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Don Giovanni.“ DIPLOMARBEIT Titel der Diplomarbeit „Schöpferische Regieoper versus klassikerzertrümmernde Dekonstruktion. Regietheater und Werkgerechtigkeit am Beispiel von W.A. Mozarts und Lorenzo Da Pontes Don Giovanni.“ Verfasserin Stefanie Koscher angestrebter akademischer Grad Magistra der Philosophie (Mag. Phil.) Wien, 2011 Studienkennzahl lt. Studienblatt: A 317 Studienrichtung lt. Studienblatt: Theater-, Film- und Medienwissenschaft Betreuer: Univ.-Prof. Dr. Wolfgang Greisenegger 2 3 Für meine Eltern. 4 5 INHALTSVERZEICHNIS ABBILDUNGSVERZEICHNIS .......................................................................9 EINLEITUNG .................................................................................................11 1. AUFFÜHRUNGS- UND WIRKUNGSGESCHICHTE DES DON GIOVANNI ............................................................................................25 1.1 Uraufführung, Wiener Erstaufführung und erste Phase von 1787 bis in das erste Jahrzehnt des 19. Jahrhunderts................................................................ 25 1.2 Romantische Deutung und 19. Jahrhundert ...............................................30 1.3 Die Opernreform Gustav Mahlers und Alfred Rollers anhand ihrer Don Giovanni-Inszenierung von 1906 ............................................................34 1.3.1 Rollers Bühnen- und Kostümentwürfe für den Don Giovanni 1906 ...............35 1.3.2 Mahlers musikalische Gestaltung und Regie ...................................................39 1.3.3 Kritik und Wirkung ..........................................................................................42 1.4 Das 20. Jahrhundert ...................................................................................45 1.4.1 Expressionismus, Neue Sachlichkeit und Bildertheater im frühen 20. Jahrhundert ..........................................................................................................45 1.4.2 Nachkriegszeit bis Gegenwart - Konzentration auf die Regie .........................49 2. DON GIOVANNI UND DAS REGIETHEATER - ANALYSE AUSGEWÄHLTER INSZENIERUNGEN DER JAHRHUNDERTWENDE VOM 20. ZUM 21. JAHRHUNDERT ............................................................54 2.1 Der Begriff Regietheater............................................................................ 54 2.2 Festlegung des Analysemodelles ...............................................................58 2.2.1 Haupttypen von Inszenierungen nach Pavis und Strukturanalyse nach Fischer-Lichte ...................................................................................................59 2.2.2 Das Analysemodell ...........................................................................................62 6 2.3 Analyse ausgewählter ideotextueller Inszenierungen ................................65 2.3.1 Peter Sellars .....................................................................................................65 I. Vorbereitende Schritte.............................................................................................. 65 I.1 Schilderung des Anfangs oder einer auffälligen, komplexen oder unverständlichen Szene ...........................................................................................................................66 I.2 Formulierung einer Hypothese ..............................................................................68 II. Analyse ...................................................................................................................68 II.1 Raum und Szenographie....................................................................................... 68 II.1.a Bühnenbild ...............................................................................................68 II.1.b System der Beleuchtung........................................................................... 72 II.1.c Gegenstände .............................................................................................73 II.2 Figuren.................................................................................................................. 76 II.2.a Kostüme ...................................................................................................76 II.2.b Spielweise und Interpretation der Charaktere.......................................... 79 Don Giovanni ...........................................................................................79 Leporello ..................................................................................................80 Donna Elvira ............................................................................................81 Donna Anna.............................................................................................. 82 Don Ottavio.............................................................................................. 82 Zerlina ......................................................................................................83 Masetto..................................................................................................... 83 Komtur .....................................................................................................84 Statisten und Chor ....................................................................................85 II.2.c Beziehung zwischen dem einzelnen Schauspieler und den anderen .......85 II.3 Auslegung der Fabel durch die Inszenierung........................................................ 91 II.3.a Dramaturgische Option(en)...................................................................... 91 II.3.b Mehrdeutigkeiten in der Fabel und Verdeutlichungen durch die Inszenierung....................................................................................................... 92 II.4 Textgattung und Inszenierung............................................................................... 92 II.5 Globaler Diskurs der Inszenierung .......................................................................92 7 III. Ergebnisse .............................................................................................................93 2.3.2 Calixto Bieito ...................................................................................................95 I. Vorbereitende Schritte.............................................................................................. 95 I.1 Schilderung des Anfangs oder einer auffälligen, komplexen oder unverständlichen Szene ...........................................................................................................................96 I.2 Formulierung einer Hypothese ..............................................................................99 II. Analyse ...................................................................................................................99 II.1 Raum und Szenographie....................................................................................... 99 II.1.a Bühnenbild .............................................................................................100 II.1.b System der Beleuchtung......................................................................... 103 II.1.c Gegenstände ...........................................................................................104 II.2 Figuren................................................................................................................ 109 II.2.a Kostüme .................................................................................................109 II.2.b Spielweise und Interpretation der Charaktere........................................ 111 Don Giovanni .........................................................................................112 Leporello ................................................................................................115 Donna Elvira ..........................................................................................117 Donna Anna............................................................................................ 118 Don Ottavio............................................................................................ 118 Zerlina ....................................................................................................119 Masetto................................................................................................... 120 Komtur ...................................................................................................120 Chor/Statisten:........................................................................................ 121 II.2.c Beziehung zwischen dem einzelnen Schauspielern und den anderen ...121 II.3 Auslegung der Fabel durch die Inszenierung...................................................... 124 II.3.a Dramaturgische Option(en).................................................................... 124 II.4.b Mehrdeutigkeiten in der Fabel und Verdeutlichungen durch die Inszenierung..................................................................................................... 125 II.4 Textgattung und Inszenierung............................................................................. 126 II.5 Globaler Diskurs der Inszenierung .....................................................................127 8 III. Ergebnisse ...........................................................................................................128 EPILOG .........................................................................................................129 QUELLENVERZEICHNIS ..........................................................................133
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