By Jeanette R. Malkin, Freddie Rokem
Whereas it's common wisdom that Jews have been well known in literature, tune, cinema, and technological know-how in pre-1933 Germany, the interesting tale of Jewish co-creation of recent German theatre is much less usually mentioned. but for a quick time, throughout the moment Reich and the Weimar Republic, Jewish artists and intellectuals moved clear of a segregated Jewish theatre to paintings inside canonic German theatre and function venues, claiming definitely the right to join the very cloth of German tradition. Their involvement, specially within the theatre capital of Berlin, used to be of an immense significance either numerically and when it comes to strength and impression. The essays during this stimulating assortment etch onto the normal view of recent German theatre the heritage and conflicts of its Jewish contributors within the final 3rd of the 19th and primary 3rd of the 20th centuries and light up the impression of Jewish ethnicity within the production of the modernist German theatre. The nontraditional types and topics referred to as modernism date approximately from German unification in 1871 to the top of the Weimar Republic in 1933. this is often additionally the interval whilst Jews got complete felony and exchange equality, which enabled their possession and directorship of theatre and function venues. the extreme creative options that Germans and Jews co-created throughout the really brief interval of this period of creativity reached around the outdated assumptions, traditions, and prejudices that had separated humans because the glossy arts sought to reformulate human relatives from the principles to the pinnacles of society. The essayists, writing from a number of views, carve out ancient overviews of the function of theatre within the structure of Jewish id in Germany, the placement of Jewish theatre artists within the cultural vortex of imperial Berlin, the position performed through theatre in German Jewish cultural schooling, and the effect of Yiddish theatre on German and Austrian Jews and on German theatre. They view German Jewish theatre task via Jewish philosophical and demanding views and consider vital genres during which Jewish artists have been quite admired: the Cabaret and Expressionist theatre. eventually, they supply close-ups of the Jewish artists Alexander Granach, Shimon Finkel, Max Reinhardt, and Leopold Jessner. by means of probing the interaction among “Jewish” and “German” cultural and cognitive identities dependent within the box of theatre and function and querying the impression of theatre on Jewish self-understanding, they upload to the richness of intercultural figuring out in addition to to the complicated background of theatre and function in Germany.
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Additional resources for Jews and the Making of Modern German Theatre (Studies Theatre History & Culture)
Sample text
This article also claims that the brothers were converts to Christianity. Gershom Scholem (see note 46 below) similarly states that they were baptized but there is no mention of this in Sprengel, who adds that Donat Herrnfeld was buried in 1916 in the Jewish cemetery at Weisensee. 46 Gershom Scholem, From Berlin to Jerusalem: Memories of My Youth, trans. Harry Zohn, 15–16. 47 On this problem, see the chapter “Hermann Levi: A Study in Service and SelfHatred,” in Peter Gay, Freud, Jews and Other Germans: Masters and Victims in Modernist Culture, 209–210: the theatre was often the site of such self-satire.
His work is an indispensable source. See his Scheunenviertel-Theater: Jüdische Schauspieltruppen und jiddische Dramatik in Berlin (1900–1918) and, especially, Populäres jüdisches Theater in Berlin von 1877 bis 1933. Both volumes are lavishly illustrated. 38 Ernst Bloch, “Die sogenannte Judenfrage,” in Bloch’s Literarische Aufsätze, 553. Cited in Paul Mendes-Flohr, “Jews within German Culture,” in German-Jewish History in Modern Times, vol. 4, Renewal and Destruction, 1918–1945, ed. Michael A. Meyer with the assistance of Michael Brenner, 192, 411n13.
22 See, for example, Mosse, German Jews beyond Judaism; and David Sorkin, The Transformation of German Jewry, 1780–1840. 23 Franz Kafka, Briefe, ed. Max Brod, 337. The English translation is from Letters to Friends, Family, and Editors, trans. Richard and Clara Winston, ed. Max Brod, 289. 24 Zweig, Juden auf der deutschen Bühne, 22. Zweig identified this culture as “Mediterranean,” but even if it was only Eastern European it was still a different Ausdrucksform. See my chapter “Transforming in Public” in this volume.