Jews and the Making of Modern German Theatre

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Jeanette R. Malkin, Freddie Rokem
University of Iowa Press, Apr 15, 2010 - Performing Arts - 320 pages

While it is common knowledge that Jews were prominent in literature, music, cinema, and science in pre-1933 Germany, the fascinating story of Jewish co-creation of modern German theatre is less often discussed. Yet for a brief time, during the Second Reich and the Weimar Republic, Jewish artists and intellectuals moved away from a segregated Jewish theatre to work within canonic German theatre and performance venues, claiming the right to be part of the very fabric of German culture. Their involvement, especially in the theatre capital of Berlin, was of a major magnitude both numerically and in terms of power and influence. The essays in this stimulating collection etch onto the conventional view of modern German theatre the history and conflicts of its Jewish participants in the last third of the nineteenth and first third of the twentieth centuries and illuminate the influence of Jewish ethnicity in the creation of the modernist German theatre.

The nontraditional forms and themes known as modernism date roughly from German unification in 1871 to the end of the Weimar Republic in 1933. This is also the period when Jews acquired full legal and trade equality, which enabled their ownership and directorship of theatre and performance venues. The extraordinary artistic innovations that Germans and Jews co-created during the relatively short period of this era of creativity reached across the old assumptions, traditions, and prejudices that had separated people as the modern arts sought to reformulate human relations from the foundations to the pinnacles of society.

The essayists, writing from a variety of perspectives, carve out historical overviews of the role of theatre in the constitution of Jewish identity in Germany, the position of Jewish theatre artists in the cultural vortex of imperial Berlin, the role played by theatre in German Jewish cultural education, and the impact of Yiddish theatre on German and Austrian Jews and on German theatre. They view German Jewish theatre activity through Jewish philosophical and critical perspectives and examine two important genres within which Jewish artists were particularly prominent: the Cabaret and Expressionist theatre. Finally, they provide close-ups of the Jewish artists Alexander Granach, Shimon Finkel, Max Reinhardt, and Leopold Jessner. By probing the interplay between “Jewish” and “German” cultural and cognitive identities based in the field of theatre and performance and querying the effect of theatre on Jewish self-understanding, they add to the richness of intercultural understanding as well as to the complex history of theatre and performance in Germany.

 

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Contents

2 Reflections on Theatricality Identity and the Modern Jewish Experience
21
3 How Jewish Was Theatre in Imperial Berlin?
39
4 Stagestruck Jewish Attitudes to the Theatre in Wilhelmine Germany
59
5 Yiddish Theatre and Its Impact on the German and Austrian Stage
77
6 German and Jewish Theatromania Theodor Lessings TheaterSeele between Goethe and Kafka
99
7 Arnold Zweig and the Critics Reconsidering the Jewish Contribution to German Theatre
116
8 Jewish Cabaret Artists before 1933
132
9 Transforming in Public Jewish Actors on the German Expressionist Stage
151
11 Max Reinhardt between Yiddish Theatre and the Salzburg Festival
197
12 Theatre as Festive Play Max Reinhardts Productions of The Merchant of Venice
219
13 The Unknown Leopold Jessner German Theatre and Jewish Identity
232
14 Epilogue
261
Works Cited
269
Contributors
291
Index
295
Copyright

10 The Shaping of the Ostjude Alexander Granach and Shimon Finkel in Berlin
174

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About the author (2010)

Jeanette Malkin is a professor in the Department of Theatre Studies at the Hebrew University of Jerusalem. She is the author of Verbal Violence in Contemporary Drama: From Handke to Shepard and Memory-Theater and Postmodern Drama. Freddie Rokem is a professor in the Department of Theatre Arts at Tel Aviv University. He is the author of Philosophers and Thespians: Thinking Performance, Strindberg’s Secret Codes, Performing History: Theatrical Representations of the Past in Contemporary Theatre (Iowa, 2000), and Theatrical Space in Ibsen, Chekhov, and Strindberg: Public Forms of Privacy.

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