Abstract Heinrich von Kleist’s conception of the marionette, as articulated in his renowned essay “The Puppet Theatre,” remains provocative today. With the marionette, I argue, Kleist drafts for the actor a theoretical model informed by grace. In Kleist’s reconsideration of the process of performing, dance plays a significant part. Dance also leaves significant traces in Kleist’s plays, particularly Penthesilea and Katie of Heilbronn, two complementary examples, I posit, in which performatic dramaturgy “choreographs” the marionette’s behavior. Working across theater and dance, and mingling theory and practice, Kleist anticipates a contemporary vision of intermedial creation.

中文翻译：

---

海因里希·冯·克莱斯特的牵线木偶：舞蹈模特

摘要 海因里希·冯·克莱斯特 (Heinrich von Kleist) 对牵线木偶的构想，正如在他著名的文章“木偶剧院”中所阐述的，今天仍然具有挑衅性。我认为，与牵线木偶一起，克莱斯特为演员起草了一个由恩典告知的理论模型。在克莱斯特对表演过程的重新思考中，舞蹈起着重要的作用。舞蹈也在克莱斯特的戏剧中留下了重要的痕迹，特别是海尔布隆的彭忒西勒亚和凯蒂，我推测这两个互补的例子，其中表演戏剧“编排”了牵线木偶的行为。跨戏剧和舞蹈工作，融合理论和实践，克莱斯特预见了一种当代的中介创作愿景。