In Cassara, the Roman emperor Diocletiano wishes to kill all Christians. However, a Christian woman – Dorothea – lives in his court, and her father was promised protection by the emperor. The emperor’s most prominent warlords are Duosar and Theophil. Duosar is in love with Dorothea, while Theophil wishes to execute her for being a Christian. The ambitious Theophil feels looked down on by the emperor, who he thinks prefers Duosar, and he looks for a way to get rid of his young rival. When Hano the Moor tells him about Duosar’s scheme, Theopil believes that he is close to achieving his goal. Duosar means to save Dorothea and to join the Christian army. But the emperor does not want to let his favourite major go, and he considers another solution: if Theophil’s daughter, Antafolia, could convert Dorothea, the emperor would marry Antafolia, and Duosar would marry Dorothea. But after talking with Dorothea, Antafolia knocks down the statue of Jupiter, converts to Christianity and is killed by her own father. Duosar obtains Dorothea’s pardon from the emperor, but he is too late to prevent her execution. He then stabs himself to death. When it turns out that the Moor is the devil, Theophil calls for help and is rescued by a heavenly apparition. He is unstrung and converts. The high priest follows his example and adopts the Christian faith too, so do all the priests. Only the emperor still believes in his gods and begs them to send him a sign. When the execution room collapses, Diocletiano is disillusioned and kills himself using his own sword.

String marionette

Not specified

Germany

Printed

Miracle

Christianity

Paganism

Martyrdom

Ancient history

Saints

Conversion

Religious

Dramatic

Theaterzettel von Carl Eberle, Breslau, 21.11.1834

German

Das Opferfest oder die Zerstörung von Cassara,
Das unterbrochene Opferfest,
Die Zerstörung von Cassara,
Diocletiano oder Das Braminen-Fest,
Das Braminen-Fest oder die Zerstörung von Cassara

Diocletian

Commanding officer

Martyr

Moorish

Devil

Servant

Priest

Kasperl

Angel

Asmodeus

Monologue

Apparition of the Devil

Apparition of an angel

Disguise

Beheading

Metamorphosis

Murder on stage

Suicide on stage

Fire

Thunderbolt

Glory

Die Enthauptung der Heiligen Dorothea

The beheading of Saint Dorothy

The play begins on the banks of the Tiber river, where Costantino (Constantine) is about to fight the usurper Massenzio (Maxentius), son of Massimiano (Maximian), whose crown he stole. The Sky opens, and Religion appears to announce Costantino’s victory to him. Costantino promises to avenge his sister Costanza (Constantia), who was betrayed by Licinio (Licinius): the latter was supposed to marry her and make her queen of Orient, but he joined the enemy. In Rome, Arsace passes on Costantino’s offer of peace to Massimiano, who rejects them. Fausta, Massimiano’s daughter, announces her brother’s defeat: her father asks her to swear fealty to the winner. Arsace, whom the audience believed to be in love with Fausta, gives unclear reasons to explain that he cannot love her. During a triumphant procession, the legitimate Emperor moves with the chariot of Fama (Renown), pulled by winged horses; then Fama promises Costantino victory. When the latter makes a speech to the Romans to bring them peace, Fausta throws herself at his feet. In the procession, Planco, Costanza’s servant, is looking for Licinio. Thanks to a portrait, he recognises Arsace as his mistress’ future husband. Convinced that Licinio betrayed her, Costanza promises that she will take revenge on him. Informed by Planco, Costanza pretends not to have recognised Licinio—she wants to feel just how badly she was betrayed. Licinio is won by love and reveals himself to her; he manages to make her reconcile with him: she suggests that she remains hidden before she is certain that her brother will be merciful. Drusilla learns from Planco that Costantino no longer has a wife, and that he can therefore become Fausta’s lover. But Massimiliano despairs and asks his daughter to avenge her dead brother by leading Costantino into a trap, at which point Arsace will kill him; then, he promises to marry his daughter with the murderer. Fausta refuses; Costantino finds her as she is crying. When he tells her that he wishes everyone could unite thanks to his peace proposal, she lets him know that his father left to cry from sorrow. He asks her to take him to her father, insistent despite Fausta’s vague warnings. In the forest, Massimiano is waiting for Costantino; he is with Arsace, who vainly tries to talk him into choosing peace. Costantino arrives with Fausta. As he is about to embrace the defeated king, conspirators ambuscade him. Arsace intervenes to save him; so does Fausta. Not knowing who to believe in this confusing situation, Costantino sends the three suspects to prison. When he tries to find out who the culprits are, Costantino reconciles with Arsace, whom he recognises as Licinio. But Costanza, convinced that her husband betrayed her with Fausta, wants him dead. Announcing that Massimiano is threatening his own daughter as punishment for having saved Costantino, Drusilla tells Costanza the truth. Fausta flees into the forest, looking for her father who went insane. She manages to control him, then denounces herself to Costantino. In the dungeons of the place, Arsace is locked up; Costanza meets him there. Suspecting that the two conspirators, Arsace and Fausta, are meeting, Costantino walks in on them: Costanza, leaving the prison, throws herself at his feet to tell him the truth. In the final scene, Costantino is accompanied by a procession and celebrates peace; he gives up his plan to take revenge. The play ends with two marriages, and Massimiano is said to be on the run. Then, Faith appears, surrounded by the Liberal arts.

Ottoboni Pietro

Italy

Rome

Faith

Emperor

Usurper

Roman History

Fantasy

Edifying

Heroic

Il Costantino pio (1710), title page

Italian

Sister

Lady-in-waiting

Music

Chorus

Interlude

Play in verse

Disguised character (false identity)

Revelation

Vision

Allegory

Procession

Attempted assassination

Crowd

Running away

Flying machine

Apparition

Clouds

Apotheosis

Il Costantino Pio

Constantine the Pious

The shepherd Tityre lives in the Arcadian mountains with his beloved, a Zither player named Lycoris. One day, Lycoris strays away from their home and is captured by Lycophon, a pirate who sells her to a slaveholder Flagellantus, then to the Emperor’s barber Pelliculus and finally to the senator Mamillarus. Tityre follows the pirate ship to save his beloved. In the meantime, Mamillarus and Titus are waiting for a feast to begin. Tityre decides to buy his beloved back, but he does not have enough money. Therefore, he decides to start serving Mamillarus and his wife Mamillara. However, it is discovered that Tityre is in fact Mamillarus’ legitimate son, who was kidnapped by bandits. At the end of the play, César Titus arrives and sings his goodness and his absence of pride, in the fashion of street “hits”. He gives Lycoris her freedom back and offers to pay for the wedding.

Glove-puppet

Maurice Sand (Maurice Sand)

France

Nohant

Love

Piracy

Slavery

Adventure

Relationship between father and son

Wedding

Comical

Satirical

Maurice Sand, hand-puppet (between 1850 and 1875).

French

Le Berger Tityre

Senator

Citizen

Shepherd

Lover

Barber

Pirate

Soldier

Storyteller

Guard

Slave

Coryphaeus

Wife

Sheperherdess

Comedy of language

Dinner scene

Sung scenes

Prologue

Address to the public

Allusion to the audience

Quote

La Clémence de Titus

The Clemency of Titus

To laud the Sphinx of Egypt, the narrator dedicates his entire song to him and mentions a legend (which is in fact used as a pretext to go far back in time). According to this legend, the Sphinx sees every people in the history of the Levant pass before him every night. From tableau to tableau, the narrator describes these nightly apparitions, thus crossing centuries, from the days of the Pharaohs to Napoleon’s empire, showing the Assyrians, Persians, Greeks, Romans, Arabs Christians, etc. The legend is followed by regrets. The narrator mourns these great and epic peoples, then ventures into eschatological considerations, predicting that the Sphinx will survive the Apocalypse…

Shadow theatre

Paris

Monument

End of the world

Egypt

Civilization

Epic

Amédée Vignola, Le Sphinx, second tableau (Le Pharaon [The Pharaoh]), etching.

Épopée lyrique en 16 tableaux

Pharaoh

Army

Patriarch

Cambyses II

Alexander The Great

Cleopatra

Queen

Julius Caesar

Marc Anthony

Octavian

Virgin Mary

Jesus

Napoleon

Sung play

Addressed story

Le Sphinx

The Sphinx

Priests from the temple of Jupiter created a yearly contest in order to undo the knot which ties the yoke to the centre-pole of the late Gordias’s cart. The winner will rule over Asia while the ones who fail to untie it will see their goods seized. Many competitors try their luck, but no one succeeds. Alexander the Great cuts the knot with his sword but, judging by the priests’ reactions, he understands that they wanted the knot to remain intact, as it was bringing them wealth.

Die Enthauptung der Heiligen Dorothea

Il Costantino Pio

La Clémence de Titus

Le Sphinx

Épopée lyrique en 16 tableaux

The Gordian Knot

A Motion for Marionettes