Abstract
Humanist circles laid the groundwork for the theatrical life in sixteenth-century Strasbourg. Their didactic aims, as illustrated by Sebastian Brant (The Play of Virtue, 1512), served a Christian vision of society.After some rear guard actions fought by the ecclesiastical Convent, the foundation of the Gymnasium (1538) by Jean Sturm led to a unique synthesis of a higher learning establishment, a town and Lutheran thought, embodied in awe-inspiring outdoor theatre performances. Once the free imperial city was seized in 1681 and turned into a French garrison town, the situation changed radically.The development of a generously endowed French theatre in the following decades occurred simultaneously with the new dominance of early modern professional theatre. After 1710, German travelling players were still hugely popular among audiences. But, while they were protected by the city fathers, they were authorized to stay only for a limited period of time, whereas the new opera-house was recognized as an institution.This paper sheds light on the two parallel theatrical spheres whose rivalry is thoroughly investigated.
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