Hamburgische Entreprise
The Hamburg Entreprise ( hamburgers or hamburger Entreprise National Theatre) is the first attempt of a German National Theatre in the years 1767-1769.
History
An example was the Danish National Theatre, founded by Ludvig Holberg in 1748 (Det Kongelige Teater ) in Copenhagen. Holberg had transported together with other authors such as Johann Elias Schlegel, a bourgeois of the court theater.
The Hamburg Entreprise was founded by Johann Friedrich lion, who was also a theater director. Important stake in the company was the famous actor Konrad Ekhof. The sponsorship was private, hence the name Entreprise (French: "Company"). The theater was not led by wealthy citizens, by the nobility. Twelve merchants formed a consortium and the main financial supporters was Abel Seyler. As the house Ackermannsche Comödiantenhaus served at the site of the formerly famous opera at the goose market, in which the actor played by Konrad Ernst Ackermann society. Gotthold Ephraim Lessing was employed as a dramaturge. In Sophie Friederike Hensel shone tragic roles. For financial reasons, the project failed after two seasons. The house was taken over by Abel Seyler, in Mannheim, the program of the " National Theatre " also introduced later.
Effect
About the meaning is usually the following to read: The Hamburg Entreprise carried a literarisation of the German drama, an emancipation from its mainly French models, as well as of the Italian opera. Singing and dancing on stage were pushed back. The touring companies that dominated the theater of life, a " permanent theater " made a model, and the splintered by petty German-speaking language and culture was presented as a unifying bond. The educated classes could be different with these similarities between the competing interests of the nobility. - Duke Eugen of Württemberg car behaved on stage at the Palace Theatre in Ludwigsburg at the same time even as the Sun King.
The reality was, however, different: Of course, dominated translations of French plays of Voltaire, Marivaux, Jean -François Regnard, Philippe Quinault in Hamburg the Schedule and the ballet, pantomime and the " operetta" were not abolished, although Lessing conceals, but often given the same evening with his own tragedies. Lessing wrote in connection with the performances of his pioneering Hamburg Dramaturgy.
However, the idea had a lasting effect. In Vienna, the Burgtheater from 1776 called " Teutsches National Theatre ". The Mannheim theater was called "national stage " from 1777. These theaters were still at aristocratic hand. Only in the 19th century, the idea of the National Theatre was given a political weight in the context of pan-Germanism. The rivalry with France and nationalism since the unification in 1871 gave the term a conflicting culture combative importance.