Reichsstadt und Schauspiel
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Im Barockzeitalter zog nach Richard Alewyn ein bacchantischer Festzug durch Europa mit pompösen Theater- und Opernspektakeln im Schlepptau. Anders als weithin angenommen machte der Festzug allerdings nicht nur an den Höfen Station. Dies zeigt das erstmals dargestellte Beispiel der bislang unbekannten theatralen Kunst im Nürnberg des 17. Jahrhunderts, das die vorherrschende Auffassung von der fürstlich geprägten Theaterkultur im Barock korrigiert und demgegenüber den Blick auf die lebendige reichsstädtische Festkultur dieser Zeit richtet.
Im 17. Jahrhundert entwickelte sich im urbanen Raum eine Vielfalt theatralischer Präsentations- und Unterhaltungsformen, die im Rahmen eines paradigmatischen Aufrisses aufgezeigt werden: vom Ballett und Trauerspiel über Schuldramen, Haupt- und Staatsaktionen sowie Hanswurstiaden bis hin zu Festspielen und Opernspektakeln - wobei Nürnberg längere Zeit die heimliche Opernhauptstadt unter den Reichsstädten im Süden Deutschlands war. Vielfach getragen vom Mäzenatentum der Stadtobrigkeit und Gro kaufleute bildete die theatrale Kunst einen wesentlichen Faktor im öffentlichen Leben der Reichsstadt. Dies gilt sowohl für die Gastspiele der Wandertruppen, das Schultheater oder die Opernaufführungen zu festlichen Anlässen als auch für die (oft vernachlässigten) theatralen Kleinformen im Kreis geladener Gesellschaften. Beispiele aus all diesen Bereichen belegen, in welch hohem Ma e Theater als offizielle Gebrauchskunst für repräsentative und politische Zwecke instrumentalisiert wurde. Dies soll als Ansto und Beitrag zu einer Neubewertung der Reichsstädte als Zentren und Vermittler von Literatur, Musik und Theater im 17. Jahrhundert verstanden werden.
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