Drama 2.1.3 | Project Org + Design

Drama 2.1.3

IN.2.5.Music: Composing and arranging music within specified guidelines: Students create music to accompany readings or dramas. They create short melodic and rhythmic phrases with guidelines from the instructor and use a variety of sound sources when composing.

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2. Main part2.1. "Emilia Galotti" by Gotthold Ephraim Lessing2.1.1. Information about the work: Lessing's statement on the conception of the work2.1.2. Content of the tragedy2.1.3. The father figure "Odoardo Galotti" as a split personality2.1.4. The underage daughter figure "Emilia Galotti"2.1.5. Father-daughter relationship: The father's murder of the daughter at her request2.2. "Maria Magdalena" by Friedrich Hebbel2.2.1 Information about the work: The genesis of the final title2.2.2. Content of the bourgeois tragedy2.2.3. The dominant father figure "Master Anton"2.2.4. The daughter figure "Klara" as a victim of her environment2.2.5 Father-daughter relationship: Klara's suicide as a consequence of the oath demanded by the father2.3. "Miss Sara Sampson" by Gotthold Ephraim Lessing2.3.1 Information about the work: The typical bourgeois tragedy2.3.2 Content of the piece2.3.3 The father figure "Sir William Sampson" as the ideal image of a father2.3.4 The daughter character "Miss Sara Sampson" as an independent person2.3.5 Father-daughter relationship: Sara's feelings of guilt towards her father and forgiveness2.4. "Homo Faber" by Max Frisch2.4.1 Information about the work: The author Max Frisch2.4.2 Content of the novel2.4.3 The father figure "Walter Faber" and his transformation2.4.4 The daughter figure "Elisabeth Piper" as the opposite of her father2.4.5 Father-daughter relationship: Physical love based on ignorance

Nevertheless, "Emilia Galotti""one of the first political dramas of modern German literature, whose influence, for example on Schiller's youth work, was significant." 5 It was begun in 1757, completed in 1771/72 and finally premiered on 13.3.1772 in Braunschweig.

The drama begins with the Prince of Guastalla, Hettore Gonzaga, whose love for Countess Orsina cools down the moment he takes Emilia Galotti "met with her mother in a Vegghia".6 Unfortunately, this is already promised to Count Appiani. To prevent the wedding, the prince gives his valet Marinelli a free hand. He plans an attack on the wedding carriage, to which the count falls victim. Emilia Galotti, who is also in the carriage, is taken to the prince's castle, and her mother also arrives there. She sees through the plan of the prince or Marinellis to establish contact between Emilia and the prince in this way. When Countess Orsina and Emilia's father, Odoardo Galotti, arrive, she gives him a dagger to kill the prince. The father, however, instead stabs his daughter Emilia at her request to try her. "to save from shame" 7

Exactly 74 years to the day after the premiere of "Emilia Galotti" on 13.3.1846 in Königsberg 48 premiered another example of the dramatic implementation of a father-daughter relationship. The bourgeois tragedy of Friedrich Hebbel (1813-1863) bears the title "Maria Magdalena" in today's parlance, but became known in the original due to a printing error under "Maria Magdalene".

The theme of the drama, however, is by no means the biblical female figure at Jesus' side, but the tragic relationship of the carpenter's daughter Klara to her environment. 49. And there "Klara" 50, the title initially proposed by Hebbel, which seemed too uninteresting to the publisher of the book, it was eventually published under "Maria Magdalene" (see title page). 781b155fdc