«Meine Freunde, ihr, die ihr an dionysische Musik glaubt». Il dramma come rituale di comunità in Nietzsche e Georg Fuchs

Georg Fuchs’ activity is to be contextualized within the anti-natural- istic theatrical reform advocated by theater makers between the end of the 19th and the beginning of the 20th century. In Munich, one of the capitals of ‘Klassische Moderne’, Fuchs brought on a renewed notion of theater, which would eventually break the pedagogical as- sumptions in which German theatre had been grounded since the 18th century. By following Max Littmann’s project, Fuchs conceived his ‘Künstlertheater’ as a multi-sensorial and collective experience for his audience, which would channel the primordial energy re- leased through the rhythm of the actors’ movements. The idea of a theatre freed from the domination of verbal components and ani- mated by the celebration of parareligious rituals is clearly close to the tragic that Nietzsche theorized in the Geburt der Tragödie.