Võitlus ja väitlus teatri üle Eesti- ja Liivimaal 18. sajandi lõpus ja 19. sajandi alguses
Kuupäev
2020-02-10
Autorid
Ajakirja pealkiri
Ajakirja ISSN
Köite pealkiri
Kirjastaja
Abstrakt
Teatriga on alati käinud kaasas vastuseis teatrile ja nii on iga teatrilugu mingil määral ka lugu teatrivastasusest. Eesti teatriloos on vastasuse initsiaatoriks peetud enesestmõistetavalt kristlikku kirikut. Teatriharrastuse levikut ja püsiteatrite rajamist Eesti- ja Liivimaal 18. sajandi lõpus esitatakse otsese tagajärjena kiriku mõju vähenemisele ühiskonnas. Siinne ainus korralik teatrivaenulikkuse juhtum aga pole kirikuga seostatav. Nimelt oli keiser Paul I millalgil enne 1801. aastat keelanud teatrite rajamise Vene impeeriumi ülikoolilinnades. Keeld jõustuski, aga üksnes Tartus, kestes aastani 1867. Seda toetasid tuntud valgustajad ja liberaalid, ülikooli kuraator Friedrich Maximilian Klinger ja rektor Georg Friedrich Parrot. Eesti ajalookirjutuses on lokaalse sündmusena uuritud Tartu teatrikeeld jäänud mõistatuseks. Doktoritöös vaadati Tartu sündmusi laiemal intellektuaalajaloolisel taustal, eesmärgiga selgitada, milliseid probleeme Eesti- ja Liivimaal sel ajal teatriga seostati. Hermeneutilisel meetodil vaadeldi kolmes linnas koostatud tekste, milles kaalutakse argumente teatri poolt ja vastu. Riias 1782. a rajatud linnateatrist kirjutas toomkooli rektor Karl Philipp Michael Snell (1785), Tallinnas 1784. a rajatud seltskonnateatrist August von Kotzebue (1786 ja 1788), Tartu sündmusi kajastavad ülikooli ja rae dokumendid (1804-1812). Töö tulemusel saab öelda, et kuigi teatrivastasus on universaalne nähtus, avaldub see konkreetsetes oludes kompleksse nähtusena, mida ei saa taandada mõnele üksikule tegurile. Üllatuslikult kerkis Riia ja Tallinna tekstidest varjatud kujul välja eestlaste-lätlaste pärisorjuse teema, võimaldades teatrivastasust siduda valgustatud ühiskonnakriitikaga. Võrreldes aga Tartu sündmusi sellega, mis toimus samal ajal Vene ja Saksa ülikoolilinnades, tuli välja, et Tartu teatrikeeld on tunduvalt vähem seotud vene bürokraatiaga, kui saksa 18. sajandi kõige edumeelsemate arusaamadega ülikooli ja hariduse olemusest ja eesmärgist
Theatre has always been accompanied by opposition to theater, and every story about theater is to some extent a story about hostility to theater. In the history of Estonian theater, the protagonist of such hostility has been seen as the Christian church. Indeed, the spread of theater in Estonia and Livonia at the end of the 18th century has been seen as a direct consequence of a decline of the church’s influence in society. At the same time, the only fully-fledged incident of hostility toward theatre can not be linked to the church. Czar Paul I banned the creation of theaters in the university cities of the Russian Empire. This ban came into force only in Tartu, holding sway until 1867. It was supported by noted enlighteners and liberals such as the university curator Friedrich Maximilian Klinger and University Rector Georg Friedrich Parrot. This thesis examines the events in Tartu from a broader perspective of intellectual history with a view to explaining, what problems were associated with theater in Estonia and Livonia during this time. Using hermeneutic method, texts arguing in favor and against theater were examined from three cities. In 1785, the rector of the Riga Cathedral School Karl Philipp Michael Snell wrote about that city’s theater. In 1786 and 1788 August von Kotzebue defended the Tallinn’s amateur theater. And in Tartu events are covered by a range of university and city documents from 1804 to 1812. After reviewing these materials, one can say that hostility to theatre is a complex fenomenon which cannot be ascribed to any single factor. Eg. the issue of Estonian and Latvian serfdom arose indirectly in the Tallinn and Riga texts, allowing a link to be drawn between hostility toward theater and enlightened social critique. When comparing the events in Tartu to what was transpiring at the same time in Russian and German university cities, it became apparent that Tartu’s ban on theater was well linked to the most progressive 18th-century German views.
Theatre has always been accompanied by opposition to theater, and every story about theater is to some extent a story about hostility to theater. In the history of Estonian theater, the protagonist of such hostility has been seen as the Christian church. Indeed, the spread of theater in Estonia and Livonia at the end of the 18th century has been seen as a direct consequence of a decline of the church’s influence in society. At the same time, the only fully-fledged incident of hostility toward theatre can not be linked to the church. Czar Paul I banned the creation of theaters in the university cities of the Russian Empire. This ban came into force only in Tartu, holding sway until 1867. It was supported by noted enlighteners and liberals such as the university curator Friedrich Maximilian Klinger and University Rector Georg Friedrich Parrot. This thesis examines the events in Tartu from a broader perspective of intellectual history with a view to explaining, what problems were associated with theater in Estonia and Livonia during this time. Using hermeneutic method, texts arguing in favor and against theater were examined from three cities. In 1785, the rector of the Riga Cathedral School Karl Philipp Michael Snell wrote about that city’s theater. In 1786 and 1788 August von Kotzebue defended the Tallinn’s amateur theater. And in Tartu events are covered by a range of university and city documents from 1804 to 1812. After reviewing these materials, one can say that hostility to theatre is a complex fenomenon which cannot be ascribed to any single factor. Eg. the issue of Estonian and Latvian serfdom arose indirectly in the Tallinn and Riga texts, allowing a link to be drawn between hostility toward theater and enlightened social critique. When comparing the events in Tartu to what was transpiring at the same time in Russian and German university cities, it became apparent that Tartu’s ban on theater was well linked to the most progressive 18th-century German views.
Kirjeldus
Märksõnad
Estonia, Livonia, Tartu, theatre, impacts, prohibition, theatre policy, religious aspects, Lutheranism, Pietism, end of the 18th century, beginning of the 19th century, history of theatre, history of ideas