The role of women artists in the theatre reform of the early twentieth century is usually underestimated. This paper strives to reassess the agency of a female performer (Gertrud Eysoldt) in this process, concentrating on the premiere production of Elektra by Hugo von Hofmannsthal (1903, Kleines Theater, Berlin). Hofmannsthal wrote his version of Elektra not only for Max Reinhardt’s company (which he considered to be a new kind of theatre) but also specifically for Eysoldt, and this article focuses on the communication between them. The main sources for this research are texts written by the actress: her article for a newspaper and her letters to Hofmannsthal (published in 1996) and Hermann Bahr (unpublished, Austrian Theatre Museum, Vienna). These texts are analysed more from the perspective of their poetics than from the perspective of the facts they convey. Eysoldt’s autobiographical writings reveal an unexpected facet of the 'Dionysism' that may have attracted Hofmannsthal. Finally, a question is raised about the meaning of the shift that Hofmannsthal made by offering the performer a rewriting of a foundational myth of patriarchal culture.

中文翻译：

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Elektra来自更低的深度？

通常低估了女艺人在二十世纪初的剧院改革中的作用。本文致力于重新评估女性演员（Gertrud Eysoldt）在此过程中的代理机构，着重于Hugo von Hofmannsthal（1903年，柏林克莱因剧院）的《Elektra》首演。霍夫曼斯塔尔（Hofmannsthal）写了他的《埃莱克特拉》不仅是针对Max Reinhardt的公司（他认为这是一种新型的剧院），而且还专门针对了Eysoldt，本文重点介绍了它们之间的沟通。这项研究的主要来源是这位女演员撰写的文章：她在一家报纸上的文章以及给霍夫曼斯塔尔（Hofmannsthal，1996年出版）和赫尔曼·巴尔（Hermann Bahr，未出版，维也纳奥地利剧院博物馆，未出版）的来信。这些文本更多是从诗学的角度进行分析，而不是从所传达的事实的角度进行分析。伊索尔特的自传著作揭示了“酒神主义”的一个意想不到的方面，它可能吸引了霍夫曼斯塔尔。最后，有人提出了一个问题，即霍夫曼施塔尔通过向表演者重写父权制文化的基本神话而做出的转变的意义。