Dramen Des Weiblichen: Deutsche Dramatikerinnen Um 1800
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Frauen schreiben keine Dramen. Sie neigen hochstens zu dramatischen Empfindungen. Dies ist ein allgemeiner Topos, der Drama und weibli- ches Geschlecht als unfiberwindbare Gegensatze festlegt. Wenn im Zusammenhang mit Frauen der Begriff "dramatisch" be- nutzt wird, ist zumeist gemeint, daB die Frau ein Drama vorspielt, daB sie sich verstellt, daB sie mimt. Es kann aber auch bedeuten, daB ihr Leben dramatisch verlauft, sie ein besonders schweres und trauriges Schicksal hat. Neben diesen umgangssprachlichen und allgemeinen Va- rianten ist die Koppelung von Frau und Drama aber auch an gro8e theaterwirksame Gestalten gebunden. 1m Theater treten die Frauen als dramatis personae auf und spielen u. a. die Rolle der Iphigenie, der Ophelia, der Emilia. Sowohl in dieser umgangssprachlichen als auch in der ihr zugeschriebenen Theaterrolle bleibt die Frau eine 'fremdbe- stimmte' Akteurin, sie entwirft sich nicht selbst. Autorinnen, die seIber Dramen verfaBt haben, treten so gut wie nie in Erscheinung, wei! davon ausgegangen wird, daB Frauen keine Dramen schreiben konnen. Dieses allgemeine Verstandnis, das die Gattung des Dramas dem weiblichen Geschlecht entgegenstellt, findet u. a. bei Georg Simmel, Marieluise Flelier, aber auch in der Literaturgeschichtsschreibung sei- nen Ausdruck. So schreibt Simmel1911 fiber den Zusammenhang von dramatischer Gattung und weiblichem Geschlecht: . . . daB die Frau zwar dem Manne, der sozusagen der geschlossene Grenzen- Durchbrecher ist, gegenuber als das geschlossene, von strenger Grenze umzirkte Wesen erscheint -aber mit ihren kiinstIerischen Leistungen gerade da versagt, wo die strenge Geschlossenheit der Form pravaliert: im Drama, in der musi- 1 kalischen Komposition, in der Architektur.
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