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KLEIST-JAHRBUCH 2001 KLEIST-JAHRBUCH 2001 Im Auftrag des Vorstandes der Heinrich-von-Kleist-Gesellschaft herausgegeben von Günter Blamberger (verantwortlich für Abhandlungen, Beiträge der Jahrestagung 2000), Sabine Doering und Klaus Müller-Salget (verantwortlich für Rezensionen) VERLAG J. B. METZLER STUTTGART · WEIMAR Anschrift der Redaktion: Ingo Breuer (verantwortlicher Redakteur), Pamela Moucha, Bernd Hamacher und Dominik Paß Universität zu Köln, Institut für Deutsche Sprache und Literatur, Albertus-Magnus-Platz, D–50931 Köln eMail: [email protected] Die Deutsche Bibliothek – CIP-Einheitsaufnahme Kleist-Jahrbuch … / – Stuttgart : Metzler. Erscheint jährlich. – Früher im Verl. E. Schmidt, Berlin. – Aufnahme nach 1990 (1991) ISSN 0722-8899 1990 (1991) – Verl.-Wechsel ISBN 3-476-01875-X Dieses Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist ohne Zustimmung des Verlages unzulässig und strafbar. Das gilt insbesondere für Vervielfältigungen, Übersetzungen, Mikroverfilmungen und die Einspeicherung und Verarbeitung in elektronischen Systemen. © 2001 Verlag J.B.Metzlersche Verlagsbuchhandlung und Carl Ernst Poeschel Verlag GmbH in Stuttgart www.metzlerverlag.de [email protected] Einbandgestaltung: Willy Löffelhardt Satz: Dörr+Schiller GmbH, Stuttgart Druck und Bindung: Franz Spiegel Buch GmbH, Ulm Printed in Germany Dezember 2001 Gedruckt mit Unterstützung des Beauftragten der Bundesregierung für Angelegenheiten der Kultur und der Medien, der Senatsverwaltung für Wissenschaft und Forschung (Berlin) und des Ministeriums für Wissenschaft, Forschung und Kultur des Landes Brandenburg INHALT Vorwort . ...................................................... VII Verleihung des Kleist-Preises 2000 Günter Blamberger: Rede zur Verleihung des Kleist-Preises an Barbara Honigmann im Deutschen Theater in Berlin am 14.10.2000 . ...... 3 Luc Bondy: »Hier ist es zu schön, da können wir nicht bleiben«. Laudatio für den Kleist-Preis an Barbara Honigmann ............... 7 Barbara Honigmann: Das Schiefe, das Ungraziöse, das Unmögliche, das Unstimmige. Rede zur Verleihung des Kleist-Preises . ........... 13 Internationale Jahrestagung 2000 in Berlin: ›KLEIST(S)INSZENIERUNGEN‹ Erika Fischer-Lichte: Theatralität. Zur Frage nach Kleists Theater- konzeption . ................................................. 25 Alexander Kosˇenina: Will er »auf ein Theater warten, welches da kommen soll«? Kleists Ideen zur Schauspielkunst .......................... 38 Reinhart Meyer-Kalkus: Heinrich von Kleist und Heinrich August Kern- dörffer. Zur Poetik von Vorlesen und Deklamation . ................ 55 Hans-Thies Lehmann: Kleist/Versionen . ........................... 89 Manfred Schneider: Die Welt im Ausnahmezustand. Kleists Kriegstheater . 104 Sigrid Weigel: Der ›Findling‹ als ›gefährliches Supplement‹. Der Schrecken der Bilder und die physikalische Affekttheorie in Kleists Inszenierung diskursiver Übergänge um 1800 ................................. 120 László F. Földényi: Die Inszenierung des Erotischen. Heinrich von Kleist, ›Über das Marionettentheater‹ . ................................. 135 Yixu Lü: Die Theatralität des Göttlichen. Über Kleists ›Amphitryon‹ ...... 148 Ethel Matala de Mazza: Recht für bare Münze. Institution und Gesetzes- kraft in Kleists ›Zerbrochnem Krug‹ . ........................... 160 V Petra Stuber: Kleists ›Käthchen‹ in der Inszenierung des Meininger Hof- theaters 1876 . ................................................ 178 Ingo Breuer: ›Schauplätze jämmerlicher Mordgeschichte‹. Tradition der Novelle und Theatralität der Historia bei Heinrich von Kleist . .... 196 Elke Heckner: Zur Ambivalenz kolonialer Mimikry in Kleists ›Verlobung in St. Domingo‹ ............................................... 226 Günter Blamberger, László F. Földényi, Joachim Pfeiffer, Eva S. Poluda, Alexander Weigel, Gisela Stelly: ›Kleists letzte Inszenierung‹. Podiums- diskussion in der Akademie der Künste in Berlin, 12.10.2000 ........ 245 Abhandlungen Klaus Kanzog: Codierung – Umcodierung. Zu Heinrich von Kleists ›Her- mannsschlacht‹ in der Bühnen- und Filmrealisation Claus Peymanns . 267 Johannes Harnischfeger: Das Versprechen romantischer Liebe. Zu Kleists ›Verlobung in St. Domingo‹ . .......................... 278 John D. Pizer: Kleist und Stefan Zweig ............................... 292 Rezensionen Klaus Müller-Salget: Summen (über: Anthony Stephens, Kleist – Sprache und Gewalt; Dirk Grathoff, Kleist: Geschichte, Politik, Sprache. Aufsätze zu Leben und Werk Heinrich von Kleists) . ............... 307 Gerhard Schulz: Eros in der Käthchenstadt (über: Käthchen und seine Schwestern. Frauenfiguren im Drama um 1800, hg. von Günther Emig und Anton Philipp Knittel; Erotik und Sexualität im Werk Heinrich von Kleists, hg. von Günther Emig) .............................. 316 Johannes Endres: Selbstgespräche der Sprache (über: Gabriele Kapp, »Des Gedankens Senkblei«. Studien zur Sprachauffassung Heinrich von Kleists 1799–1806) . ..................................... 327 Siglenverzeichnis . ................................................ 333 Anschriften der Mitarbeiterinnen und Mitarbeiter . .................... 334 Informationen zur Heinrich-von-Kleist-Gesellschaft .................... 336 VI VORWORT Unsere zeitgenössische Kultur läßt sich als eine Kultur der Inszenierung verstehen. Identität scheint weniger eine Frage des Innen als vielmehr des Außen zu sein, we- niger eine Frage der Substanz als der Performanz, der wirkungsmächtigen Selbst- darstellung, der Schauspielerei. Diese Kunst der Inszenierung wurde schon früher kritisch beobachtet – von den streitbaren Vertretern der bürgerlichen Aufklärung und des Idealismus an den Repräsentanten der höfisch-aristokratischen Kultur. Kleists Position hier ist zwiespältig: Einerseits wird er von seinen Lehrern bürger- lich-idealistisch erzogen und teilt deren Hoffnung auf authentischen Selbstaus- druck und die Kongruenz von Ethik und Ästhetik, andererseits entstammt er einem alten Adelsgeschlecht und kennt die Zeremonialkultur, die Kunst der Simulation und Dissimulation, was ihn zu einem enttäuschten Idealisten bzw. skeptischen Mo- ralisten macht. ›Kleist(s)Inszenierungen‹ war deshalb ein spannendes Thema für die Jahresta- gung der Heinrich-von-Kleist-Gesellschaft, die im Oktober 2000 in der Akademie der Künste in Berlin stattfand. Das ›s‹ im Tagungstitel steht in Klammern. Denkt man es mit, so richtet sich das Interesse auf Inszenierungskünste in Kleists Leben und Werk, auf Dramaturgien der Selbstdarstellung bei Kleist und seinen Figuren, auf Rollenspiele im Realen wie im Fiktionalen, auf das Verhältnis von Identität und Theatralität. Läßt man es weg, so richtet sich das Interesse auf die Inszenierung von Kleists Dichtungen, auf Kleists Theaterkonzeption sowie historische und aktuelle Formen von Kleist-Inszenierungen. Damit sind die Erkenntnisinteressen der Ta- gungsreferate benannt, die in diesem Jahrbuch publiziert werden. Dokumentiert werden hier außerdem die Reden anläßlich der Verleihung des Kleist-Preises 2000 an die Schriftstellerin Barbara Honigmann. Gedankt werden darf den zuständigen Ministerien des Bundes und der Länder Berlin und Brandenburg für die Förderung des Kleist-Jahrbuches, Erika Fischer- Lichte für die tatkräftige Hilfe bei der Gestaltung des Tagungsprogramms, den Mit- herausgebern Klaus Müller-Salget und Sabine Doering für die Einrichtung des Re- zensionsteils und vor allem Ingo Breuer für die Redaktion des Kleist-Jahrbuches. Günter Blamberger VII VIII VERLEIHUNG DES KLEIST-PREISES 2000 2 GÜNTER BLAMBERGER REDE ZUR VERLEIHUNG DES KLEIST-PREISES AN BARBARA HONIGMANN IM DEUTSCHEN THEATER IN BERLIN AM 14.10.2000 Sehr geehrter Herr Senator, sehr geehrter Herr Intendant, sehr geehrter Herr Bondy, sehr geehrte Damen und Herren, sehr verehrte, liebe Frau Honigmann, am 13. November 1911 erscheint im ›Berliner Tageblatt‹ ein Artikel zu Kleists hun- dertstem Todestag, der Autor ist Fritz Engel, ein deutscher Bürger jüdischer Her- kunft, er ruft dazu auf, eine Kleist-Stiftung zu gründen und im Gedenken an den unglücklichen Dichter einen Preis zu verleihen, der jungen deutschen Autoren die Anerkennung verschafft, die Kleist zeit seines Lebens versagt blieb. Den Aufruf un- terzeichnen u.a. Otto Brahm, Paul Cassirer, Samuel Fischer, Walter Rathenau, Max Reinhardt, Arthur Schnitzler. Der Kleist-Preis verdankt seine Existenz in der Hauptsache deutschen Juden, in ideeller Hinsicht wie auch in materieller, denn die Fördergelder stammen zum Großteil vom S. Fischer-Verlag. Ausgezeichnet werden in den zehner und zwanziger Jahren Arnold Zweig, Paul Zech, Hans Henny Jahnn, Bert Brecht, Robert Musil oder Anna Seghers. Der Kleist-Preis gilt als der bedeu- tendste Literaturpreis in der Weimarer Republik, er wird zu einer ›Dokumenta der Avantgarde‹. In der Berufung auf Kleist, den auf die Empirie verpflichteten Skepti- ker, der so radikal mit der Tradition der bürgerlich-idealistischen Kunst gebrochen hatte, verschafft sich die Moderne selbst eine Tradition. Else Lasker-Schüler heißt die Preisträgerin 1932. Ein Jahr später ist es mit der liberalen Hauptstadtkultur und der intellektuellen Freiheit vorbei, die neuen Machthaber versprechen, die »jüdi- sche Kleist-Stiftung« zu ordnen, was nicht mehr geschieht, denn diese hat sich auf- gelöst und damit verhindert, daß der »hochangesehene Kleistpreis hinfort an Un- würdige fiel« (Walter Müller-Seidel). Der gute Name des Kleist-Preises blieb damit bewahrt. Wäre er 1933 noch einmal vergeben
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    CORNELL UNIVERSITY LIBRARY MUSIC .. ,^_ .9<"'"*" ''nlveralty Library ML 410.W1C44 1897 .Richard Wagner 3 1924 022 322 212 Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022322212 Richard Wagner All Rights Reserved l:\fuLi HOUSTON STEWART CHAMBERLAIN ^K Richard Wasner TRANSLATED FROM THE GERMAN By G. AINSLIE HIGHT AND REVISED BY THE AUTHOR WITH PHOTOGRAVURES AND COLLOTYPES, FACSIMILES AND ENGRAVINGS Munich Verlagsanstalt F. Bruckmann A.-G. London Philadelphia B. Lippincott J. M. Dent & Company J. Company 1897 ; Preface to the German Edition my little treatise " Das Drama " ^ IN Richard Wagner s I announced my intention of writing a larger work on the Bayreuth Meister. Just at the moment when my preliminary studies had advanced so far that I could think of attempting the execution of my plan, the publishers, Messrs Friedrich Bruckmann, proposed that I should write the text for an illustrated Life of Wagner. Honourable as this commission was, it had little attraction for me at first. In Carl Friedrich Glasenapp's Life of Richard Wagner the world possesses a classical biography of the great word-tone-poet ; a voluminous autobiography will moreover some day be published; several excellent little popular accounts of his life have been written by various authors. A new biography therefore seemed to me scarcely calculated to meet any real requirement. The publishers however agreed to my proposal to compose, not a biography in the narrower sense of the word, but so to speak a picture; not a chronological enumeration of all the events of his life in proper order, but rather a sketch of the entire thought and work of the great man, and so I felt it my duty to postpone the execution of my first design, and to carry out the present work to the best of my abilities.
  • 1 1 “Ich Bin Und Bleibe Bloȕ Poet Und Als Poet Werde Ich

    1 1 “Ich Bin Und Bleibe Bloȕ Poet Und Als Poet Werde Ich

    “Ich bin ud bleibe bloß Poet und als Poet werde ich auch sterben.” Friedrich Schiller’s Sense of Poetic Calling and the Role of the Poetic Idea in his Emerging Professional Identity as a Dramaturge Item Type text; Electronic Dissertation Authors Cser, Agnes Judit Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 25/09/2021 13:31:04 Link to Item http://hdl.handle.net/10150/627671 1 “ICH BIN UND BLEIBE BLOȕ POET UND ALS POET WERDE ICH AUCH STERBEN.“ FRIEDRICH SCHILLER’S SENSE OF POETIC CALLING AND THE ROLE OF THE POETIC IDEA IN HIS EMERGING PROFESSIONAL IDENTITY AS A DRAMATURGE By Agnes J. Cser __________________________ Copyright © Agnes J. Cser 2018 Dissertation Submitted to the Faculty of the DEPARTMENT OF GERMAN STUDIES In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2018 1 3 STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of the requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder.