A National Repertoire: Friedrich Schiller, August Wilhelm Iffland and the German Theatre 1780-1814

国家剧目:弗里德里希·席勒、奥古斯特·威廉·伊夫兰和德国剧院 1780-1814

基本信息

  • 批准号:
    AH/D500192/1
  • 负责人:
  • 金额:
    $ 3.7万
  • 依托单位:
  • 依托单位国家:
    英国
  • 项目类别:
    Research Grant
  • 财政年份:
    2007
  • 资助国家:
    英国
  • 起止时间:
    2007 至 无数据
  • 项目状态:
    已结题

项目摘要

Friedrich Schiller (1759-1805) is arguably Germany's greatest dramatist. Yet, perhaps surprisingly, the theatrical context in which his plays arose and his uneasy relationship with the theatre world have been neglected by critics. My research project analyses Schiller's relationship with the theatre world of his day in conjunction with an evaluation of the career of his great theatre contemporary, August Wilhelm lffland (1759-1814). Born in the same year as Schiller, lffland was the greatest actor of his generation and became the most performed dramatist of the 1780s and 90s. His sentimental and moralizing 'family dramas', a complete contrast to Schiller's heroic verse tragedies, were perfectly tailored to the tastes of contemporary audiences, and his emergence and success reflect the cultural environment of the German theatre as it struggled to gain a foothold as a bourgeois institution. My study traces the way in which Schiller's and lff!and's very different dramatic oeuvres and their impact on the theatrical environment laid the foundation for the classical German repertoire in the nineteenth century.ContextThe period in which Schiller and lffland were active is one in which German theatrical life increased in stability and respectability. The number of standing theatres grew, in part funded by ruling princes, and the acting profession also gained in respectability. But most theatres' viability was still on a knife edge and repertoires were determined by popularity. At the same time, several theatres were called 'National Theatre' and aspired to raise audience taste and develop a representative repertoire. Schiller and lffland spent their early careers at the Mannheim National Theatre and their rivalry there sheds light on the dominant tastes and trends of the time, including the stage reception of Diderot, French 'op8ra-comique', Sturm und Orang (Storm and Stress) and Shakespeare, on the composition of the repertoire. Later, by the time lffland was Director of the Berlin National Theatre (1796-1814), he saw Schiller no longer as a rival but as an ally, whose cultural prestige and association with Goethe at the Weimar Court Theatre could add lustre to his Berlin enterprise and bolster its national pretensions. I argue that this strange symbiosis between the erstwhile rivals offers us a key to understanding the emergence of a classical German repertoire.Aims and objectivesThe development of the theatrical repertoire, the cultural politics of theatre and the practicalities of the stage environment are elements in the emergence of Schiller's dramas that have been largely ignored by critics, whose interest has lain up to now mainly in literary interpretation in the light of literary narratives of the development of drama that exclude almost all the drama that was performed. My aims are:To present Schiller's development as a dramatist in the context of the theatre of his day;To show how lffland's relationship with Schiller illuminates the conditions, trends and pressures of the wider theatrical environment;To illuminate the relationship between literary drama and the theatrical world and the emergence of a classical German repertoire by the time of lffland's death in 1814;To review the cultural importance of the changing debate from the late eighteenth to the early nineteenth century about the purpose, status and value of theatre.Applications and benefitsMy study illuminates the work of a major writer. In order to do so it brings together literary and theatre history in a way that is unusual in Schiller scholarship and helps correct the tendency in German Studies of this period for literary and theatre history to run in parallel, their narratives not intersecting. It sheds light on a vital phase in the development of German theatre. The national theatre movement and the debates concerning the popular and the literary in the repertoire continue to have resonance in the contemporary theatre world.
弗里德里希·席勒(1759-1805)可以说是德国最伟大的戏剧家。然而,也许令人惊讶的是,他的戏剧产生的戏剧背景和他与戏剧界的不安关系一直被评论家忽视。我的研究项目分析了席勒与他那个时代的戏剧世界的关系,并对他同时代的伟大戏剧家奥古斯特·威廉·拉夫兰(1759-1814)的职业生涯进行了评价。与席勒同年出生的伊夫兰是他那一代最伟大的演员,也是18世纪80年代和90年代演出最多的戏剧家。他的感伤和说教的“家庭戏剧”,与席勒的英雄诗悲剧完全相反,完全适合当代观众的口味,他的出现和成功反映了德国戏剧的文化环境,因为它努力获得作为资产阶级机构的立足点。我的研究追溯了席勒和伊夫!席勒和伊夫兰的戏剧作品及其对戏剧环境的影响为19世纪德国古典剧目奠定了基础。席勒和伊夫兰活跃的时期是德国戏剧生活稳定和受人尊敬的时期。站立式剧院的数量增加了,部分资金来自执政的王子,表演职业也获得了尊重。但大多数剧院的生存能力仍然处于刀口边缘,剧目取决于受欢迎程度。与此同时,一些剧院被称为“国家剧院”,并渴望提高观众的品味,并开发具有代表性的剧目。席勒和伊夫兰在曼海姆国家剧院度过了他们早期的职业生涯,他们在那里的竞争揭示了当时的主流品味和趋势,包括狄德罗、法国“歌剧喜剧”、风暴和压力以及莎士比亚在剧目组成上的舞台接受。后来,当伊夫兰担任柏林国家剧院(1796-1814)的导演时,他不再把席勒视为对手,而是盟友。席勒在魏玛宫廷剧院的文化声望和与歌德的联系,为他的柏林事业增添了光彩,并增强了其民族自豪感。我认为,这种奇怪的共生关系之间的昔日对手为我们提供了一个关键,以了解出现的一个古典德国repertoiles.Aims和objectivesThe发展的戏剧剧目,文化政治的戏剧和实用性的舞台环境是元素的出现席勒的戏剧,已在很大程度上被忽视的批评,到目前为止,他们的兴趣主要在于根据对戏剧发展的文学叙述进行文学解释,而这种文学叙述几乎排除了所有的戏剧表演。我的目的是:在他那个时代的戏剧背景下,展示席勒作为一个剧作家的发展;展示伊夫兰与席勒的关系如何阐明更广泛的戏剧环境的条件、趋势和压力;阐明文学戏剧与戏剧世界之间的关系,以及伊夫兰在1814年去世时德国古典剧目的出现;回顾从18世纪末到世纪初关于戏剧的目的、地位和价值的不断变化的辩论的文化重要性。应用和益处我的研究阐明了一位主要作家的工作。为了做到这一点,它以一种在席勒学术中不寻常的方式将文学史和戏剧史结合在一起,并有助于纠正这一时期德国研究中文学史和戏剧史并行不悖的倾向。它揭示了德国戏剧发展的一个重要阶段。国家戏剧运动和关于剧目中的通俗和文学的争论继续在当代戏剧界引起共鸣。

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