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Conspiracy and Narrative Masquerade in Schiller, Zschokke, Lewis and Hoffmann
Victor Sage

This essay brings together the popularity of Venice in the late eighteenth and early nineteenth century as a setting for horror, terror and fantasy, and the narrative conventions of the Gothic. Focusing on Schiller, Zschokke, Lewis and Hoffmann, the article studies the representation of Venice as a Gothic labyrinth, in the context of the city‘s changing reputation as a political structure. ‘Venice’ is treated as a common set of signs which overlap between the literary field and the field of cultural politics: ‘plots’ are both political conspiracies and (carnivalised: doubled and disguised) narrative forms. All is given over to the dynamics of masquerade. The topography of the Venetian Republic is itself a political text, which carnivalises the ‘separation of powers’, while the texts of the Gothic writers are narrative masquerades which choose popular hybrid forms of comedy, folktale and horror, rather than Tragedy or Realism, to respond to Venice‘s tension between law and anarchy and the conflicting pressures of Enlightenment, Republicanism and Empire.

Gothic Studies
The thinking of Regie

This book is dedicated to a conceptual exploration of the thinking of Regie: of how to think about theatre direction, and how Regietheater thinks itself. The focus is on what directing does, and what directing can do, tapping into and realising the potential of what theatre does and may do. Part I of the book outlines the social, ideological, political, cultural and aesthetic contexts of Regie, and some of its core intellectual and conceptual roots, by circumventing some standard reference points. Philosophical ideas and concepts of situating Regie within the Rancièrian 'aesthetic regime of art' and its specific 'partition of the sensible' are explained. The book specifically links Regie to Georg Hegel's influential thought, maintaining that Regie expresses a cultural dynamic of making sense and making sensible. The book presents the respective positions of Friedrich Schiller and Leopold Jessner, symptomatically capturing central trajectories of thinking the conceptual space of Regie, both mobilising the speculative dynamics of theatral thinking. Part II of the book explores the contested notion of 'the truth of the text', and the dialectic sublation of the play-text in play-performance. It looks at the mediation which the double-edged act of thea affords, with its emphasis on both performing and spectating, marked by the Žižekian notion of the 'parallax perspective'. The overarching political potential inherent in Regie and the very formal structure of theatre offer a playfully excessive resistance to the dominant logic of economy, efficiency, sustainability and austerity which defines present-day global neoliberal semiocapitalism.

Friedrich Schiller and the liberty of play
Peter M. Boenisch

3 Theatre as dialectic institution: Friedrich Schiller and the liberty of play We have started exploring how Regie reveals through scenes and senses a historically situated ‘style of thinking’, associated with the post-Kantian, post-1789 Western European ‘aesthetic regime of art’. No longer serving the functional semiotic economy of representation, it uses the three theatral ‘sensibles’ of kinesis, aisthesis and semiosis to insist on a subjective, affective intelligibility and sensibility. Already in 1803, we find a detailed outline by none other than German

in Directing scenes and senses
British romantic drama and the Gothic treacheries of Coleridge’s Remorse
Peter Mortensen

explore this play by focusing on Coleridge’s response to, and assimilation of, the best-known and most controversial foreign text that ever found its way into Romantic England: Friedrich Schiller’s early Sturm und Drang masterpiece Die Räuber (1780). In so doing, I wish to speculate on the significance which European pre-revolutionary and revolutionary drama acquired during the restive years of

in European Gothic
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The future of Regie?
Peter M. Boenisch

utopia, similar to Schiller’s intervention through his chorus and his utopia of human play and liberty. Instead of clarifying, illustrating and ascertaining unambiguous clear meaning and rather than suggesting the immediate availability of everything as commodity, the play of Regie problematises any such uniform clarity. It throws doubt on comfortable truths and accepted givens, and thereby confronts performers, theatre-makers and the spectating public alike with difficulties, with risk and with responsibilities – with the very ‘carnival of thinking’ that unsettles the

in Directing scenes and senses
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The rise of the psychic detective
Neil Cornwell

– himself to be considered ‘an authorial proto-detective’ (Worthington, 2005, 27). 3 Logical, or artful, deduction is in any case one thing – with the birth of the amateur sleuth leading to Sherlock Holmes and to the gamut of twentieth-century police detectives and private eyes. 4 Psychic detection, however, is something rather different. Certain pointers in this direction are to be found, even before Hoffmann, within European Gothic, in Schiller’s unfinished novel The Ghost-seer (Der Geisterseher , 1798). A Swedenborgian type of paranormal

in Odoevsky’s four pathways into modern fiction
Directing the ‘sensible’
Peter M. Boenisch

Winds, he was ‘the first Regisseur in our sense of the term’ (Winds 1925, 65). At their Weimar theatre, both Goethe and Schiller took the classical plays they produced in a vigorously updated, contemporary direction. Not least, they made Shakespeare – the most central cultural icon for their generation in its trajectory from the radical Sturm und Drang of the 1770s into the classical period of the early nineteenth century – fit for the Weimar stage. In his well-known reflections ‘Shakespeare and no End’, Goethe argued against the ‘time-worn and unreasonable remark

in Directing scenes and senses
Mandy Merck

in the cascade of images with which her life culminated, watched repeatedly on television, pursued to her death by the paparazzi and memorialised by her photographs on thousands of mourners’ placards. The medial frame, it is suggested, has been usurped by the Queen’s rival, her former daughter-in-law. In the tradition of Friedrich Schiller’s 1800 play Mary Stuart (whose sympathetic treatment of

in The British monarchy on screen
Imagination, originality, terror
E.J. Clery and Robert Miles

have also been prevailed upon, though with extreme reluctance, to suffer my name to appear in the title-page; and I do now, with the utmost respect and diffidence, submit the whole to the candour of the Public. 3.10 Henry Mackenzie (1745–1831), ‘Account of the German theatre’ (1790) Die Räuber (1781) by Johann Christoph Friedrich von Schiller, was one of the key texts to

in Gothic documents
Howard Caygill

experience of sensible perfection of the beautiful. Nevertheless, Baumgarten introduced rational ascesis into modern aesthetics through the notion of the education of sensibility, a tendency advanced by Schiller in his Aesthetic Education. The modern subordination of the aesthetic to the ascetic in terms of a stage in the progression from sensibility to reason contrasts with the Alexandrian view of it as the site of a complex processional movement combining progressive and recessive tendencies. For the latter, the movement between the sensible and the ideal is not an

in The new aestheticism