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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.

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Kotzebue’s “Das Kind der Liebe” Returns to the London Stage

Kotzebue’s play from 1790 is returning to the London stage in a rare revival of its bold 1798 adaptation, “Lovers’ Vows” by Elizabeth Inchbald. Don’t miss this gripping tale of love, family, and social tensions, brought to life by the Historia Theatre Company at the Brockley Jack Theatre from 21 January to 1 February 2025.