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Kleist-Jahrbuch 2001 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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