ABSTRACT
The Viennese Revolution of 1848 has been primarily described as a crisis in theatre history. Here, it is analysed with a focus on the efforts to establish a new culture of public negotiation, emphasising the interplay between social dynamics and theatre production. The related microhistories revolve around three modes of interaction during the revolutionary months: cheering and protesting, debating social issues, and laughing and raising laughter. This interaction encompasses specific forms of acting and watching in the streets of Vienna, new political bodies, and the five theatre auditoria of the city. The findings illuminate how liberal forces learned to negotiate in the public sphere, how theatrical performances produced spaces resonant with social dynamics, and how both the proletariat and the nobility were excluded from cultural and political negotiation processes in public. Even though the Revolution lasted only a short time, this contextualising of theatre and performance historiography makes it clear that the steps initiated in 1848 were unstoppable, and that a culture of public negotiation was not inevitable but rather the result of protracted developments including training the public in acting skills and critical observation.
