Step into Ernst Wolzogen's Motley Theater, Max Reinhardt's Sound and Smoke, Rudolf Nelson's Chat noir, and Friedrich Hollaender's Tingel-Tangel. Enjoy Claire Waldoff's rendering of a lower-class ...Berliner, Kurt Tucholsky's satirical songs, and Walter Mehring's Dadaist experiments, as Peter Jelavich spotlights Berlin's cabarets from the day the curtain first went up, in 1901, until the Nazi regime brought it down.
Fads and fashions, sexual mores and political ideologies--all were subject to satire and parody on the cabaret stage. This book follows the changing treatment of these themes, and the fate of cabaret itself, through the most turbulent decades of modern German history: the prosperous and optimistic Imperial age, the unstable yet culturally inventive Weimar era, and the repressive years of National Socialism. By situating cabaret within Berlin's rich landscape of popular culture and distinguishing it from vaudeville and variety theaters, spectacular revues, prurient "nude dancing," and Communist agitprop, Jelavich revises the prevailing image of this form of entertainment.
Neither highly politicized, like postwar German Kabarett, nor sleazy in the way that some American and European films suggest, Berlin cabaret occupied a middle ground that let it cast an ironic eye on the goings-on of Berliners and other Germans. However, it was just this satirical attitude toward serious themes, such as politics and racism, that blinded cabaret to the strength of the radical right-wing forces that ultimately destroyed it. Jelavich concludes with the Berlin cabaret artists' final performances--as prisoners in the concentration camps at Westerbork and Theresienstadt.
This book gives us a sense of what the world looked like within the cabarets of Berlin and at the same time lets us see, from a historical distance, these lost performers enacting the political, sexual, and artistic issues that made their city one of the most dynamic in Europe.
Step into Ernst Wolzogen's Motley Theater, Max Reinhardt's Sound
and Smoke, Rudolf Nelson's Chat noir, and Friedrich Hollaender's
Tingel-Tangel. Enjoy Claire Waldoff's rendering of a lower-class
...Berliner, Kurt Tucholsky's satirical songs, and Walter Mehring's
Dadaist experiments, as Peter Jelavich spotlights Berlin's cabarets
from the day the curtain first went up, in 1901, until the Nazi
regime brought it down. Fads and fashions, sexual mores and
political ideologies--all were subject to satire and parody on the
cabaret stage. This book follows the changing treatment of these
themes, and the fate of cabaret itself, through the most turbulent
decades of modern German history: the prosperous and optimistic
Imperial age, the unstable yet culturally inventive Weimar era, and
the repressive years of National Socialism. By situating cabaret
within Berlin's rich landscape of popular culture and
distinguishing it from vaudeville and variety theaters, spectacular
revues, prurient "nude dancing," and Communist agitprop, Jelavich
revises the prevailing image of this form of entertainment. Neither
highly politicized, like postwar German Kabarett , nor
sleazy in the way that some American and European films suggest,
Berlin cabaret occupied a middle ground that let it cast an ironic
eye on the goings-on of Berliners and other Germans. However, it
was just this satirical attitude toward serious themes, such as
politics and racism, that blinded cabaret to the strength of the
radical right-wing forces that ultimately destroyed it. Jelavich
concludes with the Berlin cabaret artists' final performances--as
prisoners in the concentration camps at Westerbork and
Theresienstadt. This book gives us a sense of what the world looked
like within the cabarets of Berlin and at the same time lets us
see, from a historical distance, these lost performers enacting the
political, sexual, and artistic issues that made their city one of
the most dynamic in Europe.
Fads and fashions, sexual mores, and political ideologies--all were subject to satire and parody on the cabaret stage. This book follows the changing treatment of these themes, and the fate of ...cabaret itself, through the most turbulent decades of German history.
Döblins Moderne Jelavich, Peter
Internationales Archiv für Sozialgeschichte der deutschen Literatur,
06/2012, Letnik:
37, Številka:
1
Journal Article
Alfred Döblin’s oeuvre may be regarded as an »ideal-type« of modernism, inasmuch as it combines a modernist aesthetic with a critical appreciation of social and technological modernity. ...Characteristics of this attitude include: the displacement of the autonomous, humanistic self in favor of an individualism sustained by collective forces; a rejection of traditional, elitist literature in favor of popular idioms and the mass media; and a recognition that modern technological and political trends, though harboring totalitarian tendencies, may be harnessed for purposes of individual and collective freedom - provided that one embraces (rather than ironically distances oneself from) the progressive potentials of modernity.
The version we see on this DVD is based on materials from several archives and comes close to being a “director’s cut”—i.e. it never was screened in such a complete version in any German cinema.
What's Wrong with Fragmentation? Jelavich, Peter
Internationales Archiv für Sozialgeschichte der deutschen Literatur,
04/2010, Letnik:
34, Številka:
2
Journal Article
Another question that has been asked repeatedly is the one that personally drives Volkov's scholarship: "Why was it so hard to see the approaching disaster?" Her essays are an attempt to evoke and ...analyze "the true complexity of the situation," the fact that "matters were indeed so obscure and so multidimensional that it was practically impossible, even for many clear sighted men and women, to see through and extract the ominous signs" (p. x). Precisely because the events of November 1938 seemed so like a traditional pogrom, some observers actually believed that the Nazis represented nothing new after all: terrible and murderous, to be sure, but ultimately just one more old style enemy to be opposed and overcome. ...many Zionists, however concerned about their brethren in the Third Reich, remained even more focused on fighting British restrictions on Jewish immigration to Palestine - an attitude encapsulated in Ben Gurion's notorious remark: "Had I know that it were possible to save all the children of Germany by bringing them over to England, or save only half of them by transferring them to Eretz Idrael, I would have chosen the latter" (p. 61).
Celotno besedilo
Dostopno za:
BFBNIB, DOBA, IZUM, KILJ, NMLJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK, ZRSKP
PDF