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Johann Von Rist (1607-77) and the Theory and Performance of Drama in Seventeenth Century Germany

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Johann Von Rist (1607-77) and the Theory and Performance of Drama in Seventeenth Century Germany Durham E-Theses Johann von Rist (1607-77) and the Theory and Performance of Drama in Seventeenth Century Germany MUIRHEAD, RACHAEL How to cite: MUIRHEAD, RACHAEL (2015) Johann von Rist (1607-77) and the Theory and Performance of Drama in Seventeenth Century Germany, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/11227/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 1 FACULTY OF MEDIEVAL & MODERN LANGUAGES TAYLOR INSTITUTION 47 Wellington Square, Oxford OX1 2JF Tel: +44(0)1865 270475 [email protected] To the Assessors of the draft chapters of the PhD thesis of the late Rachael Muirhead Dear Assessors, Rachael Muirhead began work on her PhD at Durham University with Dr Peter Macardle and was originally going to write a thesis on Rist reception, taking this from his own day right down to the twentieth century. Ms Muirhead was, however, more interested in Rist’s theatre and, after attending a Rist conference in Hamburg in May 2013, realised that this was the more original angle to take. Under my supervision, which began in the autumn of 2013, therefore, she began to write a thesis on that subject. I have put together in the Table of Contents her own version of what she wanted to write and which she had planned to submit at the end of 2014 and have added to that a different table of contents based on what we actually have. What we do have is substantial – some 300 pages – and contains original and interesting material. Naturally, it is not finished and it would certainly have been pruned and checked. I have avoided intervening in what Ms Muirhead has written, so that you can be sure that these are her texts that you have in front of you. I will not seek to influence you in your judgement by giving you my own, but you will not be surprised to read that I hope very much that this work can be awarded a posthumous PhD. Since she had also written a great deal on Rist’s reception and on some other topics before I took over the supervision, I have called four of those texts Appendices and have put them into a separate file. Helen Watanabe-O’Kelly, FBA, BA, MA, Dr.phil. Professor of German Literature, University of Oxford Project Leader, Marrying Cultures 2 Johann von Rist (1607-77) and the Theory and Performance of Drama in Seventeenth Century Germany Rachael Muirhead Thesis submitted for the Degree of Doctor in Philosophy (Posthumous) School of Modern Languages and Cultures Durham University 2014 3 4 Johann von Rist (1607-77) and the Theory and Performance of Drama in Seventeenth Century Germany Table of Contents Acknowledgements 1. Introduction. i) An overview of Rist’s life and works ii) Recent research and current trends in Rist scholarship iii) The need for a study of Rist’s theatre, and a methodological explanation 2. Rist’s understanding of ‘Fürstellung’. Dramaturgy in the Belustigung and its relevance to Rist’s published dramas. i) An introduction to Rist’s Monatsunterredungen. The Belustigung as art criticism inter pocula. ii) The Belustigung, and the ‘Belustigung’-concept iii) Fürstellung – how to enjoy the theatre iv) The Mediatization of Performance v) The Belustigung on performance 3. Rist’s dramas in performance. i) Theatrical context and evidence of the performance of Rist’s dramas ii) Evidence of performance techniques iii) The Zwischenspiel and the gemeiner Mann 4. The composition of Rist’s dramas. 5. The performance of peace in Rist’s dramas. i) High and Low German, front and rear stage. ii) Allegorical war, ceremonial peace. iii) Music and song: affective and celebratory functions. Bibliography 5 6 Receiving Rist’s theatre – a literary-historical challenge A claim in Die AllerEdelste Belustigung Kunsst- und Tugenliebender Gemüther (1666) indicates that Rist may have composed as many as 30 dramas. There are now only five dramatic works attributed to him: Irenaromachia (1630), Perseus (1634), Das Friedewünschende Teutschland (1647), Das Friedejauchtzende Teutschland (1653), Depositio Cornuti Typographici. The best estimate claims that only a further two had been published, a Herodes and a Wallenstein. The others have since been lost, perhaps even destroyed during Rist’s lifetime as his home was sacked twice by invading troops. Of the five that remain, Irenaromachia does not bear Rist’s name, whilee the Depositio differs greatly in conception and execution from the others and may not have numbered among the 30 claimed theatrical compostions. Thus the surviving dramas do not constitute a more or less unified body of works challenges German literary studies to engage with these discontinuities – a task which consistently avoids. The problematic nature of the surviving corpus is compounded by the fact that this was only a fraction of what was produced, a situation which invites an (albeit speculative) attempt to contextualise the surviving dramas in a wider sphere of literary-theatrical activity. This leads to the next difficulty, considering that the composition of dramas, even when these number 30 rather than four or five, was just one area of Rist’s prolific activity as a writer. This presents the problem of how to relate Rist’s dramas to his other writings and activities. This task is itself complicated by the tendency to focus on Rist’s verse compositions, whicch in the twentieth century emphasised his secular compositions.The current focus of much of Rist scholarship lies in his religious songs, from a theological, hymnological, and musicological perspective. He has also maintained a presence in the lay 7 imagination, as several of his songs have been included in Protestant hymnbooks since the 18th century. Scholarship is now, however, turning its attention again to Rist as a dramatist and this thesis is part of this renewed attention. It is difficult to know what to do with Rist’s dramas. The problems they present are considerable, but this thesis will show that Rist’s dramas exist in the context of a concept of dramaturgy and a theory of acting that is much more sophisticated than has often been thought and that goes beyond the narrowly poetic into performance practice. 8 1. Rist and his Contemporaries This essay seeks to sketch certain key relationships between Johann Rist (1607-1667) and his (near-)contemporaries, both as a means of highlighting determining factors in the production of his works as well as providing an indication of the manner in which he and his works were received during his lifetime. Chronologically speaking, this study extends in practice from shortly before Rist’s birth, dealing in the first instance with the Duke of Brunswick-Lüneburg’s drama Von Vincentio Ladislao (prose 1594, verse 1601), to shortly after his death, when he is praised by the schoolboy Quirinus Kuhlmann in a 1670 poem to the Fruchtbringende Gesellschaft. Within this eighty- year span, a picture should emerge not only of the networks of literary influence surrounding Rist, but also of some of the acquaintanceships, friendships, and indeed enmities he maintained with his contemporaries. As soon becomes apparent, it is unhelpful to limit the area of inquiry to concerns of a strictly literary nature – even Rist’s relationships to the other writers of his day were to a great extent determined by social, not to mention geographical, factors, and it will also be necessary to address his not inconsiderable relationships with figures outwith the literary field. That being said, the appropriate starting point is nevertheless the situation of Rist’s literary production in the context of contemporary literary developments. Rist’s famously vocal support for the Opitzian programme of poetological reform will prove hugely significant when it comes to contextualising his person and works in the dominant literary trends of his day, but before turning to this it is worth lingering briefly on the influences from another, in many ways contradictory, literary sphere. Against the example of the tragedy Perseus (1634), Mannack has demonstrated 9 Rist’s reliance on the theatrical traditions of the English Wanderbühne.1 The Monatsgespräche suggest that Rist had direct experience of such performances: [e]s begab sich / das in einer grossen / und uns sämtlich wolbekandten Stadt / etliche fürnehme Englische Komœdianten waren angekommen […] und daselbst zu spielen anfiegen.2 In identifying Von Vincentio Ladislao as a source for Perseus, however, Mannack further establishes an indirect influence of the Wanderbühne on Rist. Heinrich Julius, Duke of Brunswick-Lüneburg (1546-1613), is seen as an early supporter of the English comic players,3 and in Ladislao the English tradition is brought into contact with the commedia dell-arte, and, ultimately, the ancient miles gloriusos.4 Qua source for Perseus, then Ladislao is of manifold relevance for our literary contextualisation of Rist. First, the function of his drama as a source for Rist’s provides an at least nominal literary mediation of the Wanderbühne tradition, in addition to his direct experiences of the players.
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