Wedekinds 'Lulu': Zerrbild Der Sinnlichkeit
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Im Mittelpunkt der Untersuchung steht Frank Wedekinds (1864-1918) Stück "Die Büchse der Pandora. Eine Monstretragoedie", die 1892-1894 in Paris geschriebene und fast ein Jahrhundert lang unterdrückte erste Fassung von 'Lulu'. Auf dem Hintergrund neu entdeckter französischer Quellen wird das in der Literaturwissenschaft kaum beachtete Drama erstmals ausführlich interpretiert. Dabei führt der an Foucault orientierte Blick auf den Sexualdiskurs der Epoche zu einer grundlegenden Revision des traditionellen Wedekind-Bildes: Die "Monstretragoedie" lä t sich nicht auf einen provokativen Bruch mit vermeintlichen Sexualtabus reduzieren; sie gestaltet vielmehr eine radikale Kritik an dem zunehmend zweckrationalen Umgang mit Sexualität in der bürgerlichen Gesellschaft. Solche Erkenntnis vermittelt das im Vergleich mit der zeitgenössischen Dramatik extrem moderne Stück durch das Verfahren grotesker Montage, das Wedekinds Beitrag zur Retheatralisierung des Theaters um 1900 darstellt. In ihrem zweiten Teil interpretiert die Studie die jahrzehntelang relevanten - da einzig zugänglichen - späteren Fassungen "Erdgeist" und "Die Büchse der Pandora" in drei Akten, die bis heute als 'Lulu-Doppeltragödie' mi verstanden werden. In kritischer Abgrenzung zur Pariser Fassung werden diese beiden Stücke nun editionsphilologisch konsequent - unabhängig voneinander und in ihren unterschiedlichen Textstufen - analysiert: als Zeugnisse eines von Zensur und Selbstzensur erzwungenen Anpassungsprozesses. Verglichen mit der "Monstretragoedie", erweisen sich diese bekannten Dramen als blo e Affirmation epochenspezifischer Vorstellungen über Weiblichkeit und Sexualität.
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