Ever since, the tragic ending of Emilia Galotti has stimulated divided reactions. Even today numerous misreadings occur. Voices which criticized its questionable or yet dubious construction soon faded. Instead of that, responsibles have been searched for. Especially Odoardo Galotti, Emilia's father, has been taken into accountability. The reason for this, thus the claim, lies in a new conception of tragic sacrifice. It is being charged with central elements of contemporary gender anthropology. Furthermore, it undergoes a metadramaturgic reflection. Emilia's self-sacrifice represents a genuine "Opfer" in the literal senses of victima and sacrificium. Actually, this sacrifice is significantly initiated and performed by the character itself. A major part of subsequent dramatic production is adopting the tragedy's premises on gender anthropology while commenting on the fulminant ending. It is as early as this that a bourgeois culture of dignity is being undermined by a victimhood culture. The drama does in fact document a crisis of tragedy itself. If already sacrifice possesses a dimension of representation, a further question remains yet unanswered: Which function does (dramatic) representation of sacrifice fulfill?
