5. Liebelei
box 11/4
—
Telephon 128.
s E Benenn
*
□ l. österr. behördl. konz. Unternehmen für Zeitungs-Ausschnitte
Wien, I., Concordiaplatz 4.
—
Vertretungen
0 in Berlin, Budapest, Chicago, Christiania, Genf, Kopen¬
# hagen, London, Madrid, Mailand, Minneapolis, New-Vork,
Paris, Rom, San Frapcisco, Stockholm, St. Petersburg.
Gewahr.)
Pseael Coutter, Batin
4 Ausschnitt aus:
# von:
„Liebelei“.
His Majesty's Theatre. Schnitzlers Liebelei“ wurde
hier in einer auten, natürlich wirkenden Uebersetzung von Mr.
Frederick Whelens Nachmittagstheater vor vollem und erfreu¬
licherweise sehr beifallsfreudigem Hause zur Aufführung ge¬
bracht. Schnitzler war, von ein paar seiner Einakter abgesehen.
hier noch ganz unbekannt, und nur der Kenntnis und Vorliebe
Wehlens für die moderne deutsche Dramenliteratur ist diese Vor¬
stellung zu danken, wie ihm auch die Vermittlung von Werken
Hauptmanns. Wedekinds u. a. hoch angerechnet werden muß.
Um den Ton der so echt wienerischen „Liebelei“ zu treffen,
hatte man sich Herrn Direktor Behrens, Mainz, zum Reaisseur
bestellt, und man muß sagen, daß das spezifisch wienerische Milien
des Stückes erstaunlich lebensschtzur Erscheinung gelangte. In
den Hauptrollen waren Miß Halstane (Christinel und Mr.
Ainlen (Fritzl tätig: beide trafen den rechten Ton und spielten
mit innerer Teilnahme, ja Hingabe. —
Eine einzige Aus¬
stellung wäre zu machen: Im ersten Akt trinken die zwei
Freund= und Freundinnen bekanntlich „Brüderschaft“; das ist
im enalischen unmöglich adäquat wiederzugeben, weil ehen ein
Duzen in der enalischen Sprache nicht nachznahmen aeht. Statt
also dem Milien des Werkes zu helfen, bringt die bloße, ihres
Sinnes beraubte Zeremonie etwas Unverständliches hinein und
muß daber das Publikum zerstreuen und ablenken, da die Ge¬
danken zuKandern und zu fragen beginnen. Treue dem Ori¬
ainal agaknüber ist sehr aut, aber auch hier ailt der Satz vom
Geistcher lebendia macht, und vom Buchstaben, der tötet.
PALI MALI GAZETTE.
*LIGHT O° LOVE,' AT HIS MAJESTVS.
4 STRIKING AUSTRIAN PLAAY.
Tfit had produced no other play in thie past, and werc never to produce
another in the future, the Afternoon Theatre would have justilied its exist¬
#ence br#the presentation of“ Light o’ Love,“ Mr. G. Valentine Williams's
English version of Hlerr Arthur Schnitzlei's“ Liebelei,'’ given for the first
time yesterday afternoon at His Majesty’s Theatre, and to be repeated next
Tuesday and Thursday afternoons. The play deals with a subject which
is supposed, more than any other, to monepolise all dramatists—Love,
Unfortunately, however, our British dramatists scarcely ever deal with it
sincerely. Mr. Barrie generally toys daintily with it; Mr. Shaw tackles it
scientitically and coolly as a sort of intellectual phenomenon; most of our
plapwrights treat it as no more than something rather pretty and decorative
in a sentimental war. We have to go back two years for an English play
in which the passion of a man and a woman was represented in anything
like its natural power. That pla was“ John Glayde’s Honour,!’ and even
in that the lovers seeined suddenly to cool and become ashamed in the last
few minutes of the last act.“ Light o' Love,'' on the other hand, deuls
witn the subject with a stark sincerity. We can easily creditethe stery
of the success it has had in Austria; and we wish we could believe that a
play so poignant and so sincere war zure of a similar success here. Imtis
buntry the majoritv of playgoers are still content wih a superficial
Handling of human nature. There is, however a rapidlv-growing body ol
London theatre-goers who are asking for Reality, and these should crowd
His Majestv’s Theati“ to the doors for the two remaining performances of
this perfectly simple play.
The storv of“ Light o' Love“ can be told in a sentence or two.
voung girl. Christine Weiring, the daughterof e lddier in a Viennese theatre
orchestra, falls in love with Fritz Lobheimer, a voung officer of agreeable
Unknown to her he has been carrying on a
presence and manners.
tiatson with the wife ofa man of his own class, and the husband has dis¬
covered it, has challenged mimto a duel, and he is killed. Christine hears
sofhis death and of the circumstances which have led up to it; gran #lly
realises the little part which, after all, she has played in his life; and itches.
forth, torn with grief and shame, to destroy herself on his grave. That is
Anrbody could have invented such a story, and no craftsmanship“
all.
was required i putting it together. But for all that“ Light o’Love! is
adramatie masterpiece, for ihere is not a scene, and scarcely à line in it
thät does not illuminate human character, and that has not the ring#of
truth.
A PART FOR A GREar ACTRESS
The part of Christine is one that the greatest of actresses might be proud
to plav. Her tenderness, her implicitv, her beaute, which is the admira#
t#m e# arery olle cacept herselt, her absorption in tne love that has come
to her, her rendiness to give all, her gratitude for a snnie or a soft tone,
her love of her lather, from whom for the üirst time in her life she finds
herself keeping a secret, her belief in her lover, her gentle resentment atf
being outside so many of his interests and so much of his life—these andar
score of other characteristics help to compose one of those intensely real“
üigures we ouly meet with nov. and then in the Theatre. As impersonated
gesterdag be Miss Margaret Haistan, it was simplv exquisite—a little more
appealing perhaps in the less exacting scenes than in the denouement, wiien
theactress's tragic powers were puttothe severest test, and now and thenan
in flection of the voice secinedto fall a little short of the note that was wanted##
but alwars beautiful, wistful, and inevitably stricken by Fate. Such love¬,
stories as that of Christine and her Fritz are nearly always trägic. Perhaps.
that is why most of our dramatists—who feel that thev have to consider the #
box-oflice and pe blic taste—only trifle with them when thcy touch theme
at all.
Cultured, handsome, self-indulgent, the figurerof Fritz is less sym¬
pathetie but not less astype: commoner in the German and Austrian!
armies than in ours¬a soldier with the temperament of an artist. In the
first act we lind him beginning to weary a little of the fears of his fashion¬
able mistress (she sure they are being watched), He also is becoming
nervous; beginning to desire a love that would be “a caressing restful¬
ness,and not a continual fear and anziety. Andithen, when it is too late,
and the duel is arränged, hercalises that perhapssuch a love is readv for
him in the heart of Christutg, And get she, too, had worried him a litile,
wüh her continual questionings, partjcularh about his “péople,“ his friends,h
and ho and wherc he spent bi##venings. There wasa social, gulf between
them. He was an oflicer in the Kaiser’s dragoons, shé.wassthe daughter.
ofa theatre violinist: After all, she could never be more than & Pärt of Hig
lise, an ineident in it. Werfecl-that—feél it even in the moment of the.
impassioned parting from Inn“ before beigbes t0 flaht the ducl. As played
by Mr. Henry Ainley, this character, so wenk,yet'so lovable, and that could
be gentle and yet so cruel, also lived before yesterday’s audience.
A DARING CREATION.
Christine's old father is more strictly speaking. a creation—he is
Letenadaring creation. We are almost afraid to describe him,
leeling that our sentences will do injustice to the delicäcy withe whichtheiis
set forth bethe author. He would sec his daughter-happyfland, knowing
ol her passion for the young öflicer, heiis not afraidsofföraghastsatsthe.
Mppiness That scenls in store for her, even at the risk
box 11/4
—
Telephon 128.
s E Benenn
*
□ l. österr. behördl. konz. Unternehmen für Zeitungs-Ausschnitte
Wien, I., Concordiaplatz 4.
—
Vertretungen
0 in Berlin, Budapest, Chicago, Christiania, Genf, Kopen¬
# hagen, London, Madrid, Mailand, Minneapolis, New-Vork,
Paris, Rom, San Frapcisco, Stockholm, St. Petersburg.
Gewahr.)
Pseael Coutter, Batin
4 Ausschnitt aus:
# von:
„Liebelei“.
His Majesty's Theatre. Schnitzlers Liebelei“ wurde
hier in einer auten, natürlich wirkenden Uebersetzung von Mr.
Frederick Whelens Nachmittagstheater vor vollem und erfreu¬
licherweise sehr beifallsfreudigem Hause zur Aufführung ge¬
bracht. Schnitzler war, von ein paar seiner Einakter abgesehen.
hier noch ganz unbekannt, und nur der Kenntnis und Vorliebe
Wehlens für die moderne deutsche Dramenliteratur ist diese Vor¬
stellung zu danken, wie ihm auch die Vermittlung von Werken
Hauptmanns. Wedekinds u. a. hoch angerechnet werden muß.
Um den Ton der so echt wienerischen „Liebelei“ zu treffen,
hatte man sich Herrn Direktor Behrens, Mainz, zum Reaisseur
bestellt, und man muß sagen, daß das spezifisch wienerische Milien
des Stückes erstaunlich lebensschtzur Erscheinung gelangte. In
den Hauptrollen waren Miß Halstane (Christinel und Mr.
Ainlen (Fritzl tätig: beide trafen den rechten Ton und spielten
mit innerer Teilnahme, ja Hingabe. —
Eine einzige Aus¬
stellung wäre zu machen: Im ersten Akt trinken die zwei
Freund= und Freundinnen bekanntlich „Brüderschaft“; das ist
im enalischen unmöglich adäquat wiederzugeben, weil ehen ein
Duzen in der enalischen Sprache nicht nachznahmen aeht. Statt
also dem Milien des Werkes zu helfen, bringt die bloße, ihres
Sinnes beraubte Zeremonie etwas Unverständliches hinein und
muß daber das Publikum zerstreuen und ablenken, da die Ge¬
danken zuKandern und zu fragen beginnen. Treue dem Ori¬
ainal agaknüber ist sehr aut, aber auch hier ailt der Satz vom
Geistcher lebendia macht, und vom Buchstaben, der tötet.
PALI MALI GAZETTE.
*LIGHT O° LOVE,' AT HIS MAJESTVS.
4 STRIKING AUSTRIAN PLAAY.
Tfit had produced no other play in thie past, and werc never to produce
another in the future, the Afternoon Theatre would have justilied its exist¬
#ence br#the presentation of“ Light o’ Love,“ Mr. G. Valentine Williams's
English version of Hlerr Arthur Schnitzlei's“ Liebelei,'’ given for the first
time yesterday afternoon at His Majesty’s Theatre, and to be repeated next
Tuesday and Thursday afternoons. The play deals with a subject which
is supposed, more than any other, to monepolise all dramatists—Love,
Unfortunately, however, our British dramatists scarcely ever deal with it
sincerely. Mr. Barrie generally toys daintily with it; Mr. Shaw tackles it
scientitically and coolly as a sort of intellectual phenomenon; most of our
plapwrights treat it as no more than something rather pretty and decorative
in a sentimental war. We have to go back two years for an English play
in which the passion of a man and a woman was represented in anything
like its natural power. That pla was“ John Glayde’s Honour,!’ and even
in that the lovers seeined suddenly to cool and become ashamed in the last
few minutes of the last act.“ Light o' Love,'' on the other hand, deuls
witn the subject with a stark sincerity. We can easily creditethe stery
of the success it has had in Austria; and we wish we could believe that a
play so poignant and so sincere war zure of a similar success here. Imtis
buntry the majoritv of playgoers are still content wih a superficial
Handling of human nature. There is, however a rapidlv-growing body ol
London theatre-goers who are asking for Reality, and these should crowd
His Majestv’s Theati“ to the doors for the two remaining performances of
this perfectly simple play.
The storv of“ Light o' Love“ can be told in a sentence or two.
voung girl. Christine Weiring, the daughterof e lddier in a Viennese theatre
orchestra, falls in love with Fritz Lobheimer, a voung officer of agreeable
Unknown to her he has been carrying on a
presence and manners.
tiatson with the wife ofa man of his own class, and the husband has dis¬
covered it, has challenged mimto a duel, and he is killed. Christine hears
sofhis death and of the circumstances which have led up to it; gran #lly
realises the little part which, after all, she has played in his life; and itches.
forth, torn with grief and shame, to destroy herself on his grave. That is
Anrbody could have invented such a story, and no craftsmanship“
all.
was required i putting it together. But for all that“ Light o’Love! is
adramatie masterpiece, for ihere is not a scene, and scarcely à line in it
thät does not illuminate human character, and that has not the ring#of
truth.
A PART FOR A GREar ACTRESS
The part of Christine is one that the greatest of actresses might be proud
to plav. Her tenderness, her implicitv, her beaute, which is the admira#
t#m e# arery olle cacept herselt, her absorption in tne love that has come
to her, her rendiness to give all, her gratitude for a snnie or a soft tone,
her love of her lather, from whom for the üirst time in her life she finds
herself keeping a secret, her belief in her lover, her gentle resentment atf
being outside so many of his interests and so much of his life—these andar
score of other characteristics help to compose one of those intensely real“
üigures we ouly meet with nov. and then in the Theatre. As impersonated
gesterdag be Miss Margaret Haistan, it was simplv exquisite—a little more
appealing perhaps in the less exacting scenes than in the denouement, wiien
theactress's tragic powers were puttothe severest test, and now and thenan
in flection of the voice secinedto fall a little short of the note that was wanted##
but alwars beautiful, wistful, and inevitably stricken by Fate. Such love¬,
stories as that of Christine and her Fritz are nearly always trägic. Perhaps.
that is why most of our dramatists—who feel that thev have to consider the #
box-oflice and pe blic taste—only trifle with them when thcy touch theme
at all.
Cultured, handsome, self-indulgent, the figurerof Fritz is less sym¬
pathetie but not less astype: commoner in the German and Austrian!
armies than in ours¬a soldier with the temperament of an artist. In the
first act we lind him beginning to weary a little of the fears of his fashion¬
able mistress (she sure they are being watched), He also is becoming
nervous; beginning to desire a love that would be “a caressing restful¬
ness,and not a continual fear and anziety. Andithen, when it is too late,
and the duel is arränged, hercalises that perhapssuch a love is readv for
him in the heart of Christutg, And get she, too, had worried him a litile,
wüh her continual questionings, partjcularh about his “péople,“ his friends,h
and ho and wherc he spent bi##venings. There wasa social, gulf between
them. He was an oflicer in the Kaiser’s dragoons, shé.wassthe daughter.
ofa theatre violinist: After all, she could never be more than & Pärt of Hig
lise, an ineident in it. Werfecl-that—feél it even in the moment of the.
impassioned parting from Inn“ before beigbes t0 flaht the ducl. As played
by Mr. Henry Ainley, this character, so wenk,yet'so lovable, and that could
be gentle and yet so cruel, also lived before yesterday’s audience.
A DARING CREATION.
Christine's old father is more strictly speaking. a creation—he is
Letenadaring creation. We are almost afraid to describe him,
leeling that our sentences will do injustice to the delicäcy withe whichtheiis
set forth bethe author. He would sec his daughter-happyfland, knowing
ol her passion for the young öflicer, heiis not afraidsofföraghastsatsthe.
Mppiness That scenls in store for her, even at the risk