Theory and Practice in 17Th–19Th Century Theatre Sources, Influences, Texts in Latin and in the Vernacular Ways Towards Professional Stage
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THEORY AND PRACTICE IN 17TH–19TH CENTURY THEATRE SOURCES, INFLUENCES, TEXTS IN LATIN AND IN THE VERNACULAR WAYS TOWARDS PROFESSIONAL STAGE Líceum Kiadó, 2019 In memoriam Czibula Katalin (1962–2019) THEORY AND PRACTICE IN 17TH–19TH CENTURY THEATRE SOURCES, INFLUENCES, TEXTS IN LATIN AND IN THE VERNACULAR, WAYS TOWARDS PROFESSIONAL STAGE THEORY AND PRACTICE IN 17TH–19TH CENTURY THEATRE SOURCES, INFLUENCES, TEXTS IN LATIN AND IN THE VERNACULAR, WAYS TOWARDS PROFESSIONAL STAGE Edited by Katalin Czibula Júlia Demeter Márta Zsuzsanna Pintér Eger, 2019 Reviewers: Diffiore Czipczer Rita Gombáné Ludwig Holde Sonja Körömi Gabriella © Editors and authors 2019 ISBN: 978-963-496-129-1 A kiadásért felelős az Eszterházy Károly Egyetem rektora Megjelent az EKE Líceum Kiadó gondozásában Kiadóvezető: Nagy Andor Felelős szerkesztő: Domonkosi Ágnes Nyomdai előkészítés, borítóterv: Molnár Gergely Megjelent: 2019-ben Készítette: az Eszterházy Károly Egyetem nyomdája Felelős vezető: Kérészy László CONTENTS INTRODUCTION ................................................................................................................... 7 Magdaléna Jacková: Comment dramatiser le récit biblique ........................................................................................ 9 Mirella Saulini: Bernardino Stefonio’s Flavia Tragoedia: Classical Sources. The Staging of a Very Long Tragedy ..........................................................................................21 Markéta Klosová: How to Get Diogenes on the Stage ............................................................................................33 Nicol Sipekiová: A Jesuit School Drama about the Battle of Vienna (1683) as an Example of Occasional Literature and Its Function .............................................................41 Norbert, Medgyesy S.: Historische Schauspiele über die Stephanskrone zum Anlass der Königskrönungen (Pressburg, 1688; Tyrnau, 1712) ...............................................................................................55 Renáta Windischné Törtei: Why Thököly? Presentation of the Thököly Drama Issue in Spain ...........................................69 Jean-Frédéric Chevalier: Musique et spectacles de cour dans Anglia de Carolus Kolczawa (1704) : peut-on parler de mise en scène? ...............................................................................................77 Kateřina Bobková-Valentová – Martin BaŽil: Der Autor als verborgener Regisseur Anweisungen zur Aufführung in der Handschrift von Georgius Auschitzers Spiel Aquila principalium duorum sanctorum… (Schweidnitz, 1703) ...............................................................................91 Josef Förster: Sources and Influences of the Dramatic Work of Johann Christian Alois Mickl .............................................................................................105 Márta Zsuzsanna Pintér: Les types du drame historique dans la litterature ancienne hongroise ....................................111 Máté Boér: Classis Graeca – On an 1785 Translation of Euripides from Transylvania...............................123 Réka Kővári: Dramatic Songs in the „Jászfényszaru Collection” from 1788 ................................................131 Eszter Kovács: 18th century Nativity Plays in Slovak from Zsolna ..................................................................145 5 Paul S. Ulrich: Almanachs as Sources for Documenting German-Language Theatre from 1752 to 1918 in over 4000 Cities and Towns ..................................................................153 Gabriella Nóra Tar: Teufelsbündner im Repertoire des (Kinder)theaters im 18. Jahrhundert ................................171 Szabolcs János: Erinnerungsorte und Geschichtserinnerung im siebenbürgisch-deutschen Theater des 18.–19. Jahrhunderts ...........................................................................................179 Katalin Czibula : Politische Moden: Die Darstellung Russlands in den ungarischen Dramen um die Wende vom 18. zum 19. Jahrhundert?...........................................................187 Emese Egyed: La maladie saturnienne, la censure des sentiments (1834−38) ................................................195 Júlia Demeter: How to Become an Original Playwright? The Sources of a Drama (József Katona: Aubigny Clementia) .......................................................................................207 Zsuzsánna Kiss: Martzi Zöld [Marty Green], the Highwayman. An Amusing Play about Hungarian Social Life ...................................................................................................217 Zsuzsanna Kollár: The Drama Concept of the Hungarian Academy of Sciences in the 1830s ..............................239 Csaba Onder: Die Ohnmacht der Heldinnen ................................................................................................249 Judit Kusper: Frühromantik auf der Bühne. Die Darstellung des Ich und des Selbst in József Katona’s Bánk bán ....................................................................................263 Éva Kozma: Myth and Theatrical Praxis in the Career of a Family of Actors ..............................................271 BIBLIOGRAPHY...................................................................................................................281 AUTHORS .............................................................................................................................317 INDEX ..................................................................................................................................319 6 INTRODUCTION In 2018, the triannual conference on the history of drama and theatre in Eger was held for the 11th time. It is highly challenging to decide the title and the central theme of the presentations. The title of the 2018 conference is aiming to reflect the variety charac- teristic of the period: the multitude of Renaissance, Baroque and Neo-classicist theories of drama and theatre provides an adequate frame for the examination of drama texts be- tween the 16th and 19th centuries, while in terms of practice, all the elements of theatrical presentation are represented: scenery, music, costumes, and mode of presentation. The research results of the past thirty years were published in ten volumes. We also consider it important to publish the latest studies in a volume that includes foreign language articles only. The papers presented at the conference are published in chronological order by theme, yet the order is still not fully consistent as some papers may cover a longer period or more periods, or it is their theme (e.g. the siege of Vienna) that is common. The 24 items in the collection demonstrate how many lines of theatrical schools and professional theatre in the German and Hungarian languages are connected in Europe. The book fea- tures excellent studies about emblematic playwrights such as Stefanio Bernardino of Italy, Amos Johannes Comenius and Karol Kolczava of Czechia, or József Katona of Hungary, but lesser known, recently discovered playwrights (such as Johann Christian Alois Mickl, Georgius Ausschitzer) have also been mentioned. Several papers discuss such genres of the 16th and 19th centuries as historical plays, comedies of moral, and biblical plays that focus on the figure of Judith. Also the reception of classical authors (e.g. Euripides) in Hungarian is also worthy of attention. Two studies may also be of interest for music history scholars: one focuses on Christmas plays with musc and the other on dramatic folk songs. In 19th century theatre history, the reper- toire and operations of German theatrical companies and children companies provide the most points of interest for scholars, yet a unique study outlines the sociological aspects of the actors’ job at the beginning of the 19th century. We wish to express our gratitude to the Hungarian Scientific Research Fund (OTKA) for supporting the work of our research team for more than a decade. The project called OTKA/NKFI K 119865 also provided support to organize the conference. The pub- lishing of the present volume was made possible by Eszterházy Károly University, whose support we also wish to thank. In addition, we wish to thank all those individuals who helped organize conferences, publish conference works, and presented or participated and shared their research with us during the conferences. They all inspired us to do fur- ther research. We hope to meet in 2021 again. The editors 7 MAGDALÉNA JACKOVÁ COMMENT DRAMATISER LE RÉCIT BIBLIQUE1 Le drame biblique, l’un des genres théâtraux les plus populaires au XVIe siècle, était un phénomène européen. Les pièces bibliques jouissaient d’une grande popularité aux Pays-Bas ainsi que dans les pays germanophones ; elles étaient écrites en France et en Angleterre et, bien sûr, nous les retrouvons parmi les drames écrits au XIVe et dans les premières décennies du XVIIe siècle en Bohême.2 Dans cette étude, j’analyserai la façon dont les auteurs traitent le sujet biblique, c’est-à-dire un sujet narratif, pour le transformer en drame. Tandis que les uns se limitent aux changements les plus nécessaires, d’autres développent et modifient considérablement le modèle. Pour montrer ces approches différentes, je m’appuierai sur trois pièces : la Tragoedia des Buchs Judith de Joachim Greff, la Komedie nová o vdově (La nouvelle comédie de la veuve) de Pavel Kyrmezer et Tobias Junior de Geor- gius Dingenauer. Joachim Greff : Tragoedia des Buchs Judith Tragoedia des Buchs