Ariane Et Barbe-Bleue‘ Von Paul Dukas Und

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Ariane Et Barbe-Bleue‘ Von Paul Dukas Und „La Passion de la clarté.“ Die Entwicklung der Frauenfiguren in der Oper ‚Ariane et Barbe-Bleue‘ von Paul Dukas und Maurice Maeterlinck vor dem Hintergrund der Entstehungsgeschichte des Librettos Dissertation zur Erlangung des akademischen Grades doctor philosophiae (Dr. phil.) eingereicht an der Philosophischen Fakultät III der Humboldt - Universität zu Berlin von MA Barbara Klaus-Cosca, geb. Klaus Prof. Dr. Jan-Hendrik Olbertz Präsidentin/Präsident der Humboldt-Universität zu Berlin Prof. Dr. Julia von Blumenthal Dekanin/Dekan der Philosophischen Fakultät III Gutachter: 1. Prof. Dr. Gerd Rienäcker 2. Prof. Dr. Susanne Rode-Breymann Tag der mündlichen Prüfung: 24. Oktober 2013 Für Arnel und Lee Cosca. ii 1 VORWORT ............................................................................................................ 1 2 EINLEITUNG ......................................................................................................... 3 2.1 Maurice Maeterlinck (1862 –1949) ........................................................................................................... 19 2.2 Ein Zusammentreffen mit folgenreichem Einfluss? ............................................................................... 22 2.3 Georgette Leblanc: Ein Porträt ................................................................................................................ 26 3 ARIANE ET BARBE-BLEUE – EINE ENTSTEHUNGSGESCHICHTE .............. 45 3.1 Entstehungsgründe .................................................................................................................................... 45 3.2 Ein Libretto ‚in progress‘ .......................................................................................................................... 50 3.3 Premières esquisses – erste Skizzen .......................................................................................................... 52 3.3.1 Erwähnung des Motivs des Blaubartzimmers ...................................................................................... 52 3.3.2 Die Agenden (Carnets de travail) ........................................................................................................ 54 3.3.3 Charakterisierung des Barbe-Bleue ...................................................................................................... 56 3.3.4 Charakterisierung der Ariane ............................................................................................................... 60 3.3.5 Zusammenfassung ................................................................................................................................ 67 3.4 Das Libretto der deutschen Erstversion (1899) ....................................................................................... 69 3.4.1 Veröffentlichung der Erstversion ......................................................................................................... 69 3.4.2 Konzeption des ‚Ursprungslibrettos‘ aus dem Jahr 1899 ..................................................................... 71 3.5 Die Théâtre-Ausgabe .................................................................................................................................. 81 3.5.1 Die Änderungen der Théâtre-Ausgabe im Vergleich zur Deutschen Erstfassung ............................... 86 3.6 Der Text der Durand-Partitur (1906) ...................................................................................................... 92 4 DE LA MORT À L’AMOUR: DIE ENTWICKLUNG DES FRAUENBILDES IN MAETERLINCKS WERKEN VON 1890 BIS 1902 ................................................. 100 4.1 Symbolistisches Theater – Princesse Maleine ........................................................................................ 103 4.2 Theater des Übergangs: Aglavaine et Sélysette ...................................................................................... 124 4.2.1 Ausgangspunkt ................................................................................................................................... 125 4.2.2 L’Amour et La Beauté: Das Frauenbild im Übergang ....................................................................... 131 iii 4.2.3 Maeterlincks Frauenbild in seinem Essayband Le Trésor des humbles ............................................. 133 4.2.4 Exkurs: Lebende Vorbilder? Die Figur der Sélysette – eine Vermutung .......................................... 147 4.3 Die philosophischen Schriften Maeterlincks zwischen 1898 und 1904 ............................................... 150 4.3.1 La Sagesse et la destinée (1898) ........................................................................................................ 152 4.3.2 La Sagesse et la destinée und ‚die Frauen‘ ........................................................................................ 159 4.3.3 Le Temple enseveli, Le Double Jardin ............................................................................................... 160 4.4 Monna Vanna ............................................................................................................................................ 164 5 REZEPTION UND ANALYSE ........................................................................... 176 5.1 Librettoanalyse ......................................................................................................................................... 180 5.1.1 Strukturanalyse ................................................................................................................................... 181 5.1.2 Bedeutung durch Personenkonstellation und Namensgebung ........................................................... 185 5.1.3 Charakterisierung und Bedeutung im Versmaß ................................................................................. 198 5.1.4 Von ‚ordinary love‘ zu ‚amour suprême‘? – Transformationen von Liebe ....................................... 205 5.1.5 Zusammenfassung .............................................................................................................................. 209 5.2 Ariane und La Sagesse et la destinée ....................................................................................................... 211 5.3 Ariane et Barbe-Bleue und Le Choix de la vie ....................................................................................... 216 5.4 Dukas’ und Maeterlincks Ariane et Barbe-Bleue als Literaturoper? – definitionstheoretische Überlegungen...................................................................................................................................................... 220 5.5 Ariane zwischen femme fragile und femme fatale ................................................................................. 227 5.6 Paul Dukas und Ariane et Barbe-Bleue .................................................................................................. 233 5.7 Ariane et Barbe-Bleue – „frauenbewegtes Musiktheater“? .................................................................. 237 6 ZUSAMMENFASSUNG ..................................................................................... 249 7 ANHANG ........................................................................................................... 257 7.1 Liste der Presseorgane mit Premierenkritiken ..................................................................................... 257 8 LITERATURVERZEICHNIS .............................................................................. 261 iv 1 Vorwort Ausgangspunkt dieser Arbeit war die CD-Aufnahme von Paul Dukas’ conte en trois actes Ariane et Barbe-Bleue mit Katherine Ciesinski (Ariane), Gabriel Bacquier (Barbe-Bleue) und dem Nouvel Orchestre Philharmonique unter der Leitung von Armin Jordan in einer Koproduktion der ERATO mit dem Radio France im Januar 1983 in Paris. Das unerschütterliche Selbstbewusstsein der Titelheldin, die ungeachtet angedrohter Bestrafung ihre totgeglaubten Schwestern befreien will und ungehindert die düstere Blaubartburg verlassen kann, weckten angesichts meine Neugierde, mehr über diese ungewöhnliche Frauenfigur zu erfahren. Für die Betreuung dieser Arbeit möchte ich meinem Doktorvater Prof. Dr. Gerd Rienäcker sehr herzlich danken, der mich stets zu kritischem Quellenstudium anregte und mir großen Freiraum für einen kreativen Ansatz in meiner Arbeit ermöglichte. Danken möchte ich ebenfalls Frau Dr. Susanne Rode-Breymann, die mir während der Entstehungszeit der Arbeit, besonders während meiner Stipendiatenzeit am Forschungszentrum Musik und Gender (fmg), immer beratend zur Seite stand. Besonderer Dank geht an die Mariann-Steegmann-Foundation, die zusammen mit dem Forschungszentrum Musik und Gender Hannover diese Arbeit mit einem Jahresstipendium und zwei Reisekostenstipendien förderte. Diese Arbeit wäre nicht denkbar ohne die zahlreichen Treffen des Unabhängigen Forschungskolloquiums für Frauen- und Genderforschung in der Musikwissenschaft (UFO) mit tiefgehenden Diskussionen einzelner Teile dieser Arbeit durch zahlreiche Kolleginnen und Kollegen aus den Bereichen Musik-, Literatur- und Theaterwissenschaft. Ein herzlicher Dank geht – stellvertretend für alle – an Prof. Dr. Marion Gerards und Dr. Martina Oster. Dem Team der Musikabteilung der Bibliothèque Nationale in Paris (Leitung Mathias Auclair) bin ich ebenso dankbar für ihre freundliche Unterstützung wie jenen der Archives et Musée de la Littérature der Bibliothèque Royal Albert 1er in Brüssel (Leitung Marc Quaghebeur), hier besonders Fabrice
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