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

席勒的《强盗》在20世纪德国戏剧界的有效历史仍有待系统地回顾。这种需求的原因可以很容易地确定：大多数相关资源都在剧院收藏和档案中存档，因此很难访问，而这些材料的大部分位于柏林艺术学院（AdK）。这里提出的项目旨在满足刚刚勾画的需求。为此，首先，设想开展一项专题调查，通过分析《强盗》的范例舞台作品，对席勒戏剧的表演历史进行历史调查。其核心问题在于，导演、演员和制片人是如何处理文本的历史性与实际表演的时代性之间的紧张关系的，既要从内容出发，又要从主题出发，还要从戏剧美学的角度出发。此外，计划从其接受历史的角度对相关演出进行调查；这样做是为了澄清评论家如何将这些表演定位在历史性和时代性的优先事项之间，更具体地说，他们认为这些表演在多大程度上对当时的政治、社会文化和/或美学辩论做出了贡献。在最后一步，先前选择的戏剧作品将从现场理论的角度进行检查。这与合理地阐述导演如何在当代戏剧场景的背景下定位自己的高度相关的问题有关，以便建立和争论戏剧的“社会结构”与其审美形式之间的联系。其次，欧文·皮斯卡托在1926年（柏林）和1957年（曼海姆）为《强盗》的演出设定了基准，他的提示本将首次出版，并附有全面的评论，使这些重要的文件更容易被进一步研究。虽然第一次演出通过彻底更新材料引发了关于“经典之死”的争论，但第二次演出被当代评论家描述为“广泛地，忠实于文本”。在提及这两部作品时，我们可能会发现历史与现代之间的紧张关系，这种紧张关系构成了每一部经典作品的表现。

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.