Zuckmayer at the Berliner Ensemble

University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln zz Theatre & Film Faculty Publications Fall 1990 Zuckmayer at the Berliner Ensemble William Grange University of Nebraska - Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/theaterfilmfacpub Part of the Theatre and Performance Studies Commons Grange, William, "Zuckmayer at the Berliner Ensemble" (1990). zz Theatre & Film Faculty Publications. 2. https://digitalcommons.unl.edu/theaterfilmfacpub/2 This Article is brought to you for free and open access by DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in zz Theatre & Film Faculty Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Published in WESTERN EUROPEAN STAGES 2:2 (Fall 1990), PP. 51-52. Copyright © 1990 Center for the Advanced Study in Theatre Arts, CUNY. Zuckmayer at the Berliner Ensemble William Grange When the Berliner Ensemble at the Theater am Schiffbauerdamm stages a production of Carl Zuckmayer's Der Hau~tmannvon Ko~enick,one can without reservation conclude that enormous changes are indeed taking place in Germany. That statement may at first seem disingenuous, but to connoisseurs of footnotes in German theatre history, few developments could rival this latest evidence of reconciliation along political, cultural, and especially theatrical lines. Theatre and politics have a long history of close association in Germany, and no theatre has been more politically conscious than the Berliner Ensemble. Brecht was, as "his" Berliner Ensemble subsequently became, an advertisement for the ruling regime in the Soviet zone of occupation. With the impending dissolution of the German Democratic Republic, it is no wonder that Brecht's theatre should be at the forefront of stupendous change. Why is Carl Zuck- mayer a beacon of that change? Zuckmayer was Brecht's opposite number in 1948, a playwright of equal advertising value on the other side of the German-German border in the western zones of occupation. Zuckmayer was a Hans-Peter Reinecke in Der Hau~tmannvon Kopenick. liberal, middle class humanist who represented for I many West Germans in the 1940s and 1950s a Photo: Vera Tenscherf. palatable alternative to Brecht. The result was a non-subtle competition between the two playwrights, as they came to personify adversarial directions in which the German theatre was then repertoire, and this is the first Zuckmayer play ever heading. Now that the German theatre is heading to be staged at the Berliner Ensemble. Brecht was towards reconciliation, Zuckmayer's play is an troubled by Ko~enick'smessage of reconciliation appropriate vehicle even for a Marxist theatre to (a theme common to Zuckmayer's work) because produce. Der Hau~tmannvon Ko~enickis about reconciliation, Brecht felt, was too similar to reconciliation among Germans with opposing catharsis. It papered over the real need for social viewpoints. It treats the real-life episode of Wilhelm and political change while allowing audiences to Voigt, a homeless cobbler who one day paraded leave the theatre with important questions through the Berlin suburb of Kopenick in a Prus- unconfronted. Having grown up in the Wilhelmine sian captain's uniform. Obedient Germans obeyed era, Brecht remembered little about its military that every command he gave them, and Kaiser Wilhelm was whimsical. Zuckmayer, on the other hand, II was so taken with the old bum's panache that he was far less ideological in his treatment of military pardoned him and gave him a lifetime pension. characters (and of injustice generally); his The play essentially gave Germans a rare tendency was to view political questions, too, opportunity to laugh at themselves and at how within humane dimensions. seriously they took their military traditions. Yet it This production at the Berliner Ensemble had never appeared in any East German theatre's did not ignore political questions, but it did interpo- late military music between scenes as a humorous however, which enabled him to survive without bi- digression. The music was not Hanns Eisler or terness the years of official harassment; at the Paul Dessau (it was a pastiche of Wilhelmine mar- same time he maintained a critical distance from ches arranged by Rainer Bohm and Karl-Heinz the character, making Voigt a pditical commentary Nehring), yet it broke up the scenic flow of the on the German notion that "passports make the piece, a technique of which Brecht would have man," as Brecht phrased it. approved. Director Christoph Bruck also used the The reality now that Germans no longer play's "Berlinese" dialect, not to localize the play need passports to go back and forth across the but ironically to historicize it, much as Brecht German-German border also informed this produc- demanded. Rather than creating the illusion of tion. References in the script to the ease in travel- gritty realism, the dialect had an antiquated musi- ing from one district of the city to another aboard cality about it, similar to the Wilhelmine march the city's subway system in 1906 drew unexpected music. Director Bruck also invented a means to laughs, a response that would only be possible in stage this distinctly "un-Brechtian" play in a 1990. The reality that the political system in which Brechtian manner. Wih designer Henning Schaller the Berliner Ensemble once thrived will now face he created two long mobile wall units, each of complete overhaul is a major reason for staging a whlch had eight door openings. These walls Zuckmayer play in the first place; it is evidence of shifted for each scene to become the backdrop for the Berliner Ensemble's instinct for survival wlthin a Prussian police offices, unemployment bureaus, rapidly changing environment. Reports from East prison hallways, restaurants, and many other of the German theatres in recent years had noted an altogether eighteen scenes required. Each increasing, though always subtle, activism for terminated with a blackout, with the music cover- reform in the German Democratic Republic's politi- ing shifts; hence the production did not look much cal structure; actors and audiences had developed different from Brecht plays now running in the a kind of language based on gesture, intonation, company's repertoire. There was thus an inflection, and silence. Now, that language is unaccustomed (for Zuckmayer audiences, at any largely unnecessary, as the GDR's pditical struc- rate) abruptness in the flow of the play's action. In ture has nearly completed the wholesale collapse the original production staged nearly fifty years begun on 9 November 1989. No citizens of the ago at the nearby Deutsches Theater, director GDR are more startled by the speed of collapse Heinz Hilpert emphasized a cinematic flow of one than theatre personnel, who now openly voice scene to another, utilizing the theatre's revolve. profound uneasiness about the future. Even Most subsequent West German productions fol- ushers at the Berliner Ensemble speak of the loom- lowed that precedent. The Theater am ing spectre of unemployment. Everyone in the ' Schiffbauerdamm also has a revolve, but Briick did theatre realizes that government funding agencies not employ it, choosing instead to "make the knots will no longer support them in the accustomed visible" per Brecht's imperative. manner, since the basis for competition between In the role of cobbler Voigt, longtime the two German states has disappeared. A corn- Ensemble actor Hans-Peter Reinecke established petition for wider audience acceptance has early on that his performance was not going to be replaced it, and thus one finds the work of a a "star turn" as it has been for many German bourgeois playwright like Zuckrnayer in a theatre actors. Reinecke is not in the mold of Werner like the Berliner Ensemble. Will Brecht's theatre KrauB (who originated the role), Max Adalbert, itself become bourgeois? No productions of Heinz RUhmann, or the West German actor most and Ddls or Arsenic and Old Lace are planned, but closely associated with it, Carl Raddatz; Relnecke Der Hau~tmannvon Kd~enickis a good place to did not attempt to win audiences over. He instead start. Its presence at the Theater am Schiffbauer- presented his case, as if he were a self-taught law- damm leaves little doubt that enormous changes yer, but one speaking for the dispossessed. He have already taken place, and that further accom- somehow retained the character's sense of humor, modation and reconciliation will follow. .

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