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Tallafuss Diss Letzte Fassung Teil 1 University of Groningen Gerhart Hauptmann ist bei uns zu Hause Tallafuss, Petra IMPORTANT NOTE: You are advised to consult the publisher's version (publisher's PDF) if you wish to cite from it. Please check the document version below. Document Version Publisher's PDF, also known as Version of record Publication date: 2008 Link to publication in University of Groningen/UMCG research database Citation for published version (APA): Tallafuss, P. (2008). Gerhart Hauptmann ist bei uns zu Hause: zur Rezeption der sozialkritischen Dramen Gerhart Hauptmanns in der DDR. [s.n.]. Copyright Other than for strictly personal use, it is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), unless the work is under an open content license (like Creative Commons). The publication may also be distributed here under the terms of Article 25fa of the Dutch Copyright Act, indicated by the “Taverne” license. More information can be found on the University of Groningen website: https://www.rug.nl/library/open-access/self-archiving-pure/taverne- amendment. Take-down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Downloaded from the University of Groningen/UMCG research database (Pure): http://www.rug.nl/research/portal. For technical reasons the number of authors shown on this cover page is limited to 10 maximum. Download date: 06-10-2021 RIJKSUNIVERSITEIT GRONINGEN „Gerhart Hauptmann ist bei uns zu Hause“ – Zur Rezeption der sozialkritischen Dramen Gerhart Hauptmanns in der DDR Proefschrift ter verkrijging van het doctoraat in de Letteren aan de Rijksuniversiteit Groningen op gezag van de Rector Magnificus, dr. F. Zwarts, in het openbaar te verdedigen op donderdag 11 december 2008 om 13:15 uur door Petra Tallafuss geboren op 6 juli 1977 te Schwetzingen (Duitsland) Promotor: Prof. dr. W. Wende Beoordelingscommissie: Prof. dr. A. Visser Prof. dr. G. Helmes Prof. dr. H. W. H. Niebaum 2 Erster Teilband Inhalt Einleitung .................................................................................................................... 7 I. Grundlegungen für die Hauptmann-Rezeption in der DDR: Hauptmann in der SBZ ..................................................................................... 28 1. Kulturpolitische Anfänge im Umfeld des Kulturbundes zur demokratischen Erneuerung Deutschlands .................................................28 2. Hauptmanns Kulturbund -Ehrenpräsidentschaft ..........................................40 3. Widerstände gegen die Restituierung der Dichter-Ikone Hauptmann..........60 4. Der verstorbene Dichterfürst als legitimatorische Stütze ............................65 5. Das Spielplandilemma der Nachkriegszeit: Diagnosen und Reaktionen im Theater der Zeit ......................................... 79 II. Zur Rezeptionslage in der DDR ........................................................................88 1. Wahrnehmung und Würdigung der Person Gerhart Hauptmanns ...............89 1.1. Materielle Konkretisationen der Hauptmann-Ehrung ..................89 Exkurs: Die Grabstätte Gerhart Hauptmanns ...............................93 1.2. Die Inszenierung von Jubiläen und Geburtstagen nach 1949 ......97 1.3. Gerhart-Hauptmann-Museen ......................................................117 1.4. Wertungen in der Literaturgeschichtsschreibung – ein Beispiel..123 2. Ideologie und Ästhetik des Programmhefts ..............................................129 3. Zur Präsenz sozialkritischer Dramen Hauptmanns auf DDR-Bühnen ......140 3.1. 1949-1953: Die Durchsetzung der planmäßigen Ideologisierung .143 3.1.1. Kulturpolitische Rahmenbedingungen ..............................143 3.1.2. Rezeptionsschwerpunkte ...................................................151 3.1.3. Bertolt Brechts Biberpelz und roter Hahn von Gerhart Hauptmann ........................................................................165 3.2. 1954-1964: Ausbau und Festigung des Systems ...........................189 3.2.1. Kulturpolitische Rahmenbedingungen ..............................189 3.2.2. Rezeptionsschwerpunkte ...................................................196 3.2.3. Inszenierungen im Kontext des Centenariums ..................207 3.3. 1965-1970: Kulturrepression am Ende der Ulbricht-Ära ..............223 3.3.1. Kulturpolitische Rahmenbedingungen ..............................223 3.3.2. Rezeptionsschwerpunkte ...................................................226 3.4. 1971-1975: Ansätze gelockerter Kulturpolitik unter Honecker ....236 3.4.1. Kulturpolitische Rahmenbedingungen ..............................236 3.4.2. Rezeptionsschwerpunkte ...................................................240 3.5. 1976-1981: Die krisenhafte Entwicklung nimmt ihren Lauf .........243 3.5.1. Kulturpolitische Rahmenbedingungen ..............................243 3.5.2. Rezeptionsschwerpunkte ...................................................245 3.6. 1982-1989: Der (kultur-)politische Zusammenbruch ....................263 3.6.1. Kulturpolitische Rahmenbedingungen ..............................263 3.6.2. Rezeptionsschwerpunkte ...................................................267 III. Hauptmann als deutsch-deutscher Grenzgänger .............................................270 IV. Zusammenfassung ...........................................................................................277 V. Anhang ............................................................................................................285 1. Abbildungen ...............................................................................................285 2. Übersichten 2.1. Spielzeit 1949/50 – 1952/53 ..........................................................294 2.2. Spielzeit 1953/54 – 1963/64 ..........................................................295 2.3. Spielzeit 1964/65 – 1969/70 ..........................................................296 2.4. Spielzeit 1970/71 – 1974/75 ..........................................................297 2.5. Spielzeit 1975/76 – 1980/81 ..........................................................298 2.6. Spielzeit 1981/82 – 1988/89 ..........................................................299 VI. Verzeichnisse....................................................................................................300 1. Werkregister ...............................................................................................300 2. Abkürzungsverzeichnis .............................................................................307 3. Literaturverzeichnis ...................................................................................309 5 Dankwort 1939 kritisierte der Hauptmann-Freund und -Forscher Felix A. Voigt den Rück- gang an Veröffentlichungen über Gerhart Hauptmann und dessen Werk. Gleich- zeitig merkte Voigt aber verwundert an, dass unter jenen wenigen Publikationen zahlreiche Dissertationen seien, Hauptmann also immer noch als „Objekt für Doktordissertationen“ begehrt sei – und dies obschon „kaum ein anderer Dichter der neuen Zeit weniger für Erstlingsversuche geeignet“ 1 sei als Hauptmann. Die wissenschaftlichen Methoden zur Untersuchung literarischer Werke und ihrer Rezeption haben sich seit Voigts Zeiten von Grund auf geändert. Den- noch stellt die Beschäftigung mit Hauptmann in einem ‚Erstlingsversuch’ auch heute noch eine Herausforderung dar. Deswegen gilt mein herzlichster Dank all jenen, die das Annehmen dieser Herausforderung ermöglicht und befördert haben – allen voran meinen Eltern und meinem Bruder. Für wertvolle Anregungen, konstruktiv-kritisches Feedback und für eine überaus umsichtige Betreuung dan- ke ich besonders Prof. Dr. Wara Wende. Des Weiteren danke ich den Gutachtern Prof. Dr. Anthonya Visser (Leiden), Prof. Dr. Günter Helmes (Flensburg) und Prof. Dr. Hermann Niebaum (Groningen). Dank gebührt Heike Lorenz vom Bühnenverlag Felix Bloch Erben für die Auskünfte zur Bühnenpräsenz Hauptmann’scher Stücke sowie den Mitarbeiterin- nen und Mitarbeitern der Theaterarchive des Staatstheaters Dresden , des Deut- schen Theaters Berlin , der Volksbühne am Rosa-Luxemburg-Platz , der Freien Volksbühne Berlin , des Gerhart-Hauptmann-Theaters Zittau-Görlitz , der Ger- hart-Hauptmann-Gedenkstätte Erkner , der Akademie der Künste Berlin , des Bun- desarchivs Berlin und Gabriele Schmidt ( Hannah-Arendt-Institut für Totalitaris- musforschung e.V. der TU Dresden ). Hans Jörg Schmidt sei dafür gedankt, dass er mir immer ermutigender Ansporn war. Nicht zuletzt möchte ich Lars Koch da- für danken, dass er die härteste Phase dieses ‚Erstlingsversuchs’ nicht nur mit großem fachlichem Verstand und zahllosen Anstößen zum Weiterdenken beglei- tet hat, sondern dass er mir mit seiner bestärkenden Geduld gerade auch dann ei- ne unschätzbare Unterstützung bot, wenn gar nichts mehr zu gehen schien. Berlin, im Juli 2008 Petra Tallafuss 1 Felix A Voigt, Grundfragen der Gerhart-Hauptmann-Forschung (1939), in: ders., Ger- hart-Hauptmann-Studien 1934-1958, hg. von Mechthild Pfeiffer-Voigt, Berlin 1999, S. 79-94, hier: 79. 6 Einleitung Die Tradition aller toten Geschlechter lastet wie ein Alp auf dem Gehirne der Lebenden. Und wenn sie eben damit beschäftigt scheinen, sich und die Dinge umzuwälzen, noch nicht Dagewesenes zu schaffen, gerade in solchen Epochen revolutionärer Kreise beschwören sie ängstlich die Geister der Vergangenheit zu ihrem Dienste herauf, entlehnen
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