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Über das Marionettentheater
- Narrated by: Christoph Hackenberg
- Length: 29 mins
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Publisher's summary
Über das Marionettentheater ist der Titel einer essayischen Erzählung von Heinrich von Kleist, die erstmals in den "Berliner Abendblättern" in vier Folgen vom 12.-15. Dezember 1810 erschienen ist. - Gesprächsweise wird die Frage erörtert, welchen Einfluss Reflexion und (Selbst-) Bewusstheit auf die natürliche Anmut haben. Inhalt: Der Erzähler gibt sein Zwiegespräch mit einem wegen seiner Anmut bewunderten Tänzer wieder, den er mehrere Male beim Besuch eines Marionettentheaters gesehen hat. Der Angesprochene schildert ihm, wie sehr er die "natürliche Grazie" der Bewegungen der Puppen bewundert und welche Lehre er für sich daraus zieht: Es gebe eine natürliche Anmut, die sich in völliger Abwesenheit von Bewusstsein manifestiere. Der Erzähler gibt nun seinerseits ein Beispiel: Ein ihm bekannter Knabe habe in einem Augenblick der Figur des Dornausziehers geglichen, aber unter der Kontrolle seines Verstandes die Bewegung in ihrer Schönheit nicht mehr nachahmen können. Der sechzehnjährige Knabe habe diese spontane Anmut vergeblich in seinem Spiegelbild wiederzuentdecken versucht und sie durch diese Bemühung gänzlich verloren. Der Tänzer schildert daraufhin einen Bären, der Fechtstöße sämtlich pariert, ohne wie ein menschlicher Fechter auf Finten zu reagieren. Im Gespräch wird ausgehend von diesen drei Beispielen die These aufgestellt, dass entweder völlige Abwesenheit von Bewusstsein (wie der "Gliedermann" des Marionettentheaters) oder ein absolutes, "unendliches" Bewusstsein (wie ein Gott) das gewünschte "natürliche" Verhalten erzeuge. Vollendete Anmut und Natürlichkeit besitze demnach jemand, der sich entweder völlig unbefangen und unbewusst wie ein Kind verhalte, oder aber in Aufhebung der Folgen des Sündenfalls dieses ideale Bewusstsein erlangt habe: "[...] so findet sich auch, wenn die Erkenntnis gleichsam durch ein Unendliches gegangen ist, die Grazie wieder ein; so, dass sie, zu gleicher Zeit, in demjenigen menschlichen Körperbau am reinsten erscheint, der entweder gar keins, oder ein unendliches Bewusstsein hat, d. h. in dem Gliedermann, oder in dem Gott." Der Erzähler zieht daraus die Schlussfolgerung: "Mithin [...] müssten wir wieder vom Baum der Erkenntnis essen, um in den Stand der Unschuld zurückzufallen?"
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