Liebel
5. 11
box 10/3
Larfunkel's Nachrichten-Bureau, Argus“
erlin C., Poststrasse 29. Telephon V, 1227.
Paris.
New-York.
London.
est alle Zeitungen der Welt und liefert ans denselben
Ausschnitte über jeden Gegenstand.)
Nom du Journal: (2447—
Date: 20 FEVRIER 1896
∆
Adresse: en en reneneennaneng
Alleie Alplieu
THE DRAMA IN BERLIN.
N LIEBRLEI,“
Drama, in Three Acts, by Arthur Schnitzler,
Produced atthe Deutsenes Theatre, Feb. 4th, 1896.
Herr Rrichek
Hans Weiring
Frau SoRMA
Obristine
Frau ScHNEIDRR
Mizi
Fräulein MErzk
Katherina Binder
Herr RirrNER
Fritz Lobheimer
Theodor Kaiser Herr JAnyo
Ein Herr Herr NISsEN
(FROM OUR OWN CORRESPONDENT.)
BERLIN, TnuRsDay, Frn. 13.—The author of
Liebelet is an Austrian, and his present work has
already been produced successfully at Vienna, where
the scene is laid. Liebelet may be translated as“ love¬
making; each act is complete in itself, containing
some very admirable character sketches and finely
constructed scenes. There is but little plot, the prin¬
cipal attractions of the piece being the elegant simplicity
gof its language and the delicate shading of the cha¬
Tracters, which are very life-like.
The first act is laid in the dwelling of Fritz Lobhei¬
mer, a young man of fashion. In the opening scene he
is treated to a homily from his friend Theodor, who is
expounding his views upon the science of love-making.
Love should not be treated as a grand passion, he says,
for it is then exciting, injurious, even deadly; love for
a young man should be a recreation pure and simple;
above all, a liaison with a married woman should ber
avoided, a sensible man permitting himself only flirta¬
tions with young girls who demanded nothing moren
than he chose to give. Theodor selects his words witht#
direct intention, for his friend is deeply entangled in a
love affair with a married woman who loves him pas¬
sionately—too passionately, and he is beginning to
writhe under the chains with which he has bound him¬
self. Theodor has invited to an improvised aupper hist
##friend' Mizi, a vivacious young person from a mil¬
linery establishment, and her friend Christine, a gentle,
rather sentimental girl of virtuous character, who has
expended the best she has to give upon Lobheimer.
Thetwo girls presently arrive in Fritz’s rooms—Mizi:
the personification of animal spirits and “cheeky ?
good-comradeship, in the gavest of costumes; Christine:
shy but loving, her beauty being set off by a simple
dress. The ladies arrange the supper-table thei
men providing the eatables and wines, and soon
all is joy and convivality. After supper al
little freedom in the matter of kisses is per¬
mitted, and Fritz sits down to play a waltz for.
Mizi and her friend, Christine bending over the piano¬
with no eyes butfor him. She tells him under cover off
the soft music what he is to her, how his love for her
has beautified her life; and Lobheimer almost feels as
if he loves her indeed, so soothing is her gentle, tender¬
nature after the wild passion of the riper woman.
Suddenly the gay company are interrupted by thei
ringing of the door beil; Lobheimer, looking from thei
window, recognises the husband he has wronged.
Hurriedly acquainting his friends with thefact he sends
them all into another room, and admits his late visitor.
Ashort scene pregnant with meaning follows; the men
exchange but few sentences; the husband has found
Lobheimer’s letters—which he brings him—in his wife's
possession and is aware of bis dishonour. He does not
wish the letters to be found“ afterwards, he says, and
Fritz understands, and places Fimself at the disposal of
the man he has betrayed. The ducl will take place in
two days; and the interview ends with the repression
of feeling with which it commenced. Lobheimer recalls
his friends and endeavours to act as if nothing had hap¬
pened, but his wonted spirits will not come at his
„
bidding, and the company soon disperse. Theodor,
being requested by his friend to return, does so, and
reluctantly undertakes the oflice of second.
The second act shows us Christine’s home, and intro¬
duces her father—first violin at one of thetheatres. Old
Weiring is a character in his way, and a philosopher;
he contends that the only things worth having in later
life are the“remembances,'and would rather his child
should love under any conditions than that she should
have no sweet memories in her old age. So he is later
on neither surprised nor grieved at Christinc’s love for
Lobheimer, and calmly receives all the insinuations of
a mischief-making neighbour, who tries to calumniate
his daughter. Christine herself watches all day forher
lover, who has promised to come; she is alternately
hopeful and despairing, for it is late in the evening
when he arrives. He tells her he will be absent for a
time—that he is going a journey, and in the moment of
farewell, with a prevision of his end upon him, he really
loves the girl who has given him her life. He promises
to write to her and then, with a heavy heart, goes.
The third act contains some painfully impressive
scenes: Christine waits and watches in vain for some
arning
5. 11
box 10/3
Larfunkel's Nachrichten-Bureau, Argus“
erlin C., Poststrasse 29. Telephon V, 1227.
Paris.
New-York.
London.
est alle Zeitungen der Welt und liefert ans denselben
Ausschnitte über jeden Gegenstand.)
Nom du Journal: (2447—
Date: 20 FEVRIER 1896
∆
Adresse: en en reneneennaneng
Alleie Alplieu
THE DRAMA IN BERLIN.
N LIEBRLEI,“
Drama, in Three Acts, by Arthur Schnitzler,
Produced atthe Deutsenes Theatre, Feb. 4th, 1896.
Herr Rrichek
Hans Weiring
Frau SoRMA
Obristine
Frau ScHNEIDRR
Mizi
Fräulein MErzk
Katherina Binder
Herr RirrNER
Fritz Lobheimer
Theodor Kaiser Herr JAnyo
Ein Herr Herr NISsEN
(FROM OUR OWN CORRESPONDENT.)
BERLIN, TnuRsDay, Frn. 13.—The author of
Liebelet is an Austrian, and his present work has
already been produced successfully at Vienna, where
the scene is laid. Liebelet may be translated as“ love¬
making; each act is complete in itself, containing
some very admirable character sketches and finely
constructed scenes. There is but little plot, the prin¬
cipal attractions of the piece being the elegant simplicity
gof its language and the delicate shading of the cha¬
Tracters, which are very life-like.
The first act is laid in the dwelling of Fritz Lobhei¬
mer, a young man of fashion. In the opening scene he
is treated to a homily from his friend Theodor, who is
expounding his views upon the science of love-making.
Love should not be treated as a grand passion, he says,
for it is then exciting, injurious, even deadly; love for
a young man should be a recreation pure and simple;
above all, a liaison with a married woman should ber
avoided, a sensible man permitting himself only flirta¬
tions with young girls who demanded nothing moren
than he chose to give. Theodor selects his words witht#
direct intention, for his friend is deeply entangled in a
love affair with a married woman who loves him pas¬
sionately—too passionately, and he is beginning to
writhe under the chains with which he has bound him¬
self. Theodor has invited to an improvised aupper hist
##friend' Mizi, a vivacious young person from a mil¬
linery establishment, and her friend Christine, a gentle,
rather sentimental girl of virtuous character, who has
expended the best she has to give upon Lobheimer.
Thetwo girls presently arrive in Fritz’s rooms—Mizi:
the personification of animal spirits and “cheeky ?
good-comradeship, in the gavest of costumes; Christine:
shy but loving, her beauty being set off by a simple
dress. The ladies arrange the supper-table thei
men providing the eatables and wines, and soon
all is joy and convivality. After supper al
little freedom in the matter of kisses is per¬
mitted, and Fritz sits down to play a waltz for.
Mizi and her friend, Christine bending over the piano¬
with no eyes butfor him. She tells him under cover off
the soft music what he is to her, how his love for her
has beautified her life; and Lobheimer almost feels as
if he loves her indeed, so soothing is her gentle, tender¬
nature after the wild passion of the riper woman.
Suddenly the gay company are interrupted by thei
ringing of the door beil; Lobheimer, looking from thei
window, recognises the husband he has wronged.
Hurriedly acquainting his friends with thefact he sends
them all into another room, and admits his late visitor.
Ashort scene pregnant with meaning follows; the men
exchange but few sentences; the husband has found
Lobheimer’s letters—which he brings him—in his wife's
possession and is aware of bis dishonour. He does not
wish the letters to be found“ afterwards, he says, and
Fritz understands, and places Fimself at the disposal of
the man he has betrayed. The ducl will take place in
two days; and the interview ends with the repression
of feeling with which it commenced. Lobheimer recalls
his friends and endeavours to act as if nothing had hap¬
pened, but his wonted spirits will not come at his
„
bidding, and the company soon disperse. Theodor,
being requested by his friend to return, does so, and
reluctantly undertakes the oflice of second.
The second act shows us Christine’s home, and intro¬
duces her father—first violin at one of thetheatres. Old
Weiring is a character in his way, and a philosopher;
he contends that the only things worth having in later
life are the“remembances,'and would rather his child
should love under any conditions than that she should
have no sweet memories in her old age. So he is later
on neither surprised nor grieved at Christinc’s love for
Lobheimer, and calmly receives all the insinuations of
a mischief-making neighbour, who tries to calumniate
his daughter. Christine herself watches all day forher
lover, who has promised to come; she is alternately
hopeful and despairing, for it is late in the evening
when he arrives. He tells her he will be absent for a
time—that he is going a journey, and in the moment of
farewell, with a prevision of his end upon him, he really
loves the girl who has given him her life. He promises
to write to her and then, with a heavy heart, goes.
The third act contains some painfully impressive
scenes: Christine waits and watches in vain for some
arning