Hamburgische Dramaturgie

The Hamburg Dramaturgy is a arisen 1767-1769 work of Gotthold Ephraim Lessing about the drama. It is not designed as a single, organized book, but as a series of theater reviews, Lessing wrote as a dramaturge of the German National Theater in Hamburg, where he saw the need to break new ground in the performance of dramas.

In addition to explanations of current pieces, which are today rather only of historical interest, the Hamburg Dramaturgy, therefore, is primarily characterized by their basic considerations of poetics, more precisely to dramatic theory of great importance. Until Lessing times into attention turned to the literary theorist in the field of drama compliance with the formal rules, in particular the three units, namely the unity of action, place and time. This was characteristic of the Baroque theater which was characteristic of the age of absolutism, and reflects the strict classification system. The (usually aristocratic ) audience were often paraded on stage main and state actions, with the dramas heroes often distinguished by large virtues or vices of princes and martyrs of their opponent.

In the Hamburg Dramaturgy now Lessing provides as a condition, appealing to Aristotle, that the first effect of the tragedy on the spectator must be the pity. It therefore goes against the previous dramas poetics that, also taking Aristotle claim for themselves, emphasizing the fear as a significant effect in addition to the pity. Lessing explains that they had Aristotle misunderstood the " phobos " of Aristotle, who am called by the previous dramas theorists " terror " had, in truth as compassionate afraid of what is happening on the stage, could also happen to you even be interpreted. Thus, the concept of fear is inseparable from that of compassion (s) is s ( eleos ) connected.

Thus, these ideas are the core of what is called the Enlightenment catharsis theory of drama: Through the compassion should go right to the make him virtuous in the audience for a conversion. Thus arises the need for him that the hero of the drama " of the same shot and beads " ( 75 pieces) should be like the viewers. This applies especially in the representation of the monarch: "If we have compassion for kings, so we did it with them than with people, and not as with kings " ( 14 pieces) - quite a revolutionary idea at that time.

Aristotle serve him for the rest not so as a role model, because he enjoyed a high reputation, but because his theory building is rational; an attitude that corresponds to the age of enlightenment. The decisive factor is the uniformity according to Lessing, naturalness and probability of the action. Intricate episodes and novelistic twists, as she knew the Baroque theater, he refused therefore.

Lessing's interpretation of Aristotle's theory of drama led to a fruitful change in the design of stage plays. Increasingly taking the place of opulent spectacles with noble characters and glaring character roles were bourgeois pieces in which the viewer could find easier; the bourgeois drama replaced the Baroque drama.

To address his publisher Engelhard Benjamin Schwickert and the resulting changes in the second edition, see there.

Expenditure

• Gotthold Ephraim Lessing: Hamburg Dramaturgy. Vol 1 Cramer, Hamburg and Bremen 1767th ( digitized and full text in German Text Archive )
• Gotthold Ephraim Lessing: Hamburg Dramaturgy. Vol 2 Cramer, Hamburg and Bremen in 1769. ( Digitized and full text in German Text Archive )