When Alexander von Bernus opened his shadow theatre in 1907 in the artistic neighbourhood of Schwabing in Munich, he wished to present a new form of art, which he explicitly connected with the Romantic tradition. This new form of art would be different from the shows of the Chat Noir cabaret in Paris and make better use of the immaterial quality of shadows to venture into the realms of the soul and of dreams. Mysticism pervaded the intellectual and artistic circles of Munich at the beginning of the 20th century, and it had something to do with this project too, since it aimed at “the most metaphysical union of image, poetry and music”.

Pan is one of the most refined plays of the Schwabinger Schattenspiele repertoire, and has been congratulated by orientalist and shadow theatre historian Georg Jacob, who applauded its poetry. The play draws inspiration from ancient peasant traditions that celebrated the magical powers of nature on the day of the summer solstice.

It’s Saint John’s Day. The God Pan announces the arrival of dawn and invokes the spirit of flowers. Every character that appears seems to be filled with an overwhelming desire to love: a seminarian and the daughter of a priest secretly kiss, a bird sings for his lover, two young farmers embrace on a cart, two children talk about stars and babies, a nun praises her creator, two cats fight passionately, a young girl longing for love falls asleep… When she wakes up, an older girl suggests that they go see a witch that can make them see the man they will love. Despite their fear and the darkness, they go to the witch whose spell makes their future husbands appear. One looks oddly like the fisherman from the beginning of the play, and the other looks like the prince who previously appeared as a fish. Still quivering and bewitched, the two girls leave and Pan ends the play by playing the flute.