Christiane Luise Amalie Becker
Christiane Luise Amalie Becker- Neumann, (* December 15 1778 in Crossen an der Oder in the Neumark, † September 22, 1797 in Weimar) was a by Johann Wolfgang von Goethe, German -trained actress.
Life and work
Christiane Neumann was born on December 15, 1778, the daughter of actor couple Johann Christian and Johanna Elisabeth Neumann in Crossen an der Oder to the world. Her father served as director of a troupe of actors and taught them from childhood in the art of acting. Christiane was already in 1784 her debut on the stage and played various roles children.
In the same year she came with her sisters and parents to Bello mosques theater troupe after Weimar, the auditorium in the William Castle was already in 1774 burned down to the ground and only got a new stage with the 1779 built redoubts and comedy house opposite the Wittumspalais.
Training through Corona Schröter and Goethe
Her debut in Weimar had Neumann in 1787 was nine years old in the title role of the noble boy of J. Engels. They liked it so much that the Duchess Anna Amalia, the famous singer and actress Corona Schröter commissioned to design the girl in a role. Schröter, she taught not only, but it took two years up to age of 11 with them on.
After the founding of the Weimar court theater in 1791 Neumann was taken over thirteen years old with her father and other actors through the Directorate is under Goethe's house. After the unexpected death of her father Goethe personally took her more acting training. She was to him " the sweetest, most natural talent that begged me to training ." For her sake he overcame by his own testimony often the theater fatigue.
Marriage to Heinrich von Blumenthal aka Heinrich Becker
With fifteen years married at the Weimar court theater Neumann 1793, working as a director and actor Heinrich von Blumenthal, who was commonly called Becker. Since that year, she was indisputably the first lover of tragedy and comedy game.
Shortly after the birth of her first daughter in 1794 she was back on stage. Among her most brilliant roles included Emilia Galotti and Minna von Barn-helm of the same dramas of Lessing, Amalia in The Robbers, Luise in Intrigue and Love and Princess Eboli in Don Carlos by Friedrich Schiller, Clara in Goethe Egmont and Ophelia in Shakespeare's Hamlet. Wieland was so impressed by her that he ruled:
"If it progresses only a few years, then Germany will soon have only an actress. "
In June 1796 came her second daughter was born, but died soon afterwards. During the summer of 1797 ill Becker- Neumann in a guest appearance in Lauchstaedt, with signs of tuberculosis increased. Your last Weimar stage performances they had in the role of Euphrosyne in the play The Peter males. She was sent on 18 August For curing of home, died the age of 18 from the effects of her illness and was buried at the Weimar Jacob Cemetery.
Goethe and Christiane Becker- Neumann
Becker- Neumann was for Goethe their natural balance due to the model for many of his dramatic girlish figures. In a letter to the Director General Weimar Böttiger the poet reveals:
" ... So I had certainly in mind and my girls and women were formed after her and their properties. There may be more talented, but for me no more graceful. "
The poet appreciated Becker- Neumann not only their strong expressive power 's sake, but felt passionately attracted to her. In a letter written a few years later he confesses:
"I have 22 years projected the theater without verstatten me a weakness against a Actrise, but it put several of them particularly Euphrosyne and Wolff very close to me. "
Pictures wanted
Portrait and commemoration
After her death, Goethe, who had just conceived on a trip to Switzerland, the artist in the couplets of his elegy Euphrosyne imaginary (1797 ):
"(...) Farewell! already pulls me in then, 's fluctuating parts. One wish only give ear, friendly grant me him: Do not let me úngerúehmt hinábgehn to the shadows! Nur Muse Gives some life to death. Because formless floating around in Pérsephonéias Rich mássenwéis shadow, separated from the name; Wén But the poet praised the converts, designed, Individually, geséllet the Chór all heroes zú be. Joyful 'll kick accompanied me, proclaimed by your songs, And the goddess dwells complacent view on mír. Mild receives me then, and call me; there waving the high Divine women in me, always the closest to the throne. Penelope to me she speaks, the most faithful of wives, Also Evadne, leaning on the beloved husband. Middle younger then, to Earliest taking down Messenger, And lament with mír our nasty skill. If Antígone comes, the schwésterlíchste of souls, Ánd Polyxena cloudy, nor of the spousal death, I see them as sisters, and kick worthy of them; Because of the tragic art lovely creatures they are. Formed but also a poet myself; and his songs, Já, they vollénden to me what failed my life. (...) "
The general mourning culminated in the desire for a monument of early completed. Goethe, Franz Kirms and Karl August Böttiger enabled by collecting donations that in 1800 on the Rose Hill, a no longer belonging to the park mountainside that after Johann Heinrich Meyer's drawing created by the Gotha sculptor Friedrich Wilhelm Eugen Doell Euphrosyne Memorial could be established. This was copied in 1912 by Gottlieb Elster and his students. The copy is in the Park on the Ilm near the plot of Goethe's garden house and the street in the Horn and was donated by Ernst von Wild break.
The monument stood from 1800 opposite the castle. The original is on the Historical Cemetery in Weimar behind Goethe's final resting place at the Weimar Fürstengruft since 1950.