Historicizing. Establishment of a cultural pattern in Schiller's historical dramas on the stage and in the schools of the 19th century

本研究项目旨在仔细研究席勒·华伦斯坦三部曲的不同形式如何对18世纪出现的历史思想的社会文化表现做出贡献，并自此塑造了我们感知世界和应对生活的方式。为了做出合理的推断，对华伦斯坦的戏剧方法进行彻底的分析是至关重要的，研究涵盖了从第一次演出到第一次世界大战的典型舞台实践。从现存的文本和图形材料中得出结论，该项目揭示了舞台历史化的不同方式，以及它在19世纪的建立过程。它还探讨了戏剧艺术家、表演者和观众对这种场景设置方法的不同含义和功能。此外，本研究力求揭示戏剧艺术家试图通过历史化舞台唤起的含义与他们对文学来源的潜在解释之间的相关性。在这种背景下，历史化的关键冲突方面，如历史距离与审美可视化，强调真实性与构建现实的意识，也进行了探讨。通过分析几个月来密集的国际研究中发现的接待文物（戏剧评论、改编、照片和其他图形材料），该项目还旨在揭示处理上述历史性问题的实践。最后，它试图追踪戏剧历史化对非历史学家观众的影响。

This research project aims to scrutinize how different forms of staging Schillers Wallenstein trilogy contributed to the socio-cultural manifestations of the historical thinking that emerged in the 18th century and has since shaped our ways of perceiving the world and coping with life. To allow sensible deductions, a thorough analysis of theatrical approaches to Wallenstein is fundamental, with research encompassing exemplary staging practices from the very first performance to the First World War. Drawing conclusions from surviving texts and graphical material, the project sheds light on different ways of onstage historicizing as well as its establishment over the course of the 19th century. It also explores the diverse implications and functions theatre artists, performers and audiences attribute to this method of scene-setting. Furthermore, the research strives to unravel correlations between the implications theatre artists seek to evoke with a historicized staging and their underlying interpretation of the literary source. In this context, crucial conflicting aspects of historicization such as historical distance versus aesthetic visualization and emphasizing facticity versus awareness of a constructed reality are explored as well. Drawing on yet largely untapped sources by analysing artifacts of reception (theatre reviews, adaptations, photographs and other graphical material) uncovered during months of intensive international research, the project likewise aims at revealing practices of handling said problems accompanying historicization. Ultimately, it tries to trace the effects of theatrical historicizing on an audience of non-historians.