Abstract
The article discusses the theatrical form named Trauerspiel (baroque drama or mourning play), starting from the very elements that form its concept – play and mourning. Far from being identifiable with tragedy or from being reducible to a sort of anticipation of Romantic features, Trauerspiel expresses the traumas of subjectivity in early modern age, as it deals with religious and political turmoil. Taking inspiration from Walter Benjamin’s Ursprung des deutschen Trauerspiels, the article investigates some crucial elements of baroque mise-en-scène such as sovereignty, guilt, empathy, searching for further intersections with the theories of play by both Johan Huizinga and Georges Bataille.
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