Osservazioni sull’onomastica in alcune opere teatrali di Frisch, Fassbinder, Wiesel e Mitterer

Abstract

Several Jewish figures that appear in four contemporary theatre plays are interesting for diverse reasons and under different aspects. This onomastic investigation focuses on the works of the German Rainer Werner Fassbinder’s Der Müll, die Stadt und der Tod, the Swiss Max Frisch’s Andorra, the American Elie Wiesel’s Le procès de Shamgorod and the Austrian Felix Mitterer’s Kein schöner Land. The names of the – de facto or supposed – Jewish protagonists will be taken under examination, as well as other relevant anthroponyms and toponyms. Among some bizarre given and family names present in his play, Fassbinder doesn’t give a name to his Jewish character: his choice led to a huge controversy. Frisch’s Andri is not Jewish by birth, but those around him are convinced of that, and this aspect is reflected in his first name; not only Andorra, also the toponyms in Wiesel’s play deserve an examination. Finally, among the functions fulfilled by various names in Kein schöner Land, one choice the author makes draws our attention.