"I am Prince Jussuf": Else Lasker-Schüler's

Autobiographical Performance

Antje Lindenmeyer

Biography, Volume 24, Number 1, Winter 2001, pp. 1-34 (Article)

Published by University of Hawai'i Press

DOI: https://doi.org/10.1353/bio.2001.0014

For additional information about this article

https://muse.jhu.edu/article/5105

[ Access provided at 22 Sep 2020 12:21 GMT from University of Dhaka ]

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Else Lasker-Schüler as Prince Jussuf (photo © and reproduced by courtesy of Dr h. c. Friedrich

Pfäfflin, Marbach).
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“I AM PRINCE JUSSUF”: ELSE LASKER-SCHÜLER’S

AUTOBIOGRAPHICAL PERFORMANCE

ANTJE LINDENMEYER

1. LIFE, OR THEATRE? “PRINCE JUSSUF” AND ELSE LASKER-SCH ÜLER

Suddenly the lights went out, and Else Lasker-Schüler stepped out onto the stage.
She wore a robe made of blue silk. Loose-fitting trousers, silver shoes, a kind of
baggy jacket, her hair was like silk, pitch black. . . . Jussuf was all woman, so beau-
tiful, sensual. . . . But her words were hard, crystal clear. They glowed like metal.
(Herzfelde 1307)

In this passage, Wieland Herzfelde evocatively remembers a public poetry

reading Else Lasker-Schüler held in 1914. She is dressed up as the character
that is the protagonist of many of her works: Prince Jussuf of Thebes, who
is sometimes masculine, sometimes an androgynous youth, and sometimes
identified with the biblical Joseph. Although this description relies heavily
on gendered stereotypes, it captures how Else Lasker-Schüler’s performance
thrives on playing with gendered identities. By appearing in public as the
protagonist of her written work, Else Lasker-Schüler blurs the boundaries
between self and writing, “life” and “work.” Many of the issues I want to
explore in this article are already touched on in this quotation: the autobio-
graphical performance as playing with gender and difference, the relation-
ship between body and self or body and voice, and the significance of a
change of clothes as a sign of an inner metamorphosis.
Else Lasker-Schüler (1869–1945) was a German-Jewish poet, playwright,
and prose writer. As a bohemian Jewish woman poet, she has been described
as an incarnation of the manifold Other (O’Brien 1). She fits uneasily into
German literary history; usually she is pigeonholed as a minor player in the
Expressionist movement, with roots in Jugendstil (art nouveau) and in Ger-
man romanticism (see Klüsener). She is best known for her poems written

Biography 24.1 (Winter 2001) © Biographical Research Center

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26 Biography 24.1 (Winter 2001)

from the turn of the century to the 1920s, which have found their way into
various anthologies. At that time she was a well-known figure in the Berlin art
scene, famous for her public appearances as “Prince Jussuf,” and her friend-
ships with more famous Expressionist men, among them Gottfried Benn,
Franz Marc, and Georg Trakl. However, her oeuvre also includes two col-
lections of short stories set in a fantastic Orient, two ironically self-reflexive
epistolary mini-novels, three plays, various essays, and a book-length account
of her travels in Palestine. After the Nazis came to power in 1933, she had to
emigrate, first to Switzerland and then to Palestine, where she died in 1945.
All her works have clearly autobiographical elements, and most of them
include, as poetic I, as a protagonist, or in a supporting role, one of her many
literary alter egos. They are varied, reaching from the exotic Princess Tino of
Baghdad, to Amadeus, the rent-boy with a heart of glass. The alter ego she
uses most frequently and importantly, however, is Prince Jussuf of Thebes.
Biographers, following the widespread assumption that writing by women
can only be autobiographical (see Stanton 4), have frequently used the liter-
ary texts to gain an insight into her life. However, Else Lasker-Schüler her-
self flies in the face of this assumption by proclaiming her fantastic biogra-
phy to be more important than her real one. Asked for a short biographical
entry for Menschheitsdämmerung [Twilight of Man], a definitive collection of
Expressionist poetry, she wrote: “I was born in Thebes (Egypt), even though
I came into the world in Elberfeld, in the Rhineland” (“Biographical Note”).
This stance has confounded many of the literary critics who have ana-
lyzed her work: Else Lasker-Schüler writes prose texts and poems set in a fan-
tastic Orient, but at the same time she populates them with clearly recog-
nizable friends and acquaintances. She often uses elements of her own
biography—her loves and friendships, her divorce, and the birth of her son.
Critics have attempted to extract the “real” autobiographical elements and
separate them from the fantastic fiction. But looking for the “real” life with-
in the fantastic is pointless: the constructed, fantastic “second” life and the
“Prince Jussuf” self are, for the author, more real than the “real” life could
ever be. Moreover, the fantastic life encroaches on more straightforwardly
autobiographical pieces describing her childhood in Wuppertal, where she
claims that she identified with Joseph of Egypt from an early age. Thus, it
looks as if Else Lasker-Schüler’s work corroborates Liz Stanley’s claim that
“the features colonised . . . by postmodernist theory are actually characteris-
tics of modernist . . . women’s writing” (15). Deliberately blurring the bound-
aries between life and work, fact and fiction, and even signing letters to
friends with “Jussuf,” Lasker-Schüler resembles the women writers analyzed
in Leigh Gilmore’s Autobiographics, who use autobiography as a means of
subverting and playing with names and identities, thereby upsetting the dis-
courses of truth and selfhood that govern classical autobiography.
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Lindenmeyer, “I am Prince Jussuf” 27

Yet, Else Lasker-Schüler’s play with identities exceeds the purely textual.
As I will argue, Else Lasker-Schüler’s fantastic self is created in and through
performance. This performative self is one that is not fixed or already there,
but is tenuously and temporarily brought into being by a creative act. I use
“performance” here in the widest possible sense: “Prince Jussuf” is performed
through public readings, through Lasker-Schüler’s appearance in the Berlin
streets, in the illustrations she draws for her books, in her letters signed “Jus-
suf,” and in the frequent “I am Jussuf/Joseph” invocations in her poems and
prose writings. In the subsequent pages, I will be looking at theories of gen-
der in performance, and reflect on Else Lasker-Schüler’s use of her own body
as a ground for the performance and as a starting point from where shifts and
transformations occur. Then, I will attempt to read Lasker-Schüler’s autobi-
ographical writings as a myth of origin that connects the origins of the auto-
biographical self to Jewish history and legend.
2. TRANSFORMING GENDER

In order to offer some context for my reading of Else Lasker-Schüler’s texts

and performances, I will be looking at the connections between autobiogra-
phy and performance and the implications of gender for this connection.
The roots of feminist performance lie in the possibility for the performer to
be “herself” on stage, drawing on her own experience that is at the same time
part of a more general women’s experience. Feminist performers have then
played with this assumption to tease out more complex issues of subjectivi-
ty. Claire MacDonald points to the similarities between the strategies of
women autobiographers and feminist performance artists:
When a performance artist stands up in front of an audience she is assumed to be
performing as herself. By putting her own body and her own experience forward
within a live space the artist becomes both object and subject . . . and is able to use
the live space to articulate that relationship. This reference to the real life persona
of the artist . . . makes clear the political connection between private experience
and public disclosure and so sets performance art clearly within the agenda of fem-
inism. (189)

The setting of performance blurs the boundaries between self and not-self,
representation and “reality” (see Forte). Thus, it is logical that postmodernist
feminist performance unsettles the belief in fixed identities, showing “iden-
tity as a site of struggle at which the subject organizes and reorganizes com-
peting discourses as they fight for supremacy” (Dolan 96).
Seen from this perspective, Else Lasker-Schüler seems to be working in
two directions at once. On the one hand, Prince Jussuf is clearly recognizable
as an expression of the performer’s self. On the other hand, he is a (mostly)
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28 Biography 24.1 (Winter 2001)

masculine alter ego, and he is much more than just a stage persona. Jussuf is
situated within an Orient that functions as an Other to the West, and espe-
cially Germany during the first World War. Its inhabitants are fantasized as
colorful, passionate, and playful. The work where the world of Prince Jussuf
is depicted in greatest detail is The Malik: The Story of an Emperor [Der Malik:
Eine Kaisergeschichte], written from 1912 to 1919. By choosing this title, she
deliberately posits Prince Jussuf as a pacifist anti-emperor against the war-
mongering Wilhelm II (see Rumold). Else Lasker-Schüler has been accused
of orientalism, of creating an escapist fantasy world that clashes violently with
the real Palestine she encounters on her travels. This criticism disregards that
Else Lasker-Schüler never claimed to depict, even less to speak for, the “real”
Orient. Rather, in her prose fiction, she stages a transition between a dismal
existence in Berlin and a lively, fantastic Thebes, transforming herself into
Jussuf, its ruler: “In the night of my deepest wretchedness I elevated myself
to the Prince of Thebes” (Werke I, 534). Moreover, that she obviously
exploits the clichés of the exotic Orient so popular in turn-of-the-century
Germany makes it hard to believe that she should have confused her imagi-
nary Orient with the real Middle East (see Klüsener 10). According to
Edward Said, orientalism relies on “the fact that the Orientalist . . . makes
the Orient speak . . . renders its mysteries plain for and to the West” (21).
Else Lasker-Schüler goes the other way. She attempts to speak from within
the Other and make her “Orient” deliberately strange to the audience. She
goes so far as to invent an artificial, Arabic-sounding language, “Old Syrian,”
sometimes reading versions of her poems in this mysterious language.
This interplay between representation and reality is intensified by the
choice of a masculine alter ego. Else Lasker-Schüler’s performance blurs gen-
der boundaries (by cross-dressing and adopting the name of “Prince Jussuf”),
and at the same time, makes them stand out, because “Jussuf” is so obviously
Other. To make again the connection between modernist writing and post-
modern theory, I would like to compare Else Lasker-Schüler’s thoughts on
gender and performance to Judith Butler’s theory of gender as performance.
To quote a well-known passage:
Gender is an identity tenuously constituted in time, instituted in an exterior space
through a stylized repetition of acts. The effect of gender is produced through the
stylizations of the body, and, hence, must be understood as the mundane way in
which bodily gestures, movements and styles of various kinds constitute the illu-
sion of an abiding gendered self. (140)1

The only way to change stereotyped gender roles is to accept the performa-
tivity of gender and break up the relentless repetition by repeating with a dif-
ference, by overdoing the stereotype—by performing, in Butler’s words,
“subversive bodily acts.” Else Lasker-Schüler’s autobiographical performance
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Lindenmeyer, “I am Prince Jussuf” 29

thus might open up possibilities for disrupting rigid gendered identities. Else
Lasker-Schüler herself was part of the bohemian world of 1920s Berlin,
which included cross-dressers and gender-benders of all kinds. Thus, she can
offer some thoughts on gender and performance. Reviewing an all-male per-
formance of an Ibsen play, she writes:
Every evening I admired him [the actor Hans Heinrich von Twardowski] in his
starring role as Hedda Gabler. He reminded me of a Japanese actor. The Japanese,
the most artistic people, strike a double chord by having the female lead played by
a man: they put an emphasis on the feminine and take away its substance at the
same time. (Werke II 286–87)

Here, cross-gendered performance is not connected to the everyday, but to

the artistic. It seems to work like a Brechtian alienation-effect: it makes the
unusual stand out and so stresses the performed femininity. As a conscious
performance by a male actor, it is shorn of its claim on naturalness. In tak-
ing up Prince Jussuf as a masculine alter ego, Else Lasker-Schüler, one might
speculate, intended to put an emphasis on the masculine and take away its
substance at the same time. Moreover, the role she performs most often is
not that of the man, but that of the boy, or the androgynous youth. She
takes up this role not only on stage, but in many letters to friends, expound-
ing at length on the hideousness of women—and of men (see Briefe I, 34).
This in-between role of Prince Jussuf works in two ways. First, it disturbs
gendered identities by creating an androgynous persona that incorporates
male and female traits. Second, this role makes it possible to poke fun at
masculinity by exaggerating it from the perspective of the boy who is not a
man but wants to be like a man. It also enables the author to write flirtatious
letters to men, and more rarely, to women (see Briefe II, 18), that escape the
conventions of gendered behavior.
Conventionally, the hallmark of a woman’s performance of a masculine
identity could be seen as that incongruence between the female body and the
male persona which blurs the boundaries between gendered identities while
keeping them intact at the same time. However, for Else Lasker-Schüler, body
and persona are intimately connected. She has chosen another strategy, that
of metamorphosis by “dressing up.” In her prose writings, she often describes
how a change of clothes induces a change of identity for the protagonist. In
the Nights of Tino of Baghdad, an early collection of stories, she describes
how the narrator transforms herself from Princess Tino to a sacrificial Jus-
suf/Joseph by putting on “the shepherd’s coat of Joseph, dripping with
lamb’s blood, as it was when his brothers brought it to his father” (Werke II,
103). This description of a change of gender as a change of clothes contra-
dicts those critics who saw Else Lasker-Schüler’s transformation into a mas-
culine alter ego as answering a psychological need or a need for recognition
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30 Biography 24.1 (Winter 2001)

(see O’Brien). Rather, it shows that the transformation into Jussuf is a per-
formative one. It is not the “inner self” that seeks expression in the outward
appearance, but the change of the appearance that induces a change of iden-
tity, analogous to a magical transformation, or a child’s game of “dressing
up.” Indeed, Else Lasker-Schüler often uses imagery of child’s play to
describe poetic creativity. Jussuf’s transformation into the Malik, the ruler of
Thebes, is described as taking up the regal cloak: “I wore a golden cloak, it
was a star draped into folds around my shoulders, the Malik’s crown on my
head. I was the Malik” (Werke II, 399). These two garments, the golden
cloak and the shepherd’s coat, transform the female narrator into Jussuf/
Joseph. They also embody the two poles of Jussuf’s existence: he is, at the
same time, the powerful poet-ruler of Thebes and poor Joseph, betrayed by
his brothers and forced into exile. It is not surprising that, when Else Lasker-
Schüler herself was forced to become an exile, this side of the Joseph/Jussuf
character became more and more dominant.
When performing Jussuf on stage or in the public space, and so trans-
forming herself into her own artwork, however, Else Lasker-Schüler runs a
greater risk than she would have by assuming a purely textual alter ego. Else
Lasker-Schüler states that she intended to “embody the soul of the Joseph
legend, to cloak it in my own body” (Werke II, 964). But she does this at an
enormous cost. While the body is the ground of the performance, pervasive
assumptions about the aging female body become its undoing. She can
“carry off” the Prince Jussuf performance while she is still young, but she
encounters ridicule when she is older. The German literary critic Meike
Fessmann writes:
When Else Lasker-Schüler went on stage as Jussuf, in velvet trousers and velvet
jacket with a dagger in her belt, this “fancy dress” must have left a lasting impres-
sion. The Jussuf mask embodied a provocative femininity and at the same time an
innocent boyishness, it was decorative as well as a form of existence. . . . When Else
Lasker-Schüler, as an old woman in Palestine, still wore those clothes that were
scandalous even when worn by the young city woman, her friends’ reaction was a
pitying shake of the head, her enemies’ reaction sheer outrage. Else Lasker-Schüler
was prepared to become her own caricature . . . she believed in the power of the
artwork, even in its exaggeration. (208)

This is a risk Else Lasker-Schüler was prepared to take, because she believed
in the intimate connectedness between bodies, texts, and images. In her writ-
ings, everything important is directly written on the body—painted or tat-
tooed. The poetic I in a poem wears “moons, tattooed on my hand” (Werke
I, 232), another has a hieroglyph carved into her forehead. The people of
Thebes are said to customarily paint images on their cheeks (Werke II, 433).
In the drawings that complement the texts, Prince Jussuf is almost always
depicted with a star and crescent moon on his cheek. These illustrations are
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Lindenmeyer, “I am Prince Jussuf” 31

an integral part of the work. They make it possible for Else Lasker-Schüler
to paint herself into her books, but they also enable her to draw the symbol-
ic imagery she uses in her writings directly onto the faces: the crescent moon
and star for Jussuf, and hearts, roses, moons, and stars for others. One draw-
ing shows Jussuf with his city tattooed on his arm, as a sign of his connect-
edness to “Thebes.” Thus Else Lasker-Schüler not only uses her body to per-
form her fantastic self, but she also uses body imagery in a way that does not
fix the body as matter to be shaped by culture or society. Instead, she turns
the body into an agent of transformation. In her work, the body is not only
seen as a surface inscribed by history, but also as a surface for an inscription
of images that connect her imaginary world to her own body. Else Lasker-
Schüler’s performance seems, again, to work in two ways. On the one hand,
it dissolves “reality,” above all the reality of masculinity or femininity; on the
other hand, it allows for a metamorphosis where mythical imagery is cloaked
in the reality of the body, and the body itself is transformed by symbolic
inscriptions, tattoos, and garments. The metamorphosis between genders,
and between the real and the imaginary, creates a constant overlay of self and
other. Jussuf can only be brought into being by an act of transformation, by
“becoming” Prince Jussuf. But the connections between body, text, and
imaginary world also enable Else Lasker-Schüler to let the real and the imag-
inary world, life and text, self and persona—Life, and Theatre, to answer
Charlotte Salomon’s question—permeate and shape each other.

Else Lasker-Schüler’s drawing of

a brooding Jussuf, in trousers
and boots (© A. Alsberg, Jerusa-
lem; reproduced with the kind
permission of Professor Alsberg
and the Bildarchiv Preussischer
Kulturbesitz, Berlin, where the
drawing is located).
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32 Biography 24.1 (Winter 2001)

3. MYTHS OF ORIGIN

Autobiography, as a genre, can be used as a way of formulating a personal

myth of origin: a recreation of the forces that create the narrator. In Else
Lasker-Schüler’s case, as I have argued, this creation of a myth of origin
entails the creation of a wholly new fantastic biography, a new set of origins
in Thebes, Egypt. Once this shift is made, the fantastic biography is pro-
jected backwards onto representations of the author’s own childhood. Meike
Fessmann writes:
One of the most essential structuring principles of Else Lasker-Schüler’s poetogra-
phy would be impossible in real time or within the narrative time of (auto)biogra-
phy: the reversal of the arrow of time. Developments in the life/work are not only
taken forward into the future, but projected backwards onto the past.

. . . [T]he figure of Jussuf is only biographically grounded within childhood after

it was invented around 1909–10. (228)

This reversal of time, the projecting onto the past of present developments,
is not merely possible within autobiography, but as Mark Freeman has
argued, is one of its essential structuring principles. Else Lasker-Schüler
anchors the figure of Jussuf in her own biography by creating a whole fan-
tastic genealogy, first for him and then accordingly for the autobiographical
I in tales of her childhood. There is a great-grandfather who has magical
powers and is (in the Theban stories) a sheikh or (in the stories set in her real
place of birth) a rabbi. Then there is a father who is a tower-building archi-
tect (instead of Else Lasker-Schüler’s real banker father). Both Jussuf’s and
the narrator’s mother introduce him/her to poetry. For a long time, the lit-
erary critics took the “oriental” stories for a mythical disguise of the “real”
childhood stories set in Wuppertal, until it became clear that they as well
contain many fantastic elements. The “real” and the “invented” past are two
mutually reinforcing halves of the autobiographical I’s myth of origin.
This myth of origin functions as legitimation for the narrator’s own
claim to being an artist who is connected both to (Jewish) religion and (Ara-
bic) magic. Like the biblical Joseph, Jussuf is situated between a Jewish and
a non-Jewish world. For all his roots in a personal genealogy that connects
him to these powerful traditions, however, Prince Jussuf is never a stable fig-
ure. In the short stories, he dies (repeatedly), and is then recreated again.
After Jussuf’s suicide in The Malik, however, he is not resurrected as a liter-
ary figure, but exists only as a signature or a persona in performance. This
might be because many of Else Lasker-Schüler’s artist friends had died, and
she needed others to be “fellow players” and to participate in creating the
fantastic world of Thebes (see Fessmann). Moreover, because the creation of
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Lindenmeyer, “I am Prince Jussuf” 33

Prince Jussuf depends on the performer’s own body, he changes as the body
ages. Both the myth of origin and the various modes of performance provide
a (tenuous) root for a self that is always in danger of disappearing. On the
other hand, the calculated instability of the Jussuf figure could be seen as
preventing the myth from becoming inflexible, thus trapping the performer
in her own legend. Else Lasker-Schüler uses a “Penelope strategy” of creat-
ing and at the same time unravelling her autobiographical self, to stop it
from becoming too fixed and unchangeable.
I would like to borrow here Audre Lorde’s term of biomythography to
describe Else Lasker-Schüler’s autobiographical mythmaking. Myth and
biography are intimately connected in a biomythography that anchors the
autobiographical I in a sustaining tradition while allowing the autobiogra-
pher to experiment with names and identities (see Tate). Else Lasker-Schüler
uses writing, performance, and visual art as the means for rewriting and
transforming herself and her life story into something entirely new.
NOTES

AUTHOR’S NOTE: All translations from German are by the author.

1. I am aware that Butler is not addressing “performance” as art, but the performativity
of gender in everyday life. However, both theorists of feminist performance and Butler
address the potential of performance both in art and in life to disturb rigid gendered
boundaries.

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