Shakespeare Inszeniert: Das Westdeutsche Regietheater Und Die Theatertradition Des >Dritten Deutschen Klassikers
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Als sich 1990 der Vorhang über Heiner Müllers Berliner Inszenierung Hamlet/Maschine senkte, entdeckte die Kritik in Hamlet den Idealisten des Bürger-Forums, der den Ausverkauf der DDR an den Kapitalisten Fortinbras (= BRD) nicht verhinderte. Politischer schien kein Zeitstück - aktuell in einem brisanten Moment deutscher Geschichte war wieder einmal der 'dritte deutsche Klassiker' Shakespeare. Seine Bühnekarriere untersucht diese Studie mit einer Methode, die Hermeneutik und Semiotik zu verbinden sucht: von den Anfängen über die Shakespeare-Kritik im 19. Jahrhundert (Hegel), das Theater der Weimarer Republik (Jessner, Reinhardt), die nationalsozialistische Shakespeare-Idolatrie, das Theater der 50er Jahre bis hin zur Gegenwart. Im Zentrum steht das Regietheater mit Inszenierungen von Grüber, Palitzsch über Tabori bis Zadek. Als Institution des 'Klassikermords' diskriminiert, wird sein Stellenwert für die Shakespeare-Rezeption erörtert. Da eine Bühnengeschichte zugleich Partialgeschichte des deutschen Theaters ist, wundert angesichts von Shakespeares Spitzenstellung im Spielplan nicht. Leitfaden der Untersuchung sind zwei Aspekte: Welche Funktion spielt die 'Klassiker'-Zuschreibung, die beschrieben und erörtert wird, für die ideologische, ästhetische Shakespeare-Rezeption? Wie vereinbarte sich der nationale, 'völkische' Shakespeare der Reichsgründung und des Dritten Reichs mit dem 'Klassiker'-Status, der doch gerade die humane Utopie abseits politischer Abgrenzung verfolgte? Liegt der Widerspruch im 'Klassiker'-Status selbst? Mit Shakespeare inszeniert das Theater Identitätsgeschichten. Welche Chancen gibt das Theater noch Shakespeare-Protagonisten, die im Nationalsozialismus als Führer schlechthin, in den 90er Jahren, im Zeitalter der Posthistoire, vom Verschwinden bedroht sind? Die Inszenierungsanalysen gelten markanten Inszenierungen von Hamlet , Coriolan , Ma für Ma , Richard III .
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