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The paper collects hints in Andreas Pfeilschmidt’s Esther about the space used for performance. It suggests that the performance took place in Korbach’s market square, possibly facing the old townhall, on a stage with two levels: the ground level for scenes playing in town, the higher level for court scenes. Each act uses two indoor-rooms at court, and thus the rooms need a changing definition — by props and by music. At the beginning of the play, the music used is courtly music, including city pipes, and indicates representative and festive acts, as well as rooms of royal representation. The queen’s rooms, however, are marked by silence, symbolizing her humility. At the end, when Esther has managed to change Asverus’s rule, Lutheran hymns and psalms replace the courtly music, and illustrate a new style of rulership.
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