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Heute vor 264 Jahren kam August von Kotzebue in Weimar zur Welt

Following our literary walk marking the 264th birthday of August von Kotzebue, we are pleased to share the introductory remarks delivered at the start of the event. This brief text offers an overview of the playwright’s life, work, and legacy, placing him within the broader context of cultural memory—a chance to revisit the opening for those who attended, and an invitation to reflect for those who could not join.

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Alte Reithalle: wo die Bühne Kotzebue erstmals überwältigte und das dramatische Feuer entfachte

As a preview of the upcoming literary walk in Weimar, we present a memoir by August von Kotzebue in which he recalls his first encounter with the theatre: a performance of Klopstock’s Death of Adam at the Old Riding Hall in Weimar. This moment proved formative—the young Kotzebue was overwhelmed by the stage, and it was here that his passion for drama was first ignited. A vivid glimpse into the origins of an extraordinary theatrical career.

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Reminiszenzen an Weimar: Literarischer Spaziergang zum Geburtstag August von Kotzebues

To commemorate August von Kotzebue’s 264th birthday, a public literary walk will take place in Weimar on 3 May 2025. Following in the footsteps of the celebrated dramatist, the walk links key places of his childhood and youth with vivid autobiographical reflections. Readings at each station bring to life Kotzebue’s early encounters with literature, theatre, and education – including his close bond with his uncle and mentor Johann Karl August Musäus. Organised by the Weimar City Archives, the event invites participants to rediscover the cultural topography of late 18th-century Weimar through the lens of a formative literary voice.

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Ein Grab, zwei Schriftsteller: Alexandre Dumas besucht August von Kotzebue

On today’s anniversary of the death of the writer August von Kotzebue (†23 March 1819), we commemorate his fate with a special literary source: Alexandre Dumas (1802–1870) visited Kotzebue’s grave in Mannheim and vividly described this experience in his memoirs. The celebrated French author captures the peculiar atmosphere surrounding Kotzebue’s tomb. Dumas’ recollections first appeared in 1866 as a serialised pre-publication in the French newspaper Le Soleil. We present this essay both in the original French and in German translation and warmly invite you to explore these remarkable memoirs.

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August von Kotzebue vs. Gall, oder: Erlaubt ist was gefällt? 8. Etappe

In der neuen Folge des mehrteiligen Beitrages zu der Komödie „Organe des Gehirns“ geht Frieder Sondermann auf die kontroverse öffentliche Wahrnehmung von Franz Joseph Galls Schädellehre ein. Anhand historischer Episoden beleuchtet er Galls Vortragstourneen in Süddeutschland und der Schweiz sowie die mediale Resonanz in Form von Presseberichten, Karikaturen und satirischen Darstellungen. Im Mittelpunkt stehen insbesondere kritische Reaktionen, beispielsweise in Paris, wo Galls Lehre mit Ironie und Skepsis aufgenommen wurde. Sondermann zeigt, wie unterschiedliche kulturelle Kreise Galls Ideen verhandelten und reflektiert, welche gesellschaftlichen Debatten über Moral, Wissenschaft und Popularität damit verbunden waren.

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Erinnerungen an Kotzebue in der Familie Nietzsche

In December 1911, Elisabeth Förster-Nietzsche penned her personal reflections on August von Kotzebue, prompted by Baroness Elisabet von Rosen’s recently published Revaler Theaterchronik. Rather than focusing on Kotzebue’s tenure at the Reval Theatre, Förster-Nietzsche used the occasion to explore her family’s historical ties to the controversial playwright. Her essay, published in the St. Petersburger Zeitung an 1 January 1912 and reprinted two decades later in the Revalsche Zeitung, provides a unique familial perspective on Kotzebue, challenging dominant narratives in 19th and early 20th-century German literary historiography. This blog post delves into Förster-Nietzsche’s portrayal of Kotzebue within the Nietzsche family, situating it within broader discussions of his public reception and Friedrich Nietzsche’s own critical engagement with his work.

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From Kotzebue to Austen: Staging Elizabeth Inchbald’s Forgotten Masterpiece

This guest contribution by Kate Glover, Artistic Director of the Historia Theatre Company, explores the revival of Elizabeth Inchbald’s “Lover’s Vows” at the Brockley Jack Theatre in London, shedding light on its historical significance, enduring themes, and the challenges of making this 18th-century drama resonate with modern audiences.

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Kotzebue durch Nietzsches Augen: „Das eigentliche Theatertalent der Deutschen“ und die Perspektiven der Forschung

The blog post “Kotzebue through Nietzsche’s Eyes” builds on the insights of our previous publication, which presented Friedrich Nietzsche’s surprising appreciation of August von Kotzebue as “the genuine theatrical talent of the Germans.” This follow-up examines how Nietzsche’s remarks have been received and interpreted in scholarly debates from 1950 to the present. By drawing on both well-known and overlooked sources, the post offers a synthesis that highlights Nietzsche’s critique of the German cultural elite, his reflections on taste and authenticity, and the role of theatre in society. It aims to provide a foundation for further discussion and research.

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Nietzsche und Kotzebue: „Die Deutschen im Theater“ – Eine ungewöhnliche Wertschätzung im Spannungsfeld der deutschen Theaterkultur

As we begin a new year, this post revisits Friedrich Nietzsche’s provocative take on August von Kotzebue, offering fresh insights into the dynamics of German theatre culture. In aphorism 170 of Human, All Too Human (1878), Nietzsche describes Kotzebue as the “true theatre talent of the Germans.” This provocative claim compels a re-evaluation of theatre as a cultural institution that values authenticity and popular engagement over idealised intellectualism. By reflecting on Nietzsche’s critique, we re-engage with enduring debates about the intersection of art, audience, and cultural values—a timely prompt for fresh perspectives in the year ahead.