Early twentieth-century avant-garde theatre has been mainly interpreted within the cultural frames of aesthetic revolution and social transformation. Its experimental scope, however, also draws upon archaic traditions. Exemplary in this regard are parallels drawn between Expressionist theater's ecstatic and ritualistic performance style and ancient Greek theatre. However, the contribution of Expressionist artists to the reception of antiquity is still in need of further investigation. Therefore, this article addresses the concepts of sight, (in-)visibility, and visual perception in Oskar Kokoschka's (1886-1980) play Orpheus und Eurydike (1918), with particular regard to (classical) reception as an act of 'looking back' and of 're-visioning'. I connect Kokoschka's theatre's 'visual scope' to its dramatic text by appealing to reception studies, since a major theme in the ancient Orpheus myth is the notion of the transgressive gaze and (visual) curiosity. I argue that the Austrian artist, whose thoughts on vision and sight are centralized in Orpheus und Eurydike, thus develops a poetics of artistic self-awareness and - transformation which enables the artist and 'receiver' to revise the (or their own) past and to actively construct the future. In this way, I want to demonstrate that Expressionist theatre's artistic search for renewal hinges on its profound engagement with 'traditional', ancient material.

中文翻译：

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回顾过去：作为创意 Sparagmos 接待。Oskar Kokoschka 的 Orpheus 和 Eurydike 修订

二十世纪初期的前卫戏剧主要是在审美革命和社会转型的文化框架内进行阐释的。然而，它的实验范围也借鉴了古老的传统。在这方面，表现主义戏剧的欣喜若狂和仪式化的表演风格与古希腊戏剧之间的相似之处堪称典范。然而，表现主义艺术家对古代接受的贡献仍有待进一步研究。因此，本文讨论了 Oskar Kokoschka (1886-1980) 的戏剧 Orpheus und Eurydike (1918) 中的视觉、（in-）可见性和视觉感知的概念，特别是将（古典）接受视为一种“回顾'和'重新展望'。我连接 Kokoschka 剧院的“视觉范围” 通过吸引接受研究来了解其戏剧性的文本，因为古代俄耳甫斯神话中的一个主要主题是越界凝视和（视觉）好奇心的概念。我认为奥地利艺术家的视觉和视觉思想集中在 Orpheus und Eurydike，因此发展了一种艺术自我意识和转变的诗学，使艺术家和“接受者”能够修正（或他们自己的）过去和积极建设未来。通过这种方式，我想证明表现主义剧院对更新的艺术探索取决于它对“传统”、古老材料的深刻参与。其视觉和视觉的思想集中在Orpheus und Eurydike，从而发展了一种艺术自我意识和转变的诗学，使艺术家和“接受者”能够修正（或他们自己的）过去并积极构建未来。通过这种方式，我想证明表现主义剧院对更新的艺术探索取决于它对“传统”、古老材料的深刻参与。其视觉和视觉的思想集中在Orpheus und Eurydike，从而发展了一种艺术自我意识和转变的诗学，使艺术家和“接受者”能够修正（或他们自己的）过去并积极构建未来。通过这种方式，我想证明表现主义剧院对更新的艺术探索取决于它对“传统”、古老材料的深刻参与。