Faust was most likely introduced into the German-speaking world by English actors. It has been one of the most famous plays in the repertoire of travelling troupes since at least the beginning of the 18th century. The play is known to have been in Johann Georg Geißelbrecht’s repertoire since 1796. Two manuscripts have been preserved; together, they are the oldest texts known of this puppet play: the first was made when Geißelbrecht stayed in Weimar in 1804; the other seems to be older. Geißelbrecht’s play mixes Faust’s meditations on the human condition with the coarse humour of Hanswurst, vanity with scatology, and the soul with farts. Karl Simrock (1802-1876) used it as a source for his reconstitution of the texts of Faust for puppets, which he published in 1846.

Driven by his ambition, doctor Faust learns black magic and sells his soul to the devil Mefistopheles, who will serve him for twenty-four years in return. Mefistopheles is also trying to obtain the soul of his servant Hannswurst. Imitating his master, the latter also tried to summon demons; however, the devil himself is bewildered by the servant’s coarseness and simple-mindedness. Mefistopheles then takes them to Italy: the Duchess of Parma is desperately trying to win back the love of the Duke, who suffers from melancholy. Faust promises to heal him, before finding out that the Duchess wants to poison him to avenge herself for the affront of Hannswurst, who farted on her face. Mefistopheles helps them both go back to Wittemberg safely. But Faust’s final hour has come. He tries to trick his way out of Hell, by suggesting that he and his old servant swap clothes; but Hannswurst is not fooled, and Faust is damned.