Music and the stage in thethe Age of Enlightenment. Studies on the basis of the Gothaplaybills.

该项目研究了音乐在德国戏剧1759-1771中的作用。它是基于哥达海报收集，这在过去的100多年里没有引起注意。节目单代表了几个剧团（科赫，阿克曼，塞勒）以及汉堡国家剧院的活动。目前对歌德时期之前的18世纪附带音乐的了解非常少。基本上，只有三个作品是已知的，都是从汉堡的时间。该项目希望通过检查剧院节目单所揭示的剧目来获得有关音乐的信息。通过次要文本（舞台说明）和歌曲插曲可以获得见解。在极少数情况下，节目单本身也提供了线索。非常有用的是汉堡Stadttheater剧院图书馆保持在汉堡博物馆。它包含了剧本，但也有乐谱。我打算考虑所有的表演，即不仅是戏剧，而且还有补充，到目前为止，这些都没有考虑过。这将为汉堡国家剧院开辟全新的前景。到目前为止，莱辛对音乐效果的理论思考和他对一部悲剧作品的描述是唯一需要处理的事实。为了更多地了解实际听到的各种音乐，可以从不同的角度看待这些反思。它还揭示了法国舞台的巨大影响，其歌舞杂耍决赛和喜剧歌剧。该项目还旨在阐明实际条件：演员的歌唱能力，演员阵容，管弦乐队的条件，公司外音乐家的出现。大约在世纪中期，同时代的人（就像今天的研究一样）只关注单词的艺术及其表演。音乐，作为感性的，属于较低的类别。然而，戏剧改革者宣称的目标是提高道德。因此，音乐在表演职业化之前的重要性与1750年前后的作用之间的比较，成为一个指标。然而，这只适用于德国，巴黎和维也纳的不同情况就证明了这一点。该项目希望强调这一社会历史方面。

The project examines the role of music in German theatre 1759-1771. It is based on the Gotha playbill collection, which has not attracted attention for the last more than 100 years. The playbills represent the activity of several troupes (Koch, Ackermann, Seyler) as well as the Hamburg National Theatre. Present day knowledge of 18th-century incidental music before the Goethe period is extremely poor. Basically, only three works are known, all from the time of the Hamburg Entreprise. The project wants to get information about music by examining the repertoire, which is revealed by the theatre programmes. Insights can be gained through secondary texts (stage instructions) and song interludes. In rare cases, the playbills themselves also offer clues. Extremely helpful is the theatre library of the Hamburg Stadttheater kept in the Hamburg SUB. It contains play texts but also sheet music. It is my intention to consider all performances, i.e. not only the plays, but also the supplements, which have not been considered at all so far. This will open completely new perspectives, also for Hamburg's National Theatre. Up to now, Lessing's theoretical reflections on the effects of music and his description of a composition for a tragedy were the only facts to deal with. To know more about the music actually heard in all its diversity puts these reflections in a different light. It also reveals the great influence of the French stage with its vaudeville final and its opéra comique. The project also aims to shed light on the practical conditions: the actors' ability to sing, the casting, the conditions of the orchestra, the appearance of musicians from outside the company. Around the middle of the century, contemporaries (as still research does today) focused solely on the art of the word and its acting. Music, as sensual, fell into a lower category. The declared aim of the theatre reformers, however, was to raise morality. Thus, music becomes an indicator when comparing its importance in the period before the professionalization of acting with its role around 1750. However, this is true only for Germany, as the different conditions at Paris and Vienna prove. The project wants to emphasize this socio-historical aspect.