Schiller’s "The Robbers" in the theatre of the 20th century between historicity and up-to-dateness

席勒的《强盗》在20世纪戏剧中的历史性与现代性

• 批准号: 497095340
• 负责人: Professorin Dr. Nina Birkner
• 金额: --
• 依托单位: Institut für Germanistische Literaturwissenschaft
• 依托单位国家: 德国
• 项目类别: Research Grants
• 资助国家: 德国
• 项目状态: 未结题
• 来源: https://gepris.dfg.de/gepris/projekt/497095340?language=en
• 关键词: Schiller; Robbers; theatre; 20th; century

The effective history of Schiller’s "The Robbers" in the German theatre of the 20th century is still waiting to be systematically reviewed. A reason for this desideratum can be easily pinned down: most of the relevant sources are filed up in theatre collections as well as archives and are, therefore, only hard to access, while a larger part of this material is located at the Berlin Academy of Arts (AdK). The project to be presented here aims at filling the desideratum just sketched.For this purpose, it is, first, envisaged to develop a monographic inquiry that provides a historical survey concerning the performances‘ history of Schiller’s drama by means of analyzing paradigmatic stage productions of "The Robbers". At the center lies the question of how the directors, actors and producers have dealt with the tension between the text’s historicity and the up-to-dateness of the actual performance, on a content-based and thematic as well as on a theater-aesthetic level. Moreover, it is planned to investigate the relevant performances from the perspective of their reception history; this is done in order to clarify how critics locate these performances between the priorities of historicity and up-to-dateness, more concretely, inhowfar they consider these performances to be current contributions to political, socio-cultural and/or aesthetic debates within their period of time. In a concluding step, the previously selected theatre productions will be examined from a field-theoretical perspective. This is relevant for reasonably elaborating on the highly pertinent question of how directors locate themselves within the context of their contemporary theatre scene in order to establish and argue for a link between theatre's 'social structure' and its aesthetic forms.Second and additionally, Erwin Piscator‘s promptbooks for productions in 1926 (Berlin) and 1957 (Mannheim) having set the benchmark of staging "The Robbers" will be published for the first time plus a comprehensive commentary to turn these important documents more accessible to further research. While the first of these performances elicited the debate about the „death of the classic“ by radically updating the material, the second one is described by contemporary critics as being broadly ‚faithful to the text‘. In referring to these two productions it is possible to work out the tension between historicity and up-to-dateness that is constitutive of every performance of a classic.

席勒（Schiller）在20世纪德国剧院中的“强盗”（The Robbers）的有效历史仍在等待系统地进行审查。这种渴望的原因很容易被固定下来：大多数相关资源都是在剧院收藏和档案中提交的，因此只能很难获得，而大部分材料则位于柏林艺术学院（ADK）。这里要提出的项目旨在填补刚刚草绘的欲望。首先，它首先要开发一项专着探究，该询问提供了一项有关表演的历史调查，以分析“施加勒”戏剧的历史，通过分析“强盗”的范式舞台作品。中心的问题是，董事，演员和制片人如何处理文本的历史性与实际表现的最新性之间的紧张关系，以及基于内容的主题和戏剧 - 审美水平。此外，计划从他们的接待历史的角度研究相关表演。这样做是为了阐明如何在历史性和最新性优先事项之间定位这些表现，更具体地说，他们如何将这些表演视为当前对政治，社会文化和/或美学辩论的贡献。在结论步骤中，将从现场理论的角度检查先前选择的剧院作品。这与合理阐述了高度相关问题有关导演如何在当代戏剧场景中定位自己的高度相关问题，以建立和争论剧院的“社会结构”与审美形式之间的联系。第一次加上全面的评论，以更容易访问这些重要文档以进行进一步的研究。尽管这些表演中的第一个通过从根本上更新了材料来引起有关“经典之死”的辩论，但第二个表演被当代批评者描述为广泛地忠于文本。在提及这两种作品时，可以解决历史性与最新性之间的紧张关系，这是经典表演的构成。