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Theatrical science --- anno 1900-1909 --- Munich --- Theater --- Experimental theater --- Popular culture --- History --- Political aspects --- Munich (Germany) --- Intellectual life --- 830-2 --- -Popular culture --- -Theater --- -Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Actors --- Culture, Popular --- Mass culture --- Pop culture --- Popular arts --- Communication --- Mass society --- Recreation --- Alternative theater --- Avant-garde theater --- Duitse literatuur: toneel; drama --- -History --- -Intellectual life --- -Duitse literatuur: toneel; drama --- 830-2 Duitse literatuur: toneel; drama --- -830-2 Duitse literatuur: toneel; drama --- Dramatics --- Culture --- Intellectual life. --- Theater - Germany - Munich - History --- Experimental theater - Germany - Munich --- Theater - Political aspects - Germany - Munich --- Popular culture - Germany - Munich --- Munich (Germany) - Intellectual life

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This fascinating exploration of a work that was the epitome of German literary modernism illuminates in chilling detail the death of the Weimar Republic's left-leaning culture of innovation and experimentation. Peter Jelavich examines Alfred Doblin's Berlin Alexanderplatz (1929), a novel that questioned the autonomy and coherence of the human personality in the modern metropolis, and traces the radical discrepancies that came with its adaptation into a radio play (1930) and a film (1931). Jelavich explains these discrepancies by examining not only the varying demands of genre and technology but also the political and economic contexts of the media--in particular, the censorship practices in German radio and film. His analysis culminates in a richly textured discussion of the complex factors that led to the demise of Weimar culture, as Nazi intimidation and the economic strains of the Depression induced producers to depoliticize their works. Jelavich's book becomes a cautionary tale about how fear of outspoken right-wing politicians can curtail and eliminate the arts as a critical counterforce to politics--all in the name of entertainment.

Culture in motion pictures. --- Motion pictures --- Radio broadcasting --- History --- Döblin, Alfred, --- Germany --- Politics and government --- Intellectual life

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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.

Music-halls (Variety-theaters, cabarets, etc.) --- Political satire, German --- Theater --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Actors --- German political satire --- German wit and humor --- Cabarets --- Café theater --- Concert gardens --- Concert rooms --- Concert saloons --- Variety shows (Theater) --- Variety-theaters --- Theaters --- Vaudeville --- History. --- History and criticism. --- Political aspects --- -Theater --- -Music-halls (Variety-theaters, cabarets, etc.) --- -Cabarets --- History and criticism --- -Political satire, German --- -German political satire

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Kandinsky, Wassily --- 1896 - 1914 --- 19de eeuw --- 20ste eeuw --- München

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Avant-garde (Aesthetics) --- Aesthetics --- Modernism (Art) --- Exhibitions --- Kandinsky, Wassily, --- Kandinski, Vasilij, --- Kandinskiĭ, Vasiliĭ, --- Кандинский, Василий, --- Kandinskiĭ, Vasiliĭ Vasilʹevich, --- Кандинский, Василий Васильевич, --- Kandinskiĭ, V. V. --- Кандинский, В. В. --- Kandinskij, Vasilij Vasil'evič, --- Kandinsky, --- Kandinsky, Basile W., --- Kandinsky, Vasily, --- Kandinsky, Vassily, --- Kandinsky, Wassili, --- Kandinsky, Wassily Wassilyevich, --- Kangdingsiji, --- Kʻang-ting-ssu-chi, --- 康定斯基, --- Kangdingsiji,, Waxili, --- Kʻang-ting-ssu-chi, Wa-hsi-li, --- 康定斯基, 瓦西里, --- קנדינסקי, וסילי, --- Exhibitions. --- E-books