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Moritz Benjowsky – ein (mittel)europäischer Held

Materialien der internationalen wissenschaftlichen Konferenz, Wien, 22.–26. Mai 2019


Edited By Alois Woldan and Katalin Blaskó

Die Beiträge dieses Bandes untersuchen das große Erbe, das der Abenteurer und Weltreisende Moritz Benjowsky (1741–1786) in Literatur, Theater und Film vieler europäischer Kulturen hinterlassen hat. Benjowsky ist Autor berühmter Memoiren und Held literarischer Werke in einem. Die Autoren dieses Bandes analysieren Werke über Benjowsky in deutscher, ungarischer, polnischer, slowakischer und russischer Sprache vom 18. bis zum 20. Jahrhundert, sie untersuchen die Verflechtungen innerhalb dieser Texte und die Bedingungen ihrer Entstehung. Sie zeigen, wie in diesen Texten ein Mythos von Benjowsky geschaffen wird, der auch als nationaler Erinnerungsort von Bedeutung ist. Ethnische Stereotypen in diesen Texten werden aufgezeigt, koloniale Mythen dekonstruiert.

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Christian August Vulpiusʼ Benjowsky oder Vorspiel auf dem Weimarer Hof-Theater (1792)

Adam Bžoch (Bratislava)


Abstract: The article deals with the question of the functions of German trivial drama at the end of the 18th century and shows the tension that existed on the German stage between politics and entertainment at that time. The author discusses two adaptations of Benjowskyʼs memoirs performed at the Weimar Court Theatre in the early 1790s. The historical reconstruction shows that there must be some political reasons for the banishment of the play Count Benjowsky by Ch. A. Vulpius from the Weimar stage in late summer 1792. The arrest and the later execution of the French King Louis XVI, as well as the proclamation of the French Republic in September 1792, discredited in Germany in 1792 and 1793 the radical idea of political freedom which formed the philosophical background of the play by Ch. A. Vulpius. The „Original Tragedy“ by Vulpius was removed from the program of the Weimar Court Theatre in September 1792 very quickly and appeared never more on the German stages. The play by August von Kotzebue Count Benjowsky or the Conspiracy on Kamchatka, in which the author processed the same episode from Benjowskyʼs memoirs as Vulpius, was performed in Weimar in December 1794 to correct Vulpiusʼ political faux pas from late summer 1792. In the age of revolutions and republicanism, however, Kotzebueʼs play not only decisively defused the freedom discourse on German stages, but, positively speaking, also consolidated the claim of the German theater as a socializing institution.

Keywords: Christian August...

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