By David G. John
John defines the Nachspiel style and undertakes a radical research of its nature, functionality, and varieties. via surveying theatrical writings of either eighteenth- and twentieth-century authors, he determines the existing figuring out of the Nachspiel and plenty of of the contradictions linked to it.
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Extra resources for German Nachspiel in 18 Century
Whatever the case, this playbill is indicative of a trend to reduce mention of Hanswurst in favour of the name Arlequin or Harlekin. By the sixties, the name Hanswurst rarely appears, by 1780 not at all, although he could well have been hiding behind another nomenclature. Two further playbills from 1742 (24 February and 17 March) provide evidence of another change occurring at the time. The first advertises that 'den Beschlufi machet eine modeste Nach-Comodie,' the second that 'Die ganze serieuse Action spielet nicht langer als eine Stunde, deswegen sind unter der Action 5 modeste und lustige Intermedia' (emphasis mine).
Furthermore, lacking a single stage, good sets, costumes, and the like, their repertoires and especially the way they played them were naturally different from those of geographically fixed companies later on. This itinerant pattern creates extreme difficulties in identifying complete repertoires or performance schedules. In four cases of itinerant troupe principals, however, Franz Schuch, Heinrich Koch, Johann Schonemann, and Konrad Ackermann, we can rely on detailed historical studies. In two others, Caroline Neuber and Joseph von Kurz (Bernardon), we have extended examples of repertoires and performance programs sufficient to draw conclusions about their activities at least for certain periods.
Hodermann presents a general history including the full repertoire and performance program from 1775 to 1779. It includes 176 works in 876 performances listed chronologically by premiere and subsequent performances (Hodermann, 141-71), followed by an alphabetical list by title (173-6). Schlosser duplicates this program with one minor correction and a slightly different organization of the material. ANALYSIS The normal pattern was to perform one longer work, usually a comedy but sometimes a tragedy or other serious work, followed by a shorter one, almost always a one-act comedy.
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