The theatre collection of Carl Niessen (1890–1969), professor of theatre studies in Cologne, contains a draft of a comprehensive research institution for theatre studies (Reichstheaterinstitut) from 1943. This draft consists of a blueprint of a museum of global theatre history and a written outline. In the blueprint, the objects and documents were presented in a sequential narrative so that visitors would be able to explore a global theatre history through the embodied practice of walking through a setting of interrelated theatre concepts. Drawing on Diana Taylor's distinction between the archive and the repertoire, I argue that, although never realized as planned, this blueprint conceptualized Niessen's ideas of how to think about, exhibit, present and experience theatre history through material traces, as an anthropological constant – a conditio humana varying in time and space.

中文翻译：

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在博物馆中上演全球戏剧史：卡尔·尼森和帝国剧院的草案（1943 年）

科隆戏剧研究教授卡尔·尼森（Carl Niessen，1890-1969 年）的戏剧收藏包含 1943 年的戏剧研究综合研究机构（Reichstheaterinstitut）的草稿。该草稿包括全球戏剧史博物馆的蓝图和书面大纲。在蓝图中，对象和文件以顺序叙述的形式呈现，以便参观者能够通过在相互关联的戏剧概念环境中穿行的具体实践来探索全球戏剧历史。借鉴戴安娜·泰勒对档案和剧目的区分，我认为，尽管从未按计划实现，但该蓝图将尼森关于如何通过物质痕迹思考、展示、呈现和体验戏剧历史的想法概念化，作为人类学常数——人道条件时间和空间上的变化。