Abstract This article examines the modernist medievalism of Georg Kaiser’s From Morning to Midnight (Von morgens bis mitternachts), discussing the influence of the morality play genre on its form. The characterization and action in Kaiser’s play mirrors and evokes that of morality plays influenced by and including the late-medieval Dutch play Elckerlijc and its English translation as Everyman, in particular Hugo von Hofmannsthal’s Jedermann, first produced in Berlin in 1911. The medievalism of Kaiser’s play is particularly evident when it is compared to Karl Heinz Martin’s film version of the text, produced in 1920. The play’s allegory and message, though contemporary, are less specifically historically contextual than the film’s, while its central protagonist is more representative of generic capitalist subjectivity. The detective film shapes Martin’s adaptation, obscuring the morality play conventions and therefore medievalism of Kaiser’s earlier text.

中文翻译：

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现代主义中世纪主义和表现主义道德戏剧：乔治·凯泽的《从早到午夜》

摘要本文考察了乔治·凯泽（Georg Kaiser）的《从早晨到午夜》（Von morgens bis mitternachts）的现代主义中世纪主义，讨论了道德游戏类型对其形式的影响。凯撒戏剧的特征和动作反映了受中世纪荷兰戏剧Elckerlijc影响且包括其影响的道德戏剧，以及其英语翻译为《 Everyman》，尤其是雨果·冯·霍夫曼施塔尔的《杰德曼》，该电影于1911年在柏林首次制作。将该剧本与1920年创作的卡尔·亨氏·马丁的电影版本进行比较时，尤其明显。该剧的寓言和信息尽管具有当代意义，但在历史背景上却比该电影更不具体，而其中心主角则更能代表一般资本家。主观性。