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Verschlagwortet: Theater

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Verkleidet zurück: Odysseus und die Wiederkehr des Mythos bei Kotzebue

What happens when a long-lost husband steps out of the shadows—at a masked ball? In “Die Masken” (1813), August von Kotzebue transforms Homer’s Odysseus into a colonial returnee and places Penelope among the suitors once more. This blog post “Masked Returns and Mythical Echoes: Odysseus Reimagined “ explores Kotzebue’s rich and ironic reworkings of the homecoming motif, tracing explicit references to Penelope across his plays and prose. From theatrical disguises to literary homage, Kotzebue invites us to reencounter ancient myth in the domestic dramas of modernity.

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Das Heimkehrmotiv in Kotzebues Einaktern: Struktur und Bedeutung eines wiederkehrenden Themas

In this guest contribution, offered as a virtual gift for the Picnic, Dîlan Canan Çakir (Berlin) examines how Kotzebue skillfully weaves the motif of homecoming into his plays—not merely as a plot device, but as a reflection of social and cultural tensions. Drawing on research from the digital one-act play database (1740–1850), she reveals how this theme runs through Kotzebue’s work, shaping emotional intensity and driving dramatic resolutions. From heartfelt reunions to unexpected turns, discover how Kotzebue’s one-acts harness the theme of homecoming to ignite conflict, evoke emotion, and ultimately restore harmony—all within the tight, fast-moving world of the one-act play.

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Virtuelles Kotzebue-Picknick und Workshop: Heimkehr

For the first time, the Kotzebue Picnic will take place in the birthplace of the writer himself, focusing on the rich and complex theme of homecoming. The event will highlight literary, cultural, and performative perspectives, reflecting Kotzebue’s own ambivalent relationship with returning home – at once ironic, emotional, and socially charged. An international and interdisciplinary programme invites you to rediscover biographical moments, literary characters, and cultural ties through a fresh lens. Join us for an inspiring event where literature, history, and society come together for a truly engaging experience. Don’t miss this chance to explore the many layers of homecoming.

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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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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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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.