II. Von Der Tragédie Tendre Zur Empfindsamen Herrschertragödie

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II. Von Der Tragédie Tendre Zur Empfindsamen Herrschertragödie II. DIE TRAGÖDIE DER ZÄRTLICHKEIT: Von der tragédie tendre zur empfindsamen Herrschertragödie Racines Tragödie ist unser Ausgangspunkt, wenn wir nun die Frage nach dem Zärt- lichkeitsmotiv im Rahmen der Tragödie in den Blick nehmen. Wir fragen dabei nach dem Übergang von der amitié tendre hin zur tendresse amoureuse, und wir gehen davon aus, dass sich dieser Übergang auf dem französischen Theater ereigne- te. Dieses Theater des 17. Jahrhunderts begreifen wir mit Doris Kolesch als ein „Theater der Emotionen“1, also als ein unter Ludwig XIV. forciertes Forum „Hö- fischer Emotionalität“2. Kolesch begriff die höfische Gesellschaft als eine „société de plaisirs“3, bei welcher bestimmte „Techniken der Gefühlserzeugung“4 bzw. eine „höfische Choreographie der Emotionen“5 zu den „performativen Praktiken am Hof Ludwigs XIV.“6 zählten: Wir haben dies in unserer Einleitung bereits genauer erläutert. Eine präzisere Untersuchung der Einflüsse des galanten Diskur- ses auf die französische Tragödie des 17. Jahrhunderts lieferte die Arbeit von Carine Barbafieri mit dem Titel Atrée et Céladon, in welcher La galanterie dans le théâtre tragique de la France classique (1634–1702) im Zentrum steht.7 Barbafieris zent- rale Frage war, wie die Tragödie galant werden bzw. die Galanterie die Tragödie so transformieren kann, dass die Tragödie noch als solche erkennbar bleibt und zu- gleich den neuen Idealen der ‚esthétique galante‘ genügt. Denn zweifellos impli- ziert dieser an sich paradoxe Vorgang auch für ein Theater der Zärtlichkeit ein grundlegendes Problem: Lässt sich der zärtliche Ton, wie ihn der Barockroman entwickelte, auch auf die Tragödie übertragen? Barbafieri untersuchte diese Frage nicht nur im Tragödienwerk von Pierre Corneille, Thomas Corneille und Jean Racine, sondern auch anhand der Librettis- ten Philippe Quinault und Isaac de Benserade. Zudem datierte Barbafieri den Be- ginn der ‚galanten Tragödie‘ auf 1630, wohingegen wir den Beginn der tragédie 1 Vgl.: Doris Kolesch: Theater der Emotionen. Ästhetik und Politik zur Zeit Ludwigs XIV., Frank- furt am Main New York 2006. 2 Ebd., S. 43ff. 3 Ebd., S. 63. 4 Ebd., S. 85–95. 5 Ebd., S. 95–105. 6 Ebd., S. 43ff. 7 Carine Barbafieri: Atrée et Céladon. La galanterie dans le théâtre tragique de la France classique (1634–1702). Rennes, 2006. 114 D IE ENTSTEHUNG DES ZÄRTLICHEN THEATERS tendre mit Racine, also um 1670 einsetzen lassen.8 Mit Barbafieri ist jedoch davon auszugehen, dass die heroische Tragödie im Sinne Corneilles sich bereits in einem Transformationsprozess befand, als Racine in den 1660er und vor allem 1670er Jahren dieses Genre in Richtung der Liebestragödie weiter entwickelte. Schon der französische Dichter und Librettist Philippe Quinault hatte in seinen Tragikomö- dien der 1650er Jahre den Focus auf die Motivik der unglücklichen Liebe gelegt, also die tendresse amoureuse erarbeitet und dann für die neu entstehende französi- sche Oper, also in seiner ab 1670 einsetzenden Zusammenarbeit mit dem italieni- schen Komponisten Jean-Baptiste Lully weiter entwickelt. Quinault begann seine literarische Karriere unter dem starken Eindruck der Prezieusen: Sein erstes Thea- terstück, die Komödie Les Rivales, wurde im Jahre 1653 in jenem Hotel de Bourgo- gne uraufgeführt, in dem Quinault in Anlehnung an die erläuterten Ideen der ‚Carte du Pays de Tendre‘ auch in den folgenden Jahren eine Reihe von Komödien, Tragikomödien und Tragödien inszenierte. Entsprechend früh wurde Quinaults Aufstieg in einem ätzenden Kommentar in Somaize’ Grand dictionnaire des Précieu- ses auf die geschickten Plagiate anderer preziöser Dichter bzw. die Fähigkeit zurück- geführt, der Damenwelt in den Salons mit seinen „Liebesthemen“ und seinen „ga- lanten Umgangsformen“ zu schmeicheln.9 Auch Boileau verhöhnte Quinault in seiner dritten Satire, in seinem Theater der Liebe sprächen die Helden wie Schäfer und sagten alles – auch „Ich hasse dich“ – in einem zärtlichen Ton: „jusqu’a je vous hais, tout s’y dit tendrement.“10 Boursault hingegen lobte Quinault in seinem Lett- re à la Reine von 1669 mit den folgenden Worten: C’est un Auteur doux, agréable, A qui la scène est redevable; Il ecrit toujours tendrement, Il conjugue amour galamment.11 Als Quinault 1657 von den Salons hin zum Hof wechselte, hatte er also längst den Ruf eines Experten in Sachen Preziösität inne, und schon zu dieser Zeit war deren Bewertung keinesfalls von der Eindeutigkeit der Molièreschen Satire geprägt: 1662 etwa formulierte der französische Schriftsteller Jean Chapelain mit Blick auf die ersten Tragikomödien Quinaults: „C’est un poète sans fond et sans art, mais d’un beau naturel, qui touche bien les tendresses amoureuses.“12 Patricia Howard ver- 8 Wir verwiesen zudem in der Einleitung auf die Arbeit von Evelyne Méron zum Tendre et cruel Corneille, die ein „sentiment de l’amour“ in Corneilles Dramen Le Cid, Horace, Cinna und Poly- eucte untersuchte und Corneille von der „reverence traditionnelle envers la grandeur du ‚heros tragique‘“ befreite, vgl.: Evelyne Méron: Tendre et cruel Corneille, a.a.O., S. 11. 9 Siehe dort den Eintrag ‚Quirinus‘ in: Antoine Baudeau, sieur de Somaize: Le grand dictionnaire des précieuses ou la clef de la langue des ruelles (1661) Band 1, hg.v. Ch. L. Livet, Paris 1856, S. 203–204. 10 Nicolas Boileau-Despreaux: Satire III, 1. 188. See also Satire II, 1. 19–20: ‚Si je pense exprimer un Auteur sans defaut, I La raison dit Virgile, et la rime Quinault.’ 11 Boursault: Lettre à la Reine, in: Lettres de respect, d’obligation et d amour (Paris 1669), p. 25–26. 12 Johannes Baptist Augustinus Buitendorp: Philippe Quinault: sa vie, ses tragédies et ses tragi-co- médies, Paris 1928, S. 44f..
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