The large-scale theatre exhibitions in Vienna (1892), Berlin (1910) and Magdeburg (1927) contained extensive displays on the history of German-language theatre. This article analyses the pedagogical and epistemological discussions about different ways of mediating theatre history that formed part of the context of the three exhibitions. Curators and scholars used the German term Anschauung to measure the transfer of knowledge in historical exhibitions, reconstruction models and historiography books. This article contributes to the recent scholarship on forms of exhibiting, collecting and archiving theatre, dance and performance. It shows that theatre became an area of focus within the culture of national and international large-scale exhibitions around 1900. This was accompanied by discussions about the appropriate medium to present the history of theatre. Informed by museum pedagogy and humanities hermeneutics, curators and scholars conceived of divergent concepts of theatre history Anschauung.

在维也纳（1892 年）、柏林（1910 年）和马格德堡（1927 年）举办的大型戏剧展览包含了有关德语戏剧历史的大量展览。本文分析了关于调解戏剧史的不同方式的教育学和认识论讨论，这些讨论构成了三个展览的背景。策展人和学者使用德语术语Anschauung衡量历史展览、重建模型和史学书籍中的知识转移。本文有助于最近关于展览、收集和归档戏剧、舞蹈和表演形式的学术研究。它表明，在 1900 年左右，戏剧成为国内和国际大型展览文化中的一个焦点领域。与此同时，还讨论了展示戏剧历史的适当媒介。受博物馆教育学和人文诠释学的启发，策展人和学者构想了戏剧史Anschauung的不同概念。