Johann Nepomuk Nestroy

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Nestroy, Johann Nepomuk

 

Born Dec. 7, 1801, in Vienna; died May 25, 1862, in Graz. Austrian playwright, actor, and theatrical figure. Studied law. Active in the Austrian revolution of 1848–49.

In 1822, Nestroy made his stage debut at the Vienna court theater as an opera singer. From 1831 to 1854 he acted in dramatic roles. Both a comic actor and an exceptional character actor, Nestroy had an inclination for the grotesque and for improvisation. He was especially successful in his own plays, the first of which was written in 1827. He was the author of satirical comedies of pointed sociopolitical content, which expressed the opposition sentiments of the liberal Austrian bourgeoisie on the eve of the revolution of 1848. Nestroy’s comedies included The Evil Spirit Lumpazivagabundus or the Dissipated Threesome (1833), On the First and Second Floor (1835), A Man Full of Nothing (1846), and Freedom Comes to Krähwinkel (1848). They were original works, closely akin to the folk traditions of farce, and influenced L. Anzengruber and other Austrian dramatists.

WORKS

Sämstliche Werke, vols. 1–15. Edited by O. Rommel and F. Brukner. Vienna, 1924–30.
In Russian translation:
Tuda i siuda, ili Kur’eznyi zaklad. St. Petersburg, 1880.

REFERENCES

Forst-Battaglia, O. Johann Nestroy. Munich, 1962.
Preisner, Rio. Johann Nepomuk Nestroy: Tvŭrce tragické fraŝky. Prague, 1968.
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References in periodicals archive ?
Other noteworthy authors, represented by one play each, are Georg Buchner (Dantons Tod), Friedrich Hebbel (Judith), Johann Nestroy (Judith und Holofernes), Franz Grillparzer (Konig Ottokars Gluck und Ende), and Karl Lebrecht Immermann (Andreas Hofer).
The ostensible subjects of the essays are the German author, Heinrich Heine (1797-1856), and Austrian playwright, Johann Nestroy (1801-1862).
In defending playwright Johann Nestroy, Kraus--who at the time (1912) was what Franzen considers "substantially conservative"--attacks liberal progress and the "infernal" machinery of mass media which had combined to usher in "a time that has lost the capacity to be a posterity." The essay is, in some respects, a defense of Kraus's own art, which he finds to have much in common with Nestroy's: "Satire is thus rightly the poetry of impediment, richly compensated for being the impediment of poetry....
The play, Stoppard has noted, is an adaptation, not a translation of Johann Nestroy's 1842 "Einen Fux will er sich machem," which translates from German, more or less, as "He Will Have His Way."
Based on the mid-19th-century Viennese play by Johann Nestroy that begat Thornton Wilder's "The Matchmaker" and Michael Stewart and Jerry Herman's "Hello Dolly!" there are plenty of false moves in this ragged production by David Jones.
Like the Viennese turn-of-the-century political journalist and poet Karl Kraus, or the nineteenth-century regional playwright Johann Nestroy, Bernhard was a satirist whose literary genius needed the foibles and dirt of his contemporaries in order to take flight; a childlike rage and humor propelled his sentences.
(2) 'Johann Nestroy im Urteil und Vorurteil der Kritik', Osterreich in Geschichte und Literatur, 35 (1991), 242-62 (pp.
79, 88, and 105) that Johann Nestroy wrote a comic parody of Tannhauser, but does not expand on that information with each iteration.
Leon De Winter is adapting a script by Viennese playwright Johann Nestroy (and if that name doesn't ring a bell, go back and check out the source for "Hello, Dolly!").
Characters are set free to run amok in circumstances familiar from the musical "Hello, Dolly" and the play it was based on, Thornton Wilder's "The Matchmaker." That's because all three plays were inspired by a comedy by Austrian Johann Nestroy, ``Einen jux will er sich machen (He intends to have a fling).''
"Wall Street.com" is Peter Wolf and Leon de Winter's updated version of a play by Viennese playwright Johann Nestroy ("Lohengrin").