Titlebook: Reconsidering National Plays in Europe; Suze van der Poll,Rob van der Zalm Book 2018 The Editor(s) (if applicable) and The Author(s) 2018

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,Schiller’s ,: The National Play of Switzerland?,804). While examining two contrasting performance traditions—a critical and an affirmative one—, Huwiler shows how this German play, centring on a Swiss folk hero, is supremely apt for taking the temperature of the nation and reading off the changes to its self-image and how it has developed into th

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, The Hungarian National Play,e early nineteenth century in the language spoken by the Hungarian people, it features a national hero and played an important role in the nation-building process in Hungary, which when the play was written was part of the Austro-Hungarian empire and not a sovereign country. It is the only play exam

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,Strindberg’s , and the Performance of Swedish Identity – from Celebration to Introspective Critiqueing Gustav Vasa is displayed as founding father of the Swedish nation. The play was written at the end of the nineteenth century but is clearly set in the sixteenth century, when Gustav Vasa played an important role in unifying the nation. T?rnqvist and Mattsson show that Vasa’s unifying qualities h

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Felicitous

,Molière’s , and French National Identity: Reconfiguring the King, the People and the Church, address topics concerning the presumed characteristics of a French nation. However, the focus of the play, that proved to be very controversial from the start, is a political and religious question—the hold of religion and the church over other spheres of society—that would take centre stage during

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