On the Marionette Theatre. And the essay concludes with reflections on how self-consciousness could be redeemed from its destructive effects — perhaps by attaining the infinite self-consciousness of the divinity, or perhaps by a second eating of the fruit of the Tree of Knowledge which would return the human self to its paradisal innocence. Indeed, other artists of Romanticism, such as E. Kleist recounts how a beautiful young man, one who is old enough to be attractive to women and who is therefore aware of the sexual appeal of his own body, sees himself in a mirror resting his foot on a stool. German poet, dramatist, novelist and short story writer. Their knowingness fractures their being. Fiche technique Heinrich von Kleist Country Germany.
Only a god can equal inanimate matter in this respect. German Issue April The Ambiguity of Art and the Necessity of Form. It is nothing other than the path taken by the soul of the dancer. Never again will they indwell in their own material bodiliness as they did before the Fall. In other words, there is a loss of unity.
In French, German Theisen, Bianca.
They offered an aesthetic justification for an unconscious quality that Kleist projected into his marionettes, to the extent that it, as an artistic character, had marionettenthester reflexive consciousness. Theatre, Humanity and Nation, — But every attempt on his part to repeat the pose fails.
It is a wonderful essay, lightly handled, held in the conversational mode, unsystematic and thought-provoking. And Kleist makes knowing readers of us all.
The Ambiguity of Art and the Necessity of Form. On the Marionette Theatre.
It is mysterious, perplexing and thought-provoking. Not just an inert accumulation of facts surely — but knowledge of a higher order.
Kleist on Puppets
It is presented as a simulated dialogue between a fictional dancer and a narrator. The puppeteer can transpose himself into the centre of gravity of the marionette. The comparison between the aesthetic qualities of live performers and those carved from wood has not ceased since the Romantic era and is being used to affirm the art of puppetry as a genre in its own right. This is where the two ends of the circular world meet. At first glance is seems like a narrative, but it quickly turns into a kind of speculative essay, with philosophical or even theological overtones.
Kleist on Puppets – In-Between Two Worlds
But paradise is locked and bolted, and the cherubim stands behind us. He is struck by his own beauty, and by the pose that is reminiscent of a classical statue.
It takes the form of a conversation between the narrator and a friend who is principal dancer at the local theatre. Is it possible to relate this to my own direct experience — and if so what are the conditions that foster such marionettentheter unity, however fragile and fluctuating?
Heinrich von Kleist
After describing his own encounter with a bear which he was unable to strike with a rapier, the dancer concludes: In other words, the puppeteer dances. At times I can see, more or less clearly, my incompleteness, a vision which can be the very stimulus to marrionettentheater more wholly. That kleiist in the puppet or in the god. Self-consciousness gets in the way and can disturb natural grace. Hand to Mouth ; repr. In so doing, they have disobeyed God, and they have lost their innocence and unreflectivity.
The main reason, he argues, is that unlike a human, a puppet can never be guilty of affectation:.
It is nothing other than the path taken by the soul of the dancer. This judgement, that above all criticized the Berlin style of August Wilhelm Iffland, marionettenttheater symptomatic of the theatrical situation of the time. Never again will they indwell in their own material bodiliness as they did before the Fall.
Indeed, other artists of Romanticism, such as E. For Kleist, the marionette is subject to the laws of mechanics, avoiding the unilateral nature of human individuality, and obeying the wishes of the puppeteer, esay thus makes it the perfect interpreter.
In other words, there is a loss of unity. We know that we have no choice but to be knowing creatures, knowing in both body and mind.
Mahlmann, Jean Paul Johann Paul Friedrich Richter and Ludwig Tieck, considered the puppet as the antagonist of the actor and thus expressed their deep dissatisfaction with the art of the flesh and blood performer.