Abstract This paper argues that Schiller’s theater develops a political semiosis organized around operations of indexicality, understood as the attempt to trace a figure back to its invisible conditions of genesis. This notion of indexicality linking visible form to invisible origin is developed in the Kallias-Briefe in reflections on technical form (technische Form) and acquires a distinctively political character in theatrical representation. A tension emerges in the manner in which Schiller’s theater translates agonistic fields of invisibility (instinct and reason, cosmos and character, purposiveness and chaos, necessity and possibility) into visible signs. On the one hand, Schiller’s theater exposes diffuse forms of power that cannot be traced back to a sovereign instance (as is the case with Elisabeth in Maria Stuart) and seeks to reactivate in spectators an indexical capacity that links political agency to its conditions of genesis in a character. On the other hand, Schillerian theater makes the character of the dramatic figure into a zone of inconsistency through which political possibilities are generated and foreclosed. In Schiller’s Die Jungfrau von Orelans and Wilhelm Tell, for example, the character of the hero disrupts the concentration of normativity in the body of the king or the collective democratic body respectively, thereby investing the dramatic figure with a power of deviation. This tension in the simultaneous repairing and disrupting of politically inflected forms of indexicality is woven through Schiller’s theater and is generative of the radiant power of its dramatic figures. These figures can never be completely extracted from the exterior force of law or from the power of the norm—whence their restorative force. Nor do such figures harmonize perfectly with the instantiation of law and norm—whence their emancipatory force.

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隐身性与索引性：对席勒戏剧美学与政治的反思

摘要 本文认为席勒的戏剧发展出一种围绕索引性操作组织起来的政治符号，被理解为试图将一个人物追溯到其不可见的起源条件。这种将可见形式与不可见起源联系起来的索引性概念在 Kallias-Briefe 中发展为对技术形式（technische Form）的反思，并在戏剧表现中获得了独特的政治特征。席勒的戏剧将不可见的斗争领域（本能和理性、宇宙和性格、目的性和混乱、必然性和可能性）转化为可见的符号，这种方式产生了一种张力。一方面，席勒的戏剧揭示了无法追溯到主权实例的分散形式的权力（就像玛丽亚·斯图亚特的伊丽莎白的情况一样），并试图在观众中重新激活一种索引能力，将政治能动性与其角色的起源条件联系起来。另一方面，席勒戏剧使戏剧人物的性格成为一个不一致的区域，通过这个区域产生和排除政治可能性。例如在席勒的《少女峰》和威廉·泰尔中，英雄的性格分别打乱了国王身体或集体民主身体中规范性的集中，从而赋予了戏剧人物一种偏离的力量。这种同时修复和破坏政治上受到影响的索引形式的张力在席勒的戏剧中交织在一起，并产生了其戏剧人物的光芒四射的力量。这些数字永远无法完全脱离法律的外在力量或规范的力量——它们的恢复力也正是由此而来。这些人物也不能与法律和规范的实例化完美协调——他们的解放力量由此而来。