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Die Bühnengeschichte Des Goethe'schen Faust (Classic Reprint)

Die Bühnengeschichte Des Goethe'schen Faust (Classic Reprint)

          
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About the Book

Excerpt from Die Bühnengeschichte des Goethe'schen Faust

So bekamen schon die Scenen, die in diese fruhe Zeit zurückreichen, etwas in sich Abgeschlossenes, der Dichter hat, da er sie schuf, nicht darauf geachtet, sie mit dem vorhergehenden und dem nachfolgenden in eine engere Verbindung zu setzen. Insofern konnte Goethe auch in Rücksicht auf Entstehungsart und Character der einzelnen Scenen in einem Briefe an Schiller sein Werk als eine rhapsodische Dichtung bezeichnen, und so nennt auch August Wilhelm Schlegel die einzelnen Scenen rhapsodische Bruchstücke ohne Anfang und Schluss, wahrend in einer eigentlichen Bühnendichtung die einzelnen Theile nach dem Bilde des Ganzen gegliedert sein müssten, so dass man sagen kann, jede Scene habe ihre Exposition, Verwicklung und Auflosung. Daraus erklart sich denn auch, dass die Scenen, so wie sie aufeinander folgen, gar nicht darauf berechnet sind, unmittelbar hinter einander auf uns einzuwirken, nach der Absicht des Dichters sollen wir vielmehr den Eindruck jeder einzelnen Scene langsam ausklingen lassen. Manche Bühnentechniker haben freilich bei den Auf führungen des Faust ihr Hauptaugenmerk darauf gerichtet, in den Theatereinrichtungen namentlich bei der Gretchen tragödie die Scenen möglichst unmittelbar aufeinander folgen zu lassen und deshalb auch den Scenenwechsel auf ein moglichst geringes Mass zurückzuführen; schon einer der ersten, der es unternahm den Faust auf die Bretter zu bringen, Holtei, rühmt sich, er habe ein Arrangement gefunden, wonach die ganzen Gretchenscenen ohne De corationswechsel hinter einander weg gespielt werden könnten und habe so ein Haupthindemiss, das ewige Geklingle und Coulissengeschiebe abgestellt. Aber da mit wird auch ein grosser Theil der vom Dichter beab sichtigten Wirkung vernichtet; der Zwischenvorhang, was auch sonst sein erbitterter Gegner Laube mit Recht gegen ihn vorbringen mag, ist in unserm Falle zur Erreichungder Zwecke des Dichters durchaus nothwendig. Auf die Scene gretchen am Spinnrad zum Beispiel folgt bei Goethe die Scene im Garten, in welcher Faust sein Glaubens bekenntniss ablegt, eine Scene, die uns gleich zu Anfang Faust und Gretchen mitten in traulichem Gespräch be griffen vorführt. Gewöhnlich sitzt bei den Aufführungen Gretchen mit ihrem Spinnrad im Garten, anstatt nach des Dichters Anweisung in ihrer Stube, alsdann kommt Faust herein stumme Begrüssung und sogleich beginnt das Religionsgespräch. Durch die enge Verbindung der Scenen ist die vom Dichter beabsichtigte Wirkung ganz verloren, es kommt etwas Neues hinzu, woran Goethe nicht gedacht hat, und was den Eindruck stort. Es bleibt eben nur die Wahl, das Dramadn eine Reihe von Tableaus zu zerlegen, oder den Eindruck, der dem Dichter vorgeschwebt hat, abzuschwachen.

About the Publisher

Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com

This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.


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Product Details
  • ISBN-13: 9780331110401
  • Publisher: Forgotten Books
  • Publisher Imprint: Forgotten Books
  • Language: German
  • ISBN-10: 0331110407
  • Publisher Date: 14 Dec 2018
  • Binding: Hardback


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