Double act

The double act is a cabaret number, consisting of a dialogue between two actors, one of which plays the role of a wise and educated interlocutor, while the other is a slow-witted dolt mimes.

As a special form of the Conférence they originally mediated between two numbers.

History

The origin of the double act is located in Budapest. In 1900, parodied Julius Kövary known artist Endre Nagy, first in the cabaret " candy dish " and later on Nagy's own " Nagy Endre cabaret ". So there were two Nagy on stage: the real that told the number and the false. This gave a verbal duel, which lasted until the next number: the double act as Streitconférence.

Lazlo Vadny created the principle The G'scheite and the stupid thing with the two figures Hacsek and Sajó. The two are Budapest coffee house visitors who want to change the world from the coffee-house table. First invented as a newspaper column, the two figures came later to the stage.

Around 1920 came the double act twice to Vienna: firstly by Karl Farkas, the other by William Gyimes, Hungary -born owner of the Vienna Femina bar. Gyimes brings the Hacsek - and - Sajó numbers with Fritz Imhoff and Fritz Heller on stage.

Karl Farkas took effect on November 1, 1922 for the first time together with Fritz Grünbaum on, at the cabaret Simpl. Farkas was, as to his death, the clever ones, the green tree idiot. First was the double act of the two more than Conférence number, they said, about even with their proper names. After the Second World War, with Ernst Waldbrunn as corny, created for television pairs of figures like Mr. Berger and Mr. Schoeberl that no longer occur in front of the curtain, but play in scenes.

However, Farkas and green tree are also referred to as the inventor of the dialogic double act.

Hans Veigl According to the Doppelconférence reached, however, with Green Tree and Farkas in German-speaking peaked. The two give her the final shaping. In rapid exchange of words, they act in a dialectical way, day and current events, but also from everyday observations and other.

Already the Viennese folk singer Johann Baptist Moser (1799-1863) created the so-called " Conversationen ", in which the types of " Clever " and "Stupid " (often accompanied by the " Frotzler " ) emerged: " The conversation in Paradeisgartl " (1866 ), "Conversation on the birthday ", " The two chair carrier " (1843 ), " The conversation before the offset office ," and " The Conversation in a glass house " (1859 ).

Definitions

By Karl Farkas multiple definitions of the double act have survived:

• A double act is a Conférence, which must be held by two artists, because one alone can not be trusted to take on the responsibility.

• A double act is a dialogue between a G'scheiten and an idiot, the G'scheite tries to explain to the idiots something clever clever as possible, so that the stupid thing to give stupid answers as possible it is capable - with the result that at the end of the Stupid not clever, but the clever the thing is too stupid. Both have therefore nothing to laugh at the end. For this, the more the audience.