15 preliminary résumé
My research period in Innsbruck is now over and I arrived back in Berlin yesterday. It was an intense time with many exciting encounters in my search for the Tyrolean theatre-maker Anna Pritzi. Very little has survived about her, even though she is said to have written over 20 plays that were successfully performed on Tyrolean peasant stages for over 30 years. I am pleased that by searching for Anna Pritzi and telling her story in many different places and to many different people in Innsbruck, I have been able to contribute to making her a topic of conversation again almost two centuries after her work. And if it is true, as I suspect, that in addition to all the other many people, the Austrian Emperor and Empress also visited her theatre, then she certainly deserves it. On the one hand, folk theatre is an underestimated form of theatre, and on the other, Anna Pritzi is a woman from the 19th century, so she has a hard time getting into the history books anyway.
Now I am curious how my Berlin colleagues will react to Anna Pritzi and her plays about knights and saints. I would like to discuss: How and why did only women play in the stagings of her plays? And what does that do to the plays and their reception?
The picture I have put up for this blog entry is a wall from Büchsenhausen Castle. According to my research, this is about where the theatre of Anna Pritzi's "Mädchengesellschaft" must have taken place. How nice that this graffiti on the current gender debate can be found on this wall.