Contemporary Theater and Aesthetic Distance
Keyword(s):
In confuting Schlegel's ideas on the rôle of the chorus in Greek tragedy, Nietzsche said that he believed in an aesthetic audience and thought the single spectator to be the more capable, the more he was able to take the work of art as art, namely aesthetically. Some forty years thereafter modern drama felt called upon to awaken the spectator from his “illusionist period”—as if there had been any danger that, again in Nietzsche's words, the ideal spectator might rush onto the stage to free the God from his torment. Yet to prevent this once and for all seems to have been one of the foremost axioms of the Expressionist and kindred revolts of the first decade of this century.