"[1] Neuber also worked to improve the social and artistic status of German actors and actresses, emphasizing naturalistic technique.

Together the Neubers "served their theatrical apprenticeship in the traveling companies of Christian Spiegelberg (1717–22) and Karl Caspar Haack (1722–25).

[2] That same year their company was "granted a patent by the elector of Saxony, Frederick Augustus I, to perform at the Leipzig Easter Fair.

"[1] The troupe is recorded to have played in nineteen towns and cities as spread out as Warsaw, Kiel, and Strasburg, most often in Dresden, Hamburg, and Leipzig.

"[5] As early as 1725, Neuber's acting technique had "attracted the attention of Johann Christoph Gottsched, the critic and drama reformer who modeled his work on classical French tragedy and comedy.

[5] The Neubers pattern in 1736-7 was to play "major dramas of classical base of German imitations" while excluding the traditionally crude topics associated with the popular theatrical character Harlekin from their performances.

The staged banishment has generally been regarded as an emblematic moment in German theatre history for the transition from popular, improvised, so-called "Stegreiftheater" to a modern bourgeois literary mode.

[3] Caroline Neuber premiered in the 1934/35 season in The Third Reich and was written as "the government consolidated its power and generated arts bureaucracies to oversee the publication, production, and response to plays.

Caroline Neuber is unusual for its era, in which German theatre was censored by the Nazis, for the content of the play "challenges some of the basic cultural prejudices of the Third Reich.

Those who have been honored with the prize include Monika Gintersdorfer, Jutta Hoffmann, Inge Keller, Konstanze Lauterbach, Nele Hertling, Karin Henkel, Sasha Waltz, and Ann-Elisabeth Wolff.