Jews and the Making of Modern German Theatre (Studies by Jeanette R. Malkin, Freddie Rokem

By Jeanette R. Malkin, Freddie Rokem

Whereas it's common wisdom that Jews have been well known in literature, track, cinema, and technological know-how in pre-1933 Germany, the attention-grabbing tale of Jewish co-creation of recent German theatre is much less frequently mentioned. but for a quick time, through the moment Reich and the Weimar Republic, Jewish artists and intellectuals moved clear of a segregated Jewish theatre to paintings inside of canonic German theatre and function venues, claiming the ideal to join the very cloth of German tradition. Their involvement, in particular within the theatre capital of Berlin, used to be of a huge importance either numerically and when it comes to strength and impression. The essays during this stimulating assortment etch onto the normal view of contemporary German theatre the historical past and conflicts of its Jewish members within the final 3rd of the 19th and primary 3rd of the 20th centuries and remove darkness from the impression of Jewish ethnicity within the production of the modernist German theatre. The nontraditional kinds and issues often called modernism date approximately from German unification in 1871 to the top of the Weimar Republic in 1933. this can be additionally the interval while Jews bought complete criminal and alternate equality, which enabled their possession and directorship of theatre and function venues. the intense creative concepts that Germans and Jews co-created through the fairly brief interval of this period of creativity reached around the previous assumptions, traditions, and prejudices that had separated humans because the glossy arts sought to reformulate human family from the principles to the pinnacles of society. The essayists, writing from a number of views, carve out historic 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 by means of 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 think about very important genres in which Jewish artists have been fairly widespread: the Cabaret and Expressionist theatre. ultimately, they supply close-ups of the Jewish artists Alexander Granach, Shimon Finkel, Max Reinhardt, and Leopold Jessner. via probing the interaction among “Jewish” and “German” cultural and cognitive identities established within the box of theatre and function and querying the impression of theatre on Jewish self-understanding, they upload to the richness of intercultural realizing in addition to to the complicated historical past of theatre and function in Germany.

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11 (March 1912): 286; translated and cited by Paul Mendes-Flohr, German Jews: A Dual Identity, 46. See also Albanis, German-Jewish Cultural Identity. 36 See Pierre Bourdieu, Outline of a Theory of Practice, trans. Richard Nice. 37 Goldstein, “Deutsch-jüdischer Parnass,” 293–294; cited in Mendes-Flohr, German Jews, 48. 38 See Steven E. Aschheim’s discussion in “Assimilation and Its Impossible Discontents: The Case of Moritz Goldstein,” in his In Times of Crisis: Essays on European Culture, Germans, and Jews, 67.

Leslie Morris and Jack Zipes, 234. 20 This was Ezra Pound’s shorthand explanation of the thrust of modernism in Make It New. 21 Kurt Wolff, ed. , The Sociology of Georg Simmel, 402 (emphasis added). 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.

5:316–317. For the German original, see Friedrich Nietzsche, Werke in Sechs Bänden, vol. 3:235. ” was published under the anagrammatic pseudonym W. Hartenau in Die Zukunft 18 (March 6, 1897). It is partially translated in The Jew in the Modern World: A Documentary History, ed. Paul Mendes-Flohr and Jehuda Reinharz, 231–233. ” in Deutschtum und Judentum: Ein Disput unter Juden aus Deutschland, ed. Christoph Schulte, 28. In fairness, it should be noted that Rathenau removed the essay from public view.

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