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Prinz Friedrich von Homburg
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Prinz Friedrich von Homburg
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Prinz Friedrich von Homburg
Hörbuch1 Stunde

Prinz Friedrich von Homburg

Geschrieben von Heinrich von Kleist

Erzählt von Rolf Schult und Paul Walter Jacob

Bewertung: 3.5 von 5 Sternen

3.5/5

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Über dieses Hörbuch

Prinz Friedrich von Homburg ist ein treuer Diener des Brandenburgischen Kurfürsten, der sich auf einem Feldzug gegen die Schweden befindet. Im Kriegslager träumt er von seiner Angebeteten, der Prinzessin von Oranien. Als er aus dem Traum erwacht und ihr Handschuh in seinen Händen liegt, erscheint er verwirrt zur Besprechung des nächsten Angri s und überhört eine wichtige Order seines Dienstherren. Auf eigene Faust zieht er in die Schlacht - und siegt. Der Kurfürst jedoch stellt Disziplin über alles und verurteilt den Prinzen zum Tode. Kleists letztes Drama in einer bewegenden Hörspielumsetzung mit Rolf Schult, Paul Walter Jacob u.v.a.
SpracheDeutsch
HerausgeberDer Audio Verlag
Erscheinungsdatum21. Nov. 2014
ISBN9783862311149
Autor

Heinrich von Kleist

German writer, 1777-1811

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Bewertung: 3.3333333333333335 von 5 Sternen
3.5/5

3 Bewertungen3 Rezensionen

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  • Bewertung: 3 von 5 Sternen
    3/5
    While technically being a play from the Enlightenment, it is set in the Renaissance, using Renaissance societal roles and expectations to ask the sort of questions often brought forward by the Enlightenment. This one actually has a bit of a timely message, fitting well with many of the obsessions of the past century. Is it all right for a soldier to disobey the order of a superior if the order appears to be destined to lead to failure, where success can be obtained by disobedience? Which is more important, law or morality? Or, for that matter, is love more important than honor? A major difference between this and a Renaissance play is that the author chooses to leave those questions unanswered. He presents the difficult problem, and allows others to chew on it. Decent writing, more exposition than is allowed in modern plays, and more happening off stage. This is not a criticism.
  • Bewertung: 3 von 5 Sternen
    3/5
    While technically being a play from the Enlightenment, it is set in the Renaissance, using Renaissance societal roles and expectations to ask the sort of questions often brought forward by the Enlightenment. This one actually has a bit of a timely message, fitting well with many of the obsessions of the past century. Is it all right for a soldier to disobey the order of a superior if the order appears to be destined to lead to failure, where success can be obtained by disobedience? Which is more important, law or morality? Or, for that matter, is love more important than honor? A major difference between this and a Renaissance play is that the author chooses to leave those questions unanswered. He presents the difficult problem, and allows others to chew on it. Decent writing, more exposition than is allowed in modern plays, and more happening off stage. This is not a criticism.
  • Bewertung: 4 von 5 Sternen
    4/5
    It’s the night before the crucial battle with the invading Swedish army, a night when rest is of utmost importance. But on the high quarter grounds, the prince of Homburg is, embarrassingly, sleepwalking. This unmanly conduct puts him on the receiving end of a practical joke from the Elector, and when he wakes up it’s with a feeling he’s had a significant premonition. After all – isn’t he holding a strange glove in his hand, a glove that’s bound to belong to the woman of his dream? Still not sure if he’s awake or sleeping, he has a hard time concentrating on the briefing before the battle the next morning. And disobeys given orders as a result.Kleist is one of those writers that are so much before their day it’s hard to grasp. Written in 1811, this play reads like something by Kafka a hundred years later. The dreamlike ambience colliding with military bureaucracy is very effective, and it’s clever how Kleist lets each decision Homburg make end up in its opposite. Even when he decides to do the stout military thing and accept his punishment initiative is snatched away from him. Also very fond of Kleist’s female characters. There are but two of them, but they are active and full of initiative, unusual for the times when this play was written. Heinrich von Kleist continues to impress me with each play of his I read. I, who often yawn at classics, find his voice fresh, modern and complex. It’s too bad he isn’t staged more often in my country.