"Claudio" Leben eines Toten. Analyse des Dramas "Der Tor und der Tod" von Hugo von Hofmannsthal
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Studienarbeit aus dem Jahr 1994 im Fachbereich Theaterwissenschaft, Tanz, Note: 1-, Freie Universität Berlin (Theaterwissenschaft), Veranstaltung: Symbolismus und Stilbühne, Sprache: Deutsch, Abstract: In dem 1892 verfassten Essay "Die Legende einer Wiener Woche" schreibt der achtzehnjährige Hugo von Hofmannsthal: "Denn dazu, glaube ich, sind Künstler: dass alle Dinge, die durch ihre Seele hindurchgehen, einen Sinn und eine Seele empfangen ... . Und manche Wolken, schwere goldengeballte, haben ihre Seele von Poussin, und manche rosig-runde, von Rubens, und andere, prometheische, blauschwarze, düstere, von Böcklin." Es lässt sich kaum übersehen, in welchem Zeitalter diese Zeilen geschrieben wurden; Die Beanspruchung Kunst sei der Natur weit überlegen, und darüber hinaus sei Natur ausschlie lich auf die Wahrnehmungs- und Deutungsmuster eines Künstlers angewiesen, lassen sich eindeutig in den Symbolismus bzw. Ästhetizismus oder Decadence der Jahrhundertwende einordnen. Noch im selben Jahr eröffnet der junge Hofmannsthal seinen Aufsatz "Südfranzösische Eindrücke" mit folgenden Worten: "... der unabsichtlichen Anmut, die das Leben hat. Denn die Bilder des Leben folgen ohne inneren Zusammenhang aufeinander und ermängeln gänzlich der effektvollen Komposition." Beispiele dieser Art finden sich viele im Werke Hofmannsthals, die von seiner ambivalenten Haltung gegenüber dem Symbolismus zeugen. Ebenso widersprüchlich war und ist die Rezeption des künstlerischen Schaffens Hofmannsthals. Besonders repräsentativ hierfür scheint die Figur des Claudio, in dem 1894 erschienenen lyrischen Drama "Der Tor und der Tod" zu sein, das sein populärstes Frühwerk wurde. Die einen sehen in Claudio den in sich ruhenden Ästheten par excellence, der keine Wandlung durchmacht; andere wiederum meinen, Claudios selbstverschuldete Krankheit des Ästhetizismus we
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