# 103. “Die Zeche”

*A play in one act by Ludwig Fulda*

### “Ein Ehrenhandel”

*A comedy in one act by Ludwig Fulda* “Under Blonde Beasts” “Dreams of Love”

*Comedy in one act by Max Dreyer*

*Comedy in one act by Max Dreyer  
Performance at the Lessing Theater, Berlin*

These four one-act plays are performed at the Lessing Theatre in the following order: Zeche, Unter blonden Bestien, Ehrenhandel, Liebesträume. This gives the audience the opportunity to watch a certain play twice in a row. Fulda gives the impression of a self-contained picture. Everything you want to know is there. The poet has a feeling that people become impatient when you bring up a matter and do not tell them everything they need to know if they want to understand it. When the curtain comes down after each of Fulda's two one-act plays, we have the feeling that we know everything we can ask for if the thing we are seeing is to make sense to us in a satisfactory way. With Dreyer it is quite different. The curtain is lifted: we have a feeling of amazement. And we have not come out of it when the play is over. We have roughly the same feeling as if someone had shown us a small piece cut out of a larger picture. Even if we are now of the opinion that everything we see in the cut-out piece is excellent, we become impatient because we know that something belongs to it which we do not know. A one-act play by Dreyer looks like a scene from a larger drama, but not like a small work of art in its own right.

In "Zeche", Fulda depicts a process that can take place in less than an hour. We have before us a nobleman who seeks healing for his organism, which has been run down by a somewhat lazy lifestyle, in a seaside resort. In this seaside resort he meets the woman to whom he swore love more than thirty years ago for that eternity which ends when the lover's relatives throw the seduced woman out of the house. The woman did not perish by chance. The fruit of the love she believed in, but which the nobleman was only playing with, has become a faithful son who replaces the mother with everything that life has robbed her of. And this son is the town's spa doctor, where the hero of our play wants to make himself fit to continue his easy life. So the man meets his own son and his son's mother. The moment takes control of him. He wants to marry the once seduced woman and acknowledge his son. He receives the right answer. The lives of three characters, played out in the events of half an hour as a repetition in miniature, appear before us. This is how a one-act play should be.

Dreyer has a North German landowner appear before us, accompanying a violin virtuoso on the piano. The landowner's husband is out hunting. The virtuoso does not want this man to come home. He storms the woman with proposals of love. The woman demands that he repeat to her husband everything he has said to her in private. Otherwise she will tell him everything herself. The man comes - the virtuoso leaves. In order to be interested in such things, we would have to learn all sorts of things about the characters, which Dreyer withholds from us. We have before us a scene, but not a one-act play. When the curtain falls, we are basically as clever as before. It was not a particularly happy idea to have Fulda alternate with Dreyer. Because when you saw Dreyer, you always had to think back to Fulda, because you got proof, so to speak, through the counterpart of Fulda's artistic rounding off.

In "Ehrenhandel", a councillor kisses the wife of a major at a ball and is surprised by the latter. A duel would be inevitable if it came down to reality. But that is not what matters. What matters is that the playwright replaces reality with a good idea in an extremely graceful manner. The councillor's wife simply allows herself to be kissed again by the major, with charming accompaniments that we prefer to preparations for a duel and the carrying in of a more or less slightly wounded man.

Dreyer's "Love Dreams" are no less taxing on the senses of the reality fanatic. But they make up for it all the less with artistic wit. A somewhat clumsy daredevil asks for the hand of a landowner related to him, a robust woman who has gradually developed from an "elephant chick" into a rough agrarian with quite solid ideals. One of these ideals is a "fat sow", which she has brought to I don't know how many hundred hundredweight. She wants to "sleep on" her relative's marriage proposal a little longer. But the cousin fills the waiting time by kissing a little girl in the moonlight and a maid wherever he can find her. When the chosen landowner becomes aware of her bridegroom's polygamous tendencies even before she makes love, she whips him. He is like many a poodle. He doesn't even know why he's being beaten. Because the fat pig-breeding lady hits him without saying a word. And the beating is the end of the play.

There is an exact relationship: the "trade of honor" relates to the "love dreams" like the lips of the beautiful majoress to the riding whip of the landowner's wife.

The performance was quite good. Adolf Klein as the departed baron in the "Zeche" and Rosa Bertens as the former mistress brought out the charms of this play just as Schönfeld as the government councillor brought out those of the "Ehrenhandel".

Ferdinand Bonn as the violin virtuoso and Elise Sauer as the landowner (both in "Unter blonden Bestien" and in the "Liebesträume") could not turn stones, which are not flints, into fires of wit.