Misplaced Pages

Ständeklausel

Article snapshot taken from Wikipedia with creative commons attribution-sharealike license. Give it a read and then ask your questions in the chat. We can research this topic together.
You can help expand this article with text translated from the corresponding article in German. (September 2010) Click for important translation instructions.
  • View a machine-translated version of the German article.
  • Machine translation, like DeepL or Google Translate, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Misplaced Pages.
  • Consider adding a topic to this template: there are already 2,073 articles in the main category, and specifying|topic= will aid in categorization.
  • Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.
  • You must provide copyright attribution in the edit summary accompanying your translation by providing an interlanguage link to the source of your translation. A model attribution edit summary is Content in this edit is translated from the existing German Misplaced Pages article at ]; see its history for attribution.
  • You may also add the template {{Translated|de|Ständeklausel}} to the talk page.
  • For more guidance, see Misplaced Pages:Translation.
This article does not cite any sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed.
Find sources: "Ständeklausel" – news · newspapers · books · scholar · JSTOR (October 2023) (Learn how and when to remove this message)

The Ständeklausel (estates-clause) was a principle in poetic theatre, by which attempts were made to transfer the principles of Classicist French drama into German theatre. It is often connected with Johann Christoph Gottsched. It stated that only kings, princes and other people of high rank were to be shown in tragedies and that those of the middle classes could only be shown onstage in comedies. It also demarcated audiences in theatre concessions granted by ancien regime princes - only theatres in courts were allowed to put on tragedies (including ballets and serious operas), while the rapidly proliferating Volkstheaters were only allowed to put on comedies, including comic operas and pantomimes. It was broken by the onset of Bourgeois tragedy such as Love and Intrigue.

Categories: