JACOB CAMPO WEYERMAX Jaargang32 4-) Nummerl Nt5 Zomer 2069 MEDEDEFINGEN VAN DE STICHTING Verschijnt Twee Maal Per Jaar

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JACOB CAMPO WEYERMAX Jaargang32 4-) Nummerl Nt5 Zomer 2069 MEDEDEFINGEN VAN DE STICHTING Verschijnt Twee Maal Per Jaar MEDEDELINGEN VAN DE STICHTING JACOB CAMPO WEYERMAX jaargang32 4-) nummerl Nt5 zomer 2069 MEDEDEFINGEN VAN DE STICHTING Verschijnt twee maal per jaar. JACOB CAMPO WEYERMAN Kopijdata: 1 maart, i september BESTUUR VAN DE STICHTING Rietje van Vliet (voorzitter), Anton Bossers, Cis van Heertum, Jos Leenes, Gerrie Wisse ADRES VAN DE STICHTING Cis van Heertum, Orthenstraat 168, 5211 sz 's-Hertogen- bosch ([email protected] ) PR EN PUBLICITEIT Gerrie Wisse, Dam 67, 433 1 GH Middelburg ([email protected] ) RED,WTIE Anna de Haas, Dini Helmers, Ton Jongenelen, Frank van Lamoen, Sytze van der Veen REDAMEADRES Orthenstraat 168, 5211 sz 's-Hertogenbosch T 073-6128674; E [email protected] ABONNEMENTEN Men abonneert zich door zich op te geven als lid (€ 27,50) of student-lid (€ 17,50 met vermelding nummer college- kaart). Instellingen betalen als ledenprijs € 3o. Gelieve het bedrag over te maken op Postgiro 3 848148t Stichting Jacob Campo Weyerman, Orthenstraat 168, 5211 sz 's-Hertogenbosch, onder vermelding van resp. lid, student-lid of instelling en het jaar waarvoor men betaalt. Belgische vrienden of leden wordt verzocht het bedrag over te maken op rek. nr. 001-1884 732-01 van de ASLK, t.b.v. J. Parmentier, Gent o.v.v. `Stichting jcw' en het betreffende jaar. Opzegging geschiedt schriftelijk v6or 1 december. ISSN 0167-4609 GRAFISCHE VERZORGING Jeroen van Heemskerck Diiker, Hyperion creatieve communicatie Almere FOSSE MUMMERS Op aanvraag leverbaar na vooruitbetaling van het ver- schuldigde bedrag (uit 2007 en 2008: € 15; oudere afleve- ringen € 7,50 per stuk). ArrEuRSRECHTEN VOORBEHOUDEN Overnemen van (gedeelten van) artikelen mag alleen geschieden met schriftelijke toestemming van redactie en uitgever (de Stichting Jcw). IC EBSITE www.weyerman.nl KINDEREN OP HET TONEEL VAN DE ACHTTIENDE EEUW: WONDERICINDEREN OF TONEELSPELERS IN OPLEIDING? 1 ANNA DE HAAS p 22 mei 1720 waren de regenten van de Amsterdamse Schouwburg in vergadering bijeen ten kantore van het Burgerweeshuis. Dit weeshuis en het stedelijke Oude 0 Mannen- en Vrouwenhuis werden deels gesubsidieerd uit de schouwburginkom- sten en om die reden werden schouwburgregenten gerecruteerd uit de bestuurlijke kringen van die twee godshuizen'. Een van de dingen waar de heren op die dag met eenparige stemmen' toe besloten, was om 'de aankoomende meijsiens en jongens die reets aen de schouburg zyn, en nog zoude mooge koomen, voo [1] soo verre onder dezelve bequaeme subjecten gevonden werden deselve bequaem te maeken en te doen instrueeren tot acteu- ren en actrices', met name 'in de zang en dans kunst'. 2 Deze resolutie leert ons een aantal dingen: er waren meisj es en jongens aan de schouwburgverbonden, ze waren aankomend' - waarmee vermoedelijk bedoeld is: aankomende toneelspelers - en er was geen speciale opleidingvoor hen. Of er iets van dit plan terechtgekomen is en of de heren regenten inder- daad Ordentlijke en bequaeme meesters' hebben aangesteld, zoals in de resolutie bepaald staat, onttrekt zich helaas (vooralsnog) aan onze waarneming. Wie die kinderen waren en hoe de praktijk er zo ongeveer uitzag, daar valt wel een en ander over te achterhalen. Kinderen op het toneel Het lijkt erop dat kind-acteurs vooral uit toneelfamilies afkomstig waren. Ze kregen de kneepjes van het vak thuis met de paplepel ingegoten en wanneer de ouders meenden dat ze enig talent hadden, probeerden ze hen op het echte toneel te krijgen. Daarmee hadden ze niet altijd puur artistieke bedoelingen. Het inkomen van een volwassen acteur of actrice was geen vetpot, en kinderen konden daar iets, hoe weinig ook, aan bijdragen. Tot ongeveer 1760 is het feitelijk verschijnen van kinderen op het toneel meestal alleen te reconstrueren op grond van biografische gegevens. Die liggen gewoonlijk niet voor het oprapen, omdat veel acteurs( families) als leden van reistroepen een zwervend bestaan leidden.3 Het vroegst bekende optreden van een kind op het toneel is dat van Maria Noze- man, die in het seizoen 1658/59 als zesjarige onder meer de rol van Grimaldus in Casandra speelde.4 En hoewel het niet bewezen is, denk ik dat we veilig kunnen aannemen dat bijvoorbeeld de zusters Maria en Catharina Petit die in de jaren 167o door de Amsterdamse Schouwburg op hun zeventiende werden geengageerd, Johanna Brinkhuijsen, in 1697 op haar vijftiende aangenomen, en Elizabeth Bor, in 1720 aangenomen op dezelfde leeftijd, allemaal een loopbaan als kind-acteur achter de rug hadden. 5 Het speelloon waarvoor ze werden aangenomen - varierend van een gulden per optreden voor Johanna Brinkhuijsen tot tweeenhalve gulden voor de gezusters Petit - wijst erop dat ze op die leeftijd goede (of in ieder geval geoefende) toneelspeelsters waren.' Hun training hoeven ze niet noodzakelijk aan de Amsterdamse Schouwburg genoten te hebben; het kan zijn dat bijvoorbeeld de gezusters Petit hun ervaring hadden opgedaan in een of andere reizende troep. Voor de tweede helft van de achttiende eeuw zijn er meer gegevens beschikbaar, deels vanwege het gestaag groeiende aantal gedrukte bronnen, zoals pamfletten en tijdschrif- ten. Ook zijn de affiches van de Amsterdamse Schouwburg vrijwel compleet bewaard gebleven vanafi759. 7Daarvan weten we dat in j anuari 1766 'het zoontje van juffr. Bouhon; MEDEDELINGEN VAN DE STICHTING JACOB CAMPO WEYERMAN 32 (2009), 1 1 en [...] het dogtertje van monsr. Van der Stel' optraden in de klucht Het orakel. Johannes Bouhon jr. was toen negen jaar oud, Johanna Susanna van der Stel dertien. Beiden waren kinderen van toneelspelers. 8 Vanaf september 1766 is Johannes' voornaamste tegen- speelster zijn dan achtjarige zusje Cornelia. 9 Hun eerst bekende gezamenlijke optreden vond plaats op 20 september, toen ze als tussenspel een `hornpijp' (horlepiep) dansten. Ook hun volgende optredens worden vaak apart vermeld op de affiches, naast die van de (volwassen) eerste danser en eerste danseres van de Schouwburg. In Rotterdam was het Johanna Lindeman die als kind ten tonele kwam. Ze was net vijf geworden toen ze in 1773 optrad als het zoontje van Gijsbrecht van Amstel in het gelijknamige treurspel van Vondel. In de daaropvolgende jaren speelde ze verschillende kinderrollen. Johanna moet een zekere faam genoten hebben, want er bestaat een por- tretje van haar in de rol van een jongetje in vermoedelijk een pastoraal stuk: 1° Een Kind, dat naar Tooneel elks aendacht weet to trekken, Schaers ses jaer oud nogthans vol Geest en aertigheit, Doet ons de Teekenkunst, naer leven, hier ontdekken In schyn van Thatly's Zoon, die om zyn Moeder schreit. Aldus de lovende dichtregels die aan het portret zijn toegevoegd. Johanna heeft overi- gens, voorzover bekend, als volwassene geen toneelcarriere gemaakt. Kinderrollen in toneelstukken De meeste kinderen begonnen hun openbare toneelcarriere waarschijnlijk als danser(es) in bijvoorbeeld de zogeheten 'tussenspelen' - divertissementen opgevoerd tussen het eerste en tweede toneelstuk van vrijwel ieder achttiende-eeuws schouwburgprogramma. Deze tussenspelen bestonden gewoonlijk uit een pantomime, een dans, een ballet of een enkele keer een instrumentaal of vocaal concert. Dansen en zingen werden vaak gecom- bineerd, bijvoorbeeld in een ballet, en de pantomimes werden meestal gedanst. Genres en titels van deze tussenspelen kennen we voornamelijk uit de tweede helft van de acht- tiende eeuw, toen dansen het hoofdbestanddeel van de tussenspelen gingen uitmaken. Er zijn `ballets-pantomime', `serieuze balletten' en `serieuze dansen', en 'entree's'. Ms dansen vinden we een 'tambour de basque', een `angloise', veel 'pas de deux' enzovoort. Dergelijke tussenspelen werden overigens lang niet altijd door kinderen uitgevoerd. Decennia lang worden, althans in Amsterdam, alleen volwassen dansers genoemd. 11 Dansen en zingen waren niet voorbehouden aan de tussenspelen. Er bestaan allerlei soorten toneelstukken die zijn `versierd' - zoals dat in de achttiende eeuw heette - met dansen en ook liedjes. Ongetwijfeld zijn er kinderen opgetreden in sommige van deze `versieringen'. Een goed gedocumenteerd geval is Het eeuwgetyde, een allegorisch gelegen- heidsspel van Jan de Marre, geschreven voor en gespeeld bij de viering van het honderd- jarig bestaan van de Amsterdamse Schouwburg in 1738. Ter illustratie van de band tussen schouwburg en weeshuis was er een dans met vier rollen als weeskinderen: twee jongens en twee meisjes. De jongensrollen werden gedanst door Hendrik en Jan Fokke, zoons van een acteur en op dat moment respectievelijk vijftien en achttien jaar oud. 12 Volgens mij vallen zij niet meer onder de kind-acteurs (maar daarover later). De meisjesrollen werden uitgevoerd door Jan Soetendaal en Lubertus Wouthuyzen, door jongens dus. Over deze twee is niets bekend.' Gezien het feit dat ze meisjes moesten spelen, kan het zijn dat ze wat jonger waren dan Hendrik Fokke en op die manier wel binnen de categorie van kind- acteurs vielen. Wie zeker daarin viel, was de elfjarige Catharina Fokke, die in de zwijgende rol van Leerzaamheid optrad.' 2 MEDEDELINGEN VAN DE STICHTING JACOB CAMPO WEYERMAN 32 (2009), Kinderen hebben waarschijnlijkwel gezongen op het toneel, maar ze lijken toch vooral te hebben gedanst. Toch was dat niet het enige. Er zijn ook heel wat toneelstukken met zwijgende of zelfs sprekende rollen voor kinderen. En soms zijn er rollen die niet expliciet voor kinderen bestemd zijn, maar wel door kinderen gespeeld werden. Zo bijvoorbeeld in de Toverijen van Armida, treurspel met kunst- en vliegwerken en allerlei andere ver- rassingen, en een wat bizarre lijst van personages, met een zeemeermin, een leeuw, een
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