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

席勒的《强盗》在20世纪德国戏剧中的影响史，至今仍有待系统地考察。这种迫切需要的原因很容易确定：大多数相关资料都存放在剧院收藏和档案馆中，因此很难获得，而大部分材料都存放在柏林艺术学院（AdK）。本研究的目的在于填补上述空白，首先，通过对席勒戏剧的典型舞台作品《强盗》的分析，对席勒戏剧的表演史进行专题研究。中心问题在于导演、演员和制片人如何处理文本的历史性和实际表演的最新性之间的紧张关系，无论是在基于内容的和主题的层面上，还是在戏剧美学的层面上。此外，它计划从他们的接受历史的角度来研究相关的表演;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最新性的优先级之间，更具体地说，他们认为这些表演在多大程度上是对他们所处时期的政治，社会文化和/或美学辩论的当前贡献。在最后一步，以前选定的戏剧作品将从场理论的角度进行审查。这对于合理地阐述一个高度相关的问题是相关的，即导演如何在他们的当代戏剧场景中定位自己，以建立和论证戏剧的“社会结构”与其美学形式之间的联系。埃尔温·皮斯卡托1926年（柏林）和1957年的作品手册（曼海姆）已经设定了基准的分期“强盗”将首次出版加上全面的评论，把这些重要的文件更容易获得进一步的研究。虽然第一次演出通过彻底更新材料引发了关于“经典之死”的辩论，但第二次演出被当代评论家描述为广泛的“忠实于文本”。在提到这两个作品时，我们有可能弄清楚历史性和最新性之间的紧张关系，这种紧张关系构成了一部经典作品的每一次表演。

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.