The theatre reform of the Leipzig school and production and reception of the Saxon comedies in the middle of the 18th century

启蒙运动时期的撒克逊喜剧还没有得到如此深入的研究。阐明了莱比锡学派的戏剧改革，并在其历史背景下分析了这些喜剧和接受情况。哥特谢德之后的撒克逊人戏剧家是法律和医科学生、政府官员、翻译家等：奎斯托普、迈柳斯、克鲁格、戈特谢德夫人，他们讽刺地描述了他们职业中的人物，而不是小丑人物。聪明的仆人扮演着重要的角色。莫里哀和戴尔阿特喜剧对撒克逊喜剧的影响是显而易见的。在千篇一律的喜剧中，人们赞扬人的美德，但揭露和告诫人的恶行。这些极端的人物表现了人性的弱点。Gottsched夫人的《Die ungleiche Heirath》是最受欢迎的戏剧。Caroline Neuber最初对这一改革做出了贡献，但在破产后复兴了小丑。《Die Schaeferfust oder die Herbstfreude》一直是玛丽亚·特雷西亚的亮点。

Saxon comedies in the Enlightenment age have not yet been so well studied. The theatre reform of the Leipzig school is clarified and those comedies and reception are analyzed in their historical context.The Saxon dramatists following Gottsched were, law- and medical students, government officers, translators etc.: Quistorp, Mylius, Krueger, Frau Gottsched, who describe characters in their occupations satirically without harlequin figures. Clever servants play important roles. Influences on the Saxon comedies from Moliere and commedia dell'arte can be clearly observed. In the stereotyped comedies the virtue of persons is praised but the vice is revealed and admonished. The extreme characters express the weakness of human beings. "Die ungleiche Heirath" by Frau Gottsched was the most popular play.Caroline Neuber contributed to this reform at first, but revived harlequin after bankruptcy. "Die Schaeferfeste oder die Herbstfreude" had been the highlight presented for Maria Teresia.