Kean
Persönliches Als Nachwort
Das Schauspiel mein Stück zu nennen, ist vielleicht kühn, aber nicht ohne Berechtigung, wenn es nicht noch toller wäre und nicht ohne Torheit, es eines von Dumas zu nennen. Dumas ist ein verteufelt armes Luder, weil er tot ist, und ich habe keinen Orgueil an der Frage. Man kann auf ihr wie eine schöne Frau auf einem Dagobert die gewagtesten Positionen einnehmen. Ich überlasse die Lösung meinen kleinen Feinden, die mir seine Fehler vorzuwerfen nicht ermatten werden und auch mit Sicherheit bereit sind, meine Vorzüge in sein Talent zu jonglieren.
Was mich an dem Schmarrn des Franzosen reizte, war das Genialische, das
auch im Kitsch noch zuckt als Geste und Kerl und Blut. Ich hatte wahrlich nicht den Ehrgeiz, mich von dem Schmiß der Sache zu einer neuen Sache locken zu lassen, da ich ja die Freiheit und Möglichkeit wohl hätte, von mir selbst mich zu allen möglichen Stücken reizen zu lassen, und ich hatte keineswegs die Lust, den Franzosen zu schlucken, sondern die Absicht, ihn zu vervollkommnen und diesen verruchtesten und geliebten Reißer zu einem neuen Stück von Haltung zu machen. Es ging weniger um die Polierung, eher um das Fundament, und gewiß nicht um eine Bearbeitung, sondern bestimmt nur um Theater und um sicher besseres Theater, als in zehn dünnseeligen Geiststücken meiner immer abstrakter vom Blut wegwandernden Generation.
Der europäische Gascogner hatte sich die Sache leicht gemacht, wußte
prêcher pour sa paroisse und sagte umgekehrt wie die Englischen gern Baumwolle, wenn er Jesus meinte, was Heine nicht in seiner Begeisterung störte, als in der Hauptrolle Frédérik Lemaître dem romanischen Sketsch am einunddreißigsten August Achtzehnhundertsechsunddreißig im Théâtre des Variétés vor den Untertanen einer demokratisierenden Bourgeoisie und vor verprügelten Aristokraten die Weltrichtung gab ... und Dumas damit aus dem Gekrisch literarischer Diebstähle herausriß, in das ihn Gardisten seines lächelnden Freundes Victor Hugo gewickelt hatten. Damals wars rassiger Bluff. Heut ist die Innerlichkeitssubstanz Geschwätz und Geplausch. Zwischen die (wundervollen) Trüks muß nun Seele hineinschmettern. Es müssen Menschen dahin, wo er Dramatisches suchte und Effekte fand, es darf Wahrheit dort sein, wo er gaunerte und Glissandos machte. Wo er gallisch krähte, muß Schicksal hinein.
Denn schließlich handelt es sich darum, daß dieses funny animal, dieser tolle
Bursche, Kean, nicht aus Unordnung schlampig, sondern aus elementaren Leidenschaften ungesammelt ist. Daß es nicht auf das Kostüm ankommt, sondern auf dies Exemplar von Menschen, nicht auf die Verwirrungen, sondern auf die Dämonie. Daß es von Bedeutung ist, daß die Backfische und Mondänen und Kokotten des französischen Theaters nicht aus Bleichsucht gütig und aus Hurerei lasziv und aus Neugier abenteuerlich sind, sondern daß sie aus Güte konsequent und aus Lebenskenntnis tragisch und aus Enttäuschungen überlegen scheinen. Und daß schließlich nicht bei sentimentalen Saucen verblieben, sondern wahrhaftig zu festeren Ergebnissen fortgeschritten werden muß. Alles andere ist Unsinn. Das ist der Weg der Operation.
Der Weg, der keinen anderen Ehrgeiz der Exkursion kannte als den
handwerklichen zum sachlichen Theater in einer theaterlosen Zeit, schob in alle Kurven eine amüsante Grenze. Man erblickte stets die Neigung, den alten Faiseur des Genialischen mit einer schonen Brüskheit aus dem Wagen zu schmeißen, aber man behielt ihn mit Respekt und lächelnd bei. Die Fahrt erhielt eine seltsame Mischung von Gefahr und Grazie, von Respekt und Tragödie, von Fatum und Causerie.
Man spiele daher in den Untergründen, ohne die Eleganz zu verletzen. Man
spiele ganz modern, aber zeitlos. Man boxe und morde exakt, mit Kenntnis, aber nicht ohne Verständnis für die Not der Herzen. Man spiele schließlich mit voller Aktualität, aber durch Stilisiertes ins Breitere der Gefühlsvorgänge gedämpft. Momentan, aber nicht salonhaft. Tragisch, aber mit Verschweben. Scharf, rasch, nicht ohne viel Graziles und mit bedeutender Phantasie.
Kreuzeckhaus, Februar 1921.
KASIMIR EDSCHMID
Manuldruck der
Spamerschen Buchdruckerei
Leipzig
Von
KASIMIR EDSCHMID
erschienen:
BEI ERICH REISS
ÜBER DEN EXPRESSIONISMUS IN DER LITERATUR UND DIE NEUE
DICHTUNG
BEI KURT WOLFF
DIE SECHS MÜNDUNGEN
NOVELLEN
DAS RASENDE LEBEN
NOVELLEN
TIMUR
NOVELLEN
BEI PAUL CASSIRER
DIE FÜRSTIN
NOVELLEN
DIE DOPPELKÖPFIGE NYMPHE
AUFSÄTZE ÜBER DIE LITERATUR UND DIE GEGENWART
DIE ACHATNEN KUGELN
ROMAN
Anmerkungen zur Transkription
Verlagsanzeigen wurden vom Beginn des Buches and das Ende verschoben.
Offensichtliche Fehler wurden stillschweigend korrigert. Weitere Änderungen sind hier aufgeführt (vorher/nachher):
... JÜNGLING: Hast du ihn nicht gefährlich eingeheizt? ...
... JÜNGLING: Hast du ihm nicht gefährlich eingeheizt? ... ... ruschte Kean seine Stimme in den Magen. Er spie. ...
... rutschte Kean seine Stimme in den Magen. Er spie. ... ... nicht in sechs Teile auseinander? Seltsame Späße reifen mein Dasein ...
... nicht in sechs Teile auseinander? Seltsame Späße reißen mein Dasein ... ... Ende des zweiten Akts. ...
... Schluß des zweiten Akts. ...
Sie haben Kean zu Ende gelesen
Kasimir Edschmid
Bücher wie dieses
Hinweis von Project Gutenberg
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