he soon concluded that it could not be introduced to Hamburg as it stood. He therefore reluctantly took it upon himself to adapt Kleist's masterpiece in order to make it more 25 Der zerbrochene Krug stageworthy by the standards of his day but to his credit he recognized that his version greatly weakened the poetic qualities of the original: "Sollf der Erfolg gelingen, so gait es, das Interesse und die Grenzen eines Aktes mit Sicherheit abzumessen, daher waren Kiirzungen unvermeidlich.
Becker war als Dorfrichter Adam vortrefflich, seine Mahlerey sehr passend. Demois. 24 Kleist on Stage Elsermann, die eigentliche plagende Erzahlerin, Jungfer Eve, hatte sich recht gut kostumiert. Richtig ergriff Hr. Unzelmann den Ton des Schreibers Licht, Mad. ], Gerichtsverwalter Herr Oels, Frau Brigitte Demois. Silie, der Bauer Ruprecht Hr. Wolff. This review also contains a different version of the spectators' reaction. "5 This led to a rupture in his relationship to Goethe, rumours of a duel, and the vindictively mocking allusion in Phobus to Goethe's delayed marriage to Christiane Vulpius.