Theatre Under the NazisJohn London Were the people who worked in the theatres of the Third Reich willing participants in the Nazi propaganda machine or artists independent of official ideology? To what extent did composers like Richard Strauss and Carl Orff follow Nazi dogma? How did famous directors such as Gustaf Grudgens and Jurgen Fehling react to the strictures of the new regime? Why were Shakespeare and George Bernard Shaw among the most performed dramatists of the time? And why did the Nazis sanction Jewish theatre? This book is based on detailed statistical analysis, contemporary press reports, research in German archives and interviews with surviving playwrights, actors and musicians. |
Contents
Thing plays | 54 |
The history plays of the Third Reich | 96 |
Performance data of major Third Reich | 124 |
Copyright | |
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actors Akademie der Künste Albert Lortzing anti-semitic April artists Aryan audience banned Berlin Staatsoper Braunschweig Bühne Bundesarchiv Carl Orff Caspar Neher censors censorship comedy composers contemporary critics cultural Deutsches Theater director drama dramatists Dresden Drewniak Dritten Reich Düsseldorf Ernst example February Festival Frankfurt am Main Friedrich Fritz German German opera German Passion 1933 German theatre Goebbels Gründgens Gustaf Gründgens Hamburg Heinrich Heinz Hermann Hinkel Hitler ideological Italian January Jewish theatre Jews Karl Kulturbund Kurt Leipzig Lille Lortzing Ludwig March Möller Munich Nazi Germany neue non-German November October opera houses Otto performed Pirandello playwrights political premiere production Propaganda Ministry Rainer Schlösser regime repertoire repertory Richard Billinger Richard Strauss Rosenberg Schauspielhaus Schiller script season Shakespeare Singer Staatstheater stage Stuttgart theatrical Thing plays Thingplatz Third Reich unpublished doctoral thesis Uraufführung Vienna Volk Völkischer Beobachter Wagner Wahn Wanderscheck Weimar Republic Werner Wilhelm Wolfgang Zeit Zeitschrift für Musik Zeitung Ziegler