Theatrical Representations of Sainthood in the Context of Interconfessional Conflicts. Swiss Saints' and Martyrs' Plays of the 16th and Early 17th Century

宗教间冲突背景下圣徒的戏剧表现。

• 批准号: 241971380
• 负责人: Professorin Dr. Cora Dietl
• 金额: --
• 依托单位: Schweizerische Theatersammlung
• 依托单位国家: 德国
• 项目类别: Research Grants
• 财政年份: 2014
• 资助国家: 德国
• 起止时间: 2013-12-31 至 2022-12-31
• 项目状态: 已结题
• 来源: https://gepris.dfg.de/gepris/projekt/241971380?language=en
• 关键词: Theatrical; Representations; Sainthood; Context; Interconfessional

At first sight, Swiss saints' plays of the era of Reformation seem to be something non-existent and impossible. Due to Zwingli's and Oekolampad's ardent critique of the cult of saints, it was unthinkable to stage saints' plays in the reformed regions of Switzerland in 16th/17th century. In the catholic parts of Switzerland, however, at that time the staging of saints' plays gained importance as a means to preserve the respective community's identity. This project extends the project "Theatrical Representations of Sainthood in the Context of Inter-Confessional Conflicts. 16th and 17th Century Protestant and Roman Catholic Martyrs' Plays". It contrasts the German plays treated in that project with Swiss drama of the same time (c. 1520-1620), which represents a far more polarizing form of provocative inter-confessional dialogue. In the Holy Roman Empire, martyrs' plays were a rather common genre of Lutheran school drama. They communicated a specific Protestant understanding of 'sainthood' and 'martyrdom', using the persuasive power of theatre. In contrast, Swiss (Catholic) saints' and martyrs' plays of the 16th century are said to be extremely conservative. This is one of the reasons why theatre history tends to ignore them, even though some of them are available in modern editions.We will enquire whether the Swiss plays really are (demonstratively) conservative and exaggerate their medieval elements, and how far they thereby powerfully contribute to the inter-confessional debate. A comparison between German and Swiss drama will help to give a clearer insight into the possibilities to functionalize and exploit the theatrical medium for religious and political purpose. Analyzing the texts, the project will use categories from literary and cultural studies, like form, rhetoric, performance, space, acoustics, and esthetics, but it will also respect the historical, socio-cultural and theological contexts of the plays. A central role will be attributed to the notions of 'sainthood' and 'holiness', since across the centuries, they are both matter and weapon of inter-confessional and in inter-religious debate, and since literature and art have developed various means to construct them.The material aim of the project is three editions of martyrs' plays that have come down to us in manuscripts that are difficult to access (i.e. the project will finally make the texts accessible for research), and a monography which comprehensively describes the Swiss saints' and martyrs' plays, as compared to the German Roman Catholic and Lutheran drama.

乍一看，瑞士圣人的宗教改革时期的戏剧似乎是不存在的，也是不可能的。由于茨温利和奥科兰帕德对圣徒崇拜的强烈批评，在16/17世纪的瑞士改革派地区上演圣人戏剧是不可想象的。然而，在当时的瑞士天主教地区，圣人戏剧的上演变得越来越重要，因为它是保存各自社区身份的一种手段。该项目扩展了“教派间冲突背景下圣徒身份的戏剧表现。16世纪和17世纪新教和罗马天主教殉道者的戏剧”。它将该项目中处理的德国戏剧与同一时期(约1520-1620年)的瑞士戏剧进行了对比，后者代表了一种更具两极分化的教派间对话形式。在神圣罗马帝国，殉道者的戏剧是路德派戏剧中相当常见的一种类型。他们利用戏剧的说服力，传达了新教徒对“圣徒身份”和“殉难”的具体理解。相比之下，16世纪瑞士(天主教)圣徒和殉道者的戏剧被认为是极其保守的。这就是为什么戏剧史往往忽视它们的原因之一，尽管其中一些戏剧在现代版本中可用。我们将询问瑞士戏剧是否真的(示范地)保守并夸大了它们的中世纪元素，以及它们在多大程度上因此对教派间的辩论做出了强有力的贡献。对德国和瑞士戏剧的比较将有助于更清楚地洞察将戏剧媒介发挥作用并为宗教和政治目的而利用的可能性。分析文本，该项目将使用文学和文化研究的类别，如形式、修辞、表演、空间、声学和美学，但它也将尊重戏剧的历史、社会文化和神学背景。圣徒和圣洁的概念将发挥核心作用，因为几个世纪以来，它们既是宗教间和宗教间辩论的物质和武器，又因为文学和艺术发展了各种构建它们的方法。该项目的主要目标是三个版本的烈士戏剧，这些剧本已经在难以获取的手稿中流传下来(即该项目最终将使文本可供研究)，以及一本全面描述瑞士圣徒和殉道者戏剧的专著，与德国罗马天主教和路德教会戏剧相比。