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Hitherto unknown archival material allows a closer look at Carl Schmitt as a theorist of culture and tragedy, and a fuller examination of Heiner Müller's interest in, and debt to, him. The significance of Schmitt's theory of drama for Heiner Müller's  Hamletmachine  is analyzed against the comparative background of Russian literary Hamletism. Müller's self-conscious intertextualism was a response to, and an extension of, Schmitt's critique of the role of artistic imagination in drama, which is treated here as but an element of his wider post-romantic cultural and social theory.

“Der Einbruch der Zeit in das Spiel”: Hamlet from Berlin (East)