DOCSLIB.ORG

Die Freie Deutsche Bühne and Das Deutsche

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Die Freie Deutsche Bühne and Das Deutsche COMPETING GERMANIES: THE FREIE DEUTSCHE BÜHNE AND THE DEUTSCHES THEATER IN BUENOS AIRES, ARGENTINA, 1938-1965 By Robert Vincent Kelz Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in German August, 2010 Nashville, Tennessee Approved: Professor Meike G. Werner Professor Vera M. Kutzinski Professor John A. McCarthy Professor Christoph Zeller TABLE OF CONTENTS Chapter Page I. INTRODUCTION: Argentina’s Competing German Theaters...........................1 1. Contextualizing Argentina’s German Theaters in German Exile Studies ..........................................................................................................2 2. Recent Developments in Research on German Exilic Literature......................................................................................................6 3. Navigating an Underexplored Topic in German Studies.......................16 4. Chapter Overview ..................................................................................18 II. GERMAN BEUNOS AIRES ASUNDER ........................................................24 1. German-speaking Emigration to Argentina...........................................24 1.1 Argentine Immigration Policy .................................................31 2. Argentine Politics, 1930-1945 ...............................................................37 2.1 Trouble at the Theater: Ferdinand Bruckner’s Die Rassen at the Teatro Cómico, 1934 .....................................................................49 2.2 Detainment of the Crew of the Admiral Graf Spee ..................53 3. Nationalist German Media, Schools, and Cultural Institutions in Argentina, 1933-1945 ....................................................................57 3.1 Synchronized German Schools in Buenos Aires .....................57 3.2 Institución Cultural Argentino-Germano.................................66 3.3 The Deutsche Arbeitsfront and the Unión Alemana de Gremios..........................................................................................70 3.4 A War of Words: The Deutsche La Plata Zeitung and the Argentinisches Tageblatt ...............................................................74 4. Antifascist German Media, Schools, and Cultural Institutions, 1933-1945 ..................................................................................................80 4.1 The Pestalozzi-Schule..............................................................80 4.2 Verein Vorwärts.......................................................................90 4.3 Das Andere Deutschland .........................................................96 4.4 La Voz del Día .......................................................................101 4.5 Relations among German Political Antifascist and Jewish Organizations on the River Plate .................................................106 III. THEATER ON THE MOVE.........................................................................118 1. Tracing Itinerancy: Following Ludwig Ney from Germany to Argentina .............................................................................................118 1.1 From the Military to Mannheim: Ludwig Ney’s Path to the Theater .........................................................................................118 ii 1.2 Nazi Controls on Dramatic Performanc ......... ......................122 1.3 The Romantische Kleinkunstbühne: A National Socialist Stage?...........................................................................................125 1.4 From Nazi Germany to Paraguay ..........................................131 1.5 Arrival in Buenos Aires, Argentina .......................................136 1.6 German Theater in the alte Kolonie , 1934-1938 ...................138 2. Paul Walter Jacob: Theater in Times of Crisis ....................................144 2.1 Communicating Community .................................................148 2.2 Theater as Business................................................................152 2.3 Rethinking the Repertoire......................................................156 3. Expulsion, Exile and Arrival: Routes to the Freie Deutsche Bühne....162 3.1 Paul Walter Jacob (1905-1977) .............................................162 3.2 Jacques Arndt (1914-2009)....................................................170 3.3 Ernst Wurmser (1882-1949) ..................................................185 4. Raising the Curtain: The Foundation of the Freie Deutsche Bühne. ...194 4.1 Funding ..................................................................................196 4.2 Ensemble................................................................................204 IV. THEATER OF INCLUSION: COMEDY, COMMUNITY, MEMORY, AND INTEGRATION AT THE FREIE DEUTCHE BÜHNE.....................................211 1. Presenting the Freie Deutsche Bühne ..................................................211 1.1 Debut: Ladislaus Bus-Fekete’s Jean , April 20, 1940 ............216 2. “Das echte Theater ist Leben zur Potenz!“—Pedagogical Theater .....218 3. Comedies at the Freie Deutsche Bühne ...............................................238 3.1 Behind the Curtain: Working Conditions and Questions of Authority..................................................................................238 3.2 Laughing instead of Crying ...................................................247 3.3 Charley’s Aunt Travels to the River Plate .............................253 3.4 Who are ‘we’? Defining Community in Carl Rössler’s Die fünf Frankfurter .....................................................................270 4. Disputing the Repertoire: “Jedes Publikum hat das Theater, das es verdient”.......................................................................................299 V. CONFRONTATION AND CONFLICT: POLITICAL AND RELIGIOUS DRAMA AT THE FREIE DEUTSCHE BÜHNE, 1940-1945 ...........................321 1. A Tenuous Start: Contextualizing the FDB’s Inaugural Season, 1940 ............................................................................................321 2. A Changing Theater for Turbulent Times: The FDB in 1942 .............339 3. Commitment, Acclaim, Consequences: Die Unbesiegten (Watch on the Rhine ) ...............................................................................349 4. Testing Community: Losing the Casa del Teatro ................................398 5. The Freie Deutsche Bühne: An “anti-jüdisches” Theater?..................410 5.1 Defining a Jewish Theater and its Obligations ......................410 5.2 Forcing the Issue: Zionist Dramas at the FDB.......................413 iii 5.3 “Ich will nicht mehr weinen!”................................................422 5.4 The Overlapping “Überlebenswissen” of S.L. Jacobowsky and the neue Kolonie ....................................................................428 5.5 Jacobowsky und der Oberst : Immediate and Lasting Impressions .....................................................................445 5.6 Jacobowsky’s Ghost...............................................................451 VI. HERITAGE, VOLK, AND NAZISM AT THE DEUTSCHES THEATER IN ARGENTINIEN ..................................................................................................457 1. Constituting a Community of German Nationalists: Comedies at the Ney-Bühne, 1938-1942............................................................................457 1.2 Laughter and Loyalty: 1943-1944 ........................................475 2. Theatrical Nationhood: The German Classics at the Ney-Bühne........494 2.1 Goethe’s Faust and Götz von Berlichingen as Popular Entertainment in the Service of Nazi Ideology............................494 2.2 Performing Propaganda: German Nationalist Theater in Argentina .................................................................................507 2.3 Deployment of the German Classics to Define and Preserve a Nationalist German Community in Buenos Aires......524 3. Dedicated but Distinct: Dramas by Members of the alte Kolonie .......537 VII. CONCLUSION ............................................................................................553 1. Enduring Competition in Postwar Argentina.......................................553 1.1 Peronist Argentina .................................................................553 1.2 The Freie Deutsche Bühne: Stymied Reconciliation, Continued Conflict.......................................................................554 1.3 The Ney-Bühne: Further Fascism and the Nazi Diaspora. ....556 1.4 Germany on Stage..................................................................558 2. Contrasting Strategies for Constituting Competing Immigrant Communities............................................................................................560 3. Argentina’s German Theaters as German Emigrant Literature ...........565 REFERENCES ....................................................................................................576 1. Public Archives....................................................................................576 2. Private Collections...............................................................................576 3. Interviews.............................................................................................576 4. Newspapers, Magazines, and Yearbooks, 1916-1971 .........................577 4.1 Argentina................................................................................577
Load more

Recommended publications
  • Alternate History – Alternate Memory: Counterfactual Literature in the Context of German Normalization
    ALTERNATE HISTORY – ALTERNATE MEMORY: COUNTERFACTUAL LITERATURE IN THE CONTEXT OF GERMAN NORMALIZATION by GUIDO SCHENKEL M.A., Freie Universität Berlin, 2006 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (German Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2012 © Guido Schenkel, 2012 ABSTRACT This dissertation examines a variety of Alternate Histories of the Third Reich from the perspective of memory theory. The term ‘Alternate History’ describes a genre of literature that presents fictional accounts of historical developments which deviate from the known course of hi story. These allohistorical narratives are inherently presentist, meaning that their central question of “What If?” can harness the repertoire of collective memory in order to act as both a reflection of and a commentary on contemporary social and political conditions. Moreover, Alternate Histories can act as a form of counter-memory insofar as the counterfactual mode can be used to highlight marginalized historical events. This study investigates a specific manifestation of this process. Contrasted with American and British examples, the primary focus is the analysis of the discursive functions of German-language counterfactual literature in the context of German normalization. The category of normalization connects a variety of commemorative trends in postwar Germany aimed at overcoming the legacy of National Socialism and re-formulating a positive German national identity. The central hypothesis is that Alternate Histories can perform a unique task in this particular discursive setting. In the context of German normalization, counterfactual stories of the history of the Third Reich are capable of functioning as alternate memories, meaning that they effectively replace the memory of real events with fantasies that are better suited to serve as exculpatory narratives for the German collective.
    [Show full text]
  • Die Poproboter
    # 2021/17 dschungel https://jungle.world/artikel/2021/17/die-poproboter Die Geschichte der von der Band Der Plan erdachten Musikroboter Die Poproboter Von Johannes Creutzer 1989 fasste die Band Der Plan einen Entschluss: sich selbst überflüssig zu machen. Inspiriert von den Residents kreierten sie eine aus Robotern bestehende Band – das dazugehörige Album erschien erst kürzlich, 32 Jahre später. Pop ist seit langem die ständige, nur ein klein wenig variierte Wiederkehr des Immergleichen. Die Popindustrie verkauft ihre Produkte dennoch immer als »Neuheiten«. Nirgendwo wird diese einfache, aber weitreichende Erkenntnis über das Immergleiche deutlicher als in den diversen Castingformaten wie »American Idol« oder dessen hiesigem Pendant »Deutschland sucht den Superstar«: Alljährlich werden mehrere neue »Talente« gekürt, die ihre Befähigung durch den Vortrag von Popklassikern unter Beweis gestellt haben. Zur Belohnung dürfen sie meist zumindest ein Album mit Songs aus der Konserve aufnehmen, bevor sie wahlweise wieder in ihrem Alltag verschwinden oder in andere Formaten des Reality-TV weitergereicht werden. Und weil sich immer genug Menschenmaterial findet, das allergrößte Hoffnungen auf die eigene Verwertbarkeit setzt, können immer neue Superstars aus der Retorte geschaffen werden. Der einzelne Musiker, der im Beispiel natürlich höchstens Interpret ist, wird so nicht nur austauschbar, sondern in der Konsequenz auch überflüssig. Bereits auf dem sehr experimentellen Debütalbum »Geri Reig« von 1980 waren die musikalischen Einflüsse von Kraftwerk und The Residents auf Der Plan unverkennbar. Selbst nannten sie ihre Musik »elektronische Schlager«. In der Musikindustrie ist diese Form der Verwertung keineswegs neu. Als Kommentar dazu und zur fortschreitenden Technologisierung wollten sich die Musiker der Düsseldorfer Band Der Plan 1989 selbst überflüssig machen.
    [Show full text]
  • Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette
    www.ssoar.info Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933) Kester, Bernadette Veröffentlichungsversion / Published Version Monographie / monograph Zur Verfügung gestellt in Kooperation mit / provided in cooperation with: OAPEN (Open Access Publishing in European Networks) Empfohlene Zitierung / Suggested Citation: Kester, B. (2002). Film Front Weimar: Representations of the First World War in German Films from the Weimar Period (1919-1933). (Film Culture in Transition). Amsterdam: Amsterdam Univ. Press. https://nbn-resolving.org/ urn:nbn:de:0168-ssoar-317059 Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer CC BY-NC-ND Lizenz This document is made available under a CC BY-NC-ND Licence (Namensnennung-Nicht-kommerziell-Keine Bearbeitung) zur (Attribution-Non Comercial-NoDerivatives). For more Information Verfügung gestellt. Nähere Auskünfte zu den CC-Lizenzen finden see: Sie hier: https://creativecommons.org/licenses/by-nc-nd/4.0 https://creativecommons.org/licenses/by-nc-nd/4.0/deed.de * pb ‘Film Front Weimar’ 30-10-2002 14:10 Pagina 1 The Weimar Republic is widely regarded as a pre- cursor to the Nazi era and as a period in which jazz, achitecture and expressionist films all contributed to FILM FRONT WEIMAR BERNADETTE KESTER a cultural flourishing. The so-called Golden Twenties FFILMILM FILM however was also a decade in which Germany had to deal with the aftermath of the First World War. Film CULTURE CULTURE Front Weimar shows how Germany tried to reconcile IN TRANSITION IN TRANSITION the horrendous experiences of the war through the war films made between 1919 and 1933.
    [Show full text]
  • Jazz and the Cultural Transformation of America in the 1920S
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive.
    [Show full text]
  • Turkish German Muslims and Comedy Entertainment CURRENT ISSUES in ISLAM
    Turkish German Muslims and Comedy Entertainment CURRENT ISSUES IN ISLAM Editiorial Board Baderin, Mashood, SOAS, University of London Fadil, Nadia, KU Leuven Goddeeris, Idesbald, KU Leuven Hashemi, Nader, University of Denver Leman, Johan, GCIS, emeritus, KU Leuven Nicaise, Ides, KU Leuven Pang, Ching Lin, University of Antwerp and KU Leuven Platti, Emilio, emeritus, KU Leuven Tayob, Abdulkader, University of Cape Town Stallaert, Christiane, University of Antwerp and KU Leuven Toğuşlu, Erkan, GCIS, KU Leuven Zemni, Sami, Universiteit Gent Turkish German Muslims and Comedy Entertainment Settling into Mainstream Culture in the 21st Century Benjamin Nickl Leuven University Press Published with the support of the Popular Culture Association of Australia and New Zealand University of Sydney and KU Leuven Fund for Fair Open Access Published in 2020 by Leuven University Press / Presses Universitaires de Louvain / Universitaire Pers Leuven. Minderbroedersstraat 4, B-3000 Leuven (Belgium). © Benjamin Nickl, 2020 This book is published under a Creative Commons Attribution Non-Commercial Non-Derivative 4.0 Licence. The licence allows you to share, copy, distribute and transmit the work for personal and non- commercial use providing author and publisher attribution is clearly stated. Attribution should include the following information: B. Nickl. 2019. Turkish German Muslims and Comedy Entertainment: Settling into Mainstream Culture in the 21st Century. Leuven, Leuven University Press. (CC BY-NC-ND 4.0) Further details about Creative Commons licences
    [Show full text]
  • German Jewish Refugees in the United States and Relationships to Germany, 1938-1988
    UNIVERSITY OF CALIFORNIA, SAN DIEGO “Germany on Their Minds”? German Jewish Refugees in the United States and Relationships to Germany, 1938-1988 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in History by Anne Clara Schenderlein Committee in charge: Professor Frank Biess, Co-Chair Professor Deborah Hertz, Co-Chair Professor Luis Alvarez Professor Hasia Diner Professor Amelia Glaser Professor Patrick H. Patterson 2014 Copyright Anne Clara Schenderlein, 2014 All rights reserved. The Dissertation of Anne Clara Schenderlein is approved, and it is acceptable in quality and form for publication on microfilm and electronically. _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ Co-Chair _____________________________________________________________________ Co-Chair University of California, San Diego 2014 iii Dedication To my Mother and the Memory of my Father iv Table of Contents Signature Page ..................................................................................................................iii Dedication ..........................................................................................................................iv Table of Contents ...............................................................................................................v
    [Show full text]
  • Vita Runterladen
    URSULA MICHELIS Geburtsjahr 1946 Größe 160 cm Haarfarbe braun Augenfarbe grün-braun Stimmlage Alt ethn. Erscheinungsbild mitteleuropäisch Sprache(n) Englisch (fließend) Französisch (Grundkenntnisse) Heimatdialekt D - Kölsch Dialekte/Akzente D – Kölsch D – Rheinisch-Bergisch Instrumente Gitarre, Klavier Tanz Modern, Standard Gesang Chanson, Musical Wohnort Köln / Much (Rhein-Sieg-Kreis) Ursula Michelis · +49 171 5750592 · [email protected] · www.ursulamichelis.de Ausbildung 1984 Theaterschule Köln, Actor´s Studio W. Lott, Schauspielstudio J. Millo und andere Theaterpreise 2017 Nominierung Kurt Hackenberg-Preis für„Vor dem Ruhestand“, Thomas Bernhard (Rolle: Vera) 2012 Nominierung Faust für„Wolke 9“ – Uraufführung (Rolle: Inge) 1995 1. Preis Theaterzwang Dortmund für„Mirad, ein Junge aus Bosnien“ (Rolle: Fazila) Schauspiel/Bühne JAHR STÜCK ROLLE REGIE SPIELSTÄTTE 2020 Dinner for One / Miss Sophie Thomas Landesbühne Reinland-Pfalz Silvestergala Krutmann / Lajos Wenzel 2020 Der Trafikant Mutter/ 5 Martin Pfaff Landesbühne Rheinland- weitere Rollen Pfalz, Tournee 2020 Vor dem Ruhestand Vera Höller Rüdiger Pape Horizont Theater Köln (Thomas Bernhard) (Hauptrolle) 2019 Rapunzelgrab Edith Andreas Kleines Theater Bad Herzberger Lachnit Godesberg, Landesbühne Rheinlandpfalz, Tournee 2018 Ein Herz und eine Seele Else P. Nuesch Kleines Theater Bad - (Hausverkauf & Das (Hauptrolle) Godesberg, Landesbühne 2019 Hähnchen) Rheinlandpfalz, Tournee 2017 Drei Männer im Schnee Frau Kunkel Jan Bodinus Kleines Theater Bad - (Erich Kästner) Godesberg, Landesbühne 2018 Rheinlandpfalz, Tournee 2017 Vor dem Ruhestand Vera Höller Rüdiger Pape NS-Dokumentationszentrum - (Thomas Bernhard) (Hauptrolle) Köln (EL-DE-Haus) / Freies 2018 Werkstatt Theater Köln Ursula Michelis · +49 171 5750592 · [email protected] · www.ursulamichelis.de 2014 Die Präsidentinnen (W. Erna W. Theater Die Pathologie - Schwab) (Hauptrolle) Gontermann 2016 2016 6 Tanzstunden in 6 Lilly Harrison Tom Hirtz Das Da Theater Aachen Wochen (Hauptrolle) 2015 Ein Herz und eine Seele Else P.
    [Show full text]
  • Geri Reig Originally Released 1980 CD / LP (180G Vinyl) / Download Release Date: July 27, 2012
    DER PLAN Geri Reig Originally released 1980 CD / LP (180g vinyl) / download Release date: July 27, 2012 Label: Bureau B In a few words Cat- no.: BB104 Barcode (EAN): Der Plan (Moritz R®, Frank Fenstermacher, Pyrolator) are seen as key pioneers of the German New Wave (Neue Deutsche CD 4047179633321 LP 4047179633314 Welle). They revolutionized synthesizer pop on their debut album Distributor: Indigo “Geri Reig” (1980): produced with minimal means, at times Indigo order no.: experimental electronic music, playful bordering on dilettantish, 963332 (CD) and always with a sense of humour. Brothers in the spirit of The 963331 (LP) Residents, but more radical. Digipak reissue with liner notes by Carsten Friedrichs, rare photos and six bonus tracks Tracklisting: available as CD, download and 180g vinyl 1. Adrenalin lässt das Blut kochen 2. Geri Regi 3. Persisches Cowboy Golf 4. Gefährliche Clowns 5. Kleine Grabesstille “Geri Reig” is Der Plan’s debut album, but not their first release. 6. Der Weltaufstandsplan 7. Hans und Gabi An EP, recorded with the aid of an Electric Memo dictation 8. Commerce extérieur mondial preceded “Geri Reig”. But the band is not very keen on sentimentale reissueing this early work. Why did they call themselves “Der 9. Was ich von mir denke Plan” actually? “A concept which has something to do with the 10. San José Car Muzak 11. Erste Begegnung mit dem Tod capacity of people to think and shape their future” as Plan 12. ch bin schizophren member Moritz Reichelt, alias Moritz R®, once explained. 13. Nessie 14.Gefährliche Clowns (manisch-idiotisch) 15.
    [Show full text]
  • University of Cincinnati
    ! "# $ % & % ' % !" #$ !% !' &$ &""! '() ' #$ *+ ' "# ' '% $$(' ,) * !$- .*./- 0 #!1- 2 *,*- Atomic Apocalypse – ‘Nuclear Fiction’ in German Literature and Culture A dissertation submitted to the Graduate School of the University of Cincinnati In partial fulfillment of the requirements for the degree of DOCTORATE OF PHILOSOPHY (Ph.D.) in the Department of German Studies of the College of Arts and Sciences 2010 by Wolfgang Lueckel B.A. (equivalent) in German Literature, Universität Mainz, 2003 M.A. in German Studies, University of Cincinnati, 2005 Committee Chair: Sara Friedrichsmeyer, Ph.D. Committee Members: Todd Herzog, Ph.D. (second reader) Katharina Gerstenberger, Ph.D. Richard E. Schade, Ph.D. ii Abstract In my dissertation “Atomic Apocalypse – ‘Nuclear Fiction’ in German Literature and Culture,” I investigate the portrayal of the nuclear age and its most dreaded fantasy, the nuclear apocalypse, in German fictionalizations and cultural writings. My selection contains texts of disparate natures and provenance: about fifty plays, novels, audio plays, treatises, narratives, films from 1946 to 2009. I regard these texts as a genre of their own and attempt a description of the various elements that tie them together. The fascination with the end of the world that high and popular culture have developed after 9/11 partially originated from the tradition of nuclear fiction since 1945. The Cold War has produced strong and lasting apocalyptic images in German culture that reject the traditional biblical apocalypse and that draw up a new worldview. In particular, German nuclear fiction sees the atomic apocalypse as another step towards the technical facilitation of genocide, preceded by the Jewish Holocaust with its gas chambers and ovens.
    [Show full text]
  • •Œthe Popular Repertory and the German-American Audience: The
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DigitalCommons@University of Nebraska University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications and Creative Activity, School Theatre and Film, Johnny Carson School of of Theatre and Film 2001 “The opulP ar Repertory and the German- American Audience: the Pabst Theater in Milwaukee, 1885-1909” William Grange University of Nebraska, [email protected] Follow this and additional works at: http://digitalcommons.unl.edu/theatrefacpub Part of the German Language and Literature Commons, and the Theatre and Performance Studies Commons Grange, William, "“The opulP ar Repertory and the German-American Audience: the Pabst Theater in Milwaukee, 1885-1909”" (2001). Faculty Publications and Creative Activity, School of Theatre and Film. 17. http://digitalcommons.unl.edu/theatrefacpub/17 This Article is brought to you for free and open access by the Theatre and Film, Johnny Carson School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications and Creative Activity, School of Theatre and Film by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. German-Language Theatre in Milwaukee, 1885-1909 William Grange University of Nebraska Lincoln, NE 68588-0201 The history of German-language theatre in Milwaukee is bound together with the history of German-speaking settlers in Wisconsin and with the theatre culture of Germany as it unfolded after the 1848 revolution. The two histories at first glance seem to have nothing to do with one another; upon closer analysis, however, one discovers a fascinating association between the two— in fact, there are even instances of the two influencing each other.
    [Show full text]
  • Zur Kontinuität Des Groß- Und Weltmachtstrebens Der Deutschen Marineführung
    Dokumentation Gerhard Schreiber Zur Kontinuität des Groß- und Weltmachtstrebens der deutschen Marineführung Kontinuität als geschichtswissenschaftliche Kategorie fragt zum einen, ob und wann ein historisches Kontinuum möglich ist, und sie beschreibt zum anderen — allgemein gesehen — eine geschichtliche Einheit, die auf der weitgehenden Identität der Mo- mente beruht, die in einem zeitlichen Längsschnitt zueinander in Beziehung gesetzt werden. Mit Kontinuität ist somit weder Kausalität noch Determiniertheit der histori- schen Entwicklung gemeint, sondern die Ähnlichkeit und die Erklärbarkeit des Späte- ren mit dem Früheren1. Mit einem derartigen Vorverständnis stellt die vorliegende Dokumentation die Frage nach der Sichselbstgleichheit der Machtpolitik im preußisch-deutschen Nationalstaat, dem Deutschen Reich zwischen 1871 und dem Ende des Zweiten Weltkrieges2. Das eigentliche Untersuchungsfeld soll dabei — quasi idealtypisch — auf eine konservative Führungselite, die Marineführung3, eingeengt werden. Zur Diskussion steht die These, daß es zwischen den imperialistischen Zielsetzungen der Marine, wie sie späte- stens mit dem Beginn des Großflottenbaus zutage traten, und den Überlegungen zu einer deutschen Weltvorherrschaft, die im Dritten Reich in diesem Wehrmachtteil an- gestellt wurden, eine ungebrochene machtpolitische Kontinuität gab. Die dem spezifi- schen Denksystem der Marineführung immanente ideologische Kohärenz konkreti- sierte sich in diesem Zusammenhang vor 1918, vor 1933 und bis 1945 in der einem ri- gorosen Navalismus oder
    [Show full text]
  • Mainzer „ Weihnachten Rückwärts“ Im Kirchenkeller
    Mainzer Neustadt-Anzeiger Okt. 2013 – Stadtteilzeitung · Herausgegeben vom Gewerbeverein Mainz-Neustadt e.V. in Zusammenarbeit mit „Soziale Stadt“ Der 1. Aufschlag „Am liebsten baue Neustadtland- Gelungener Start ich den Maßschuh“ schaften und Erstes Kulturfest auf 1. Gaadefelder Konsumsplitter dem Gartenfeldplatz 20 Jahre Orthopädie Seniorenmesse im war ein voller Erfolg Stieb am Die Neustadt-Malerin Martinsstift Frauenlobplatz Martina Hammel stellt aus 2 3 6 7 „ Weihnachten rückwärts“ im Kirchenkeller „Brotkorb“ versorgt wöchentlich bedürftige Menschen (tre) Geschäftiges Treiben herrscht nachmittags Ich sitze mit Helga Ahrens auf einer Bank an der Evangelischen Paulusgemeinde in der und beobachte das Geschehen. Die Leute ken- Moltkestraße. Zwei Männer tragen jede Menge nen sich. Manchmal werden Waren auch grüner Kisten von einem Lieferwagen ins Haus. getauscht. Zum Beispiel will eine Muslimin Das ist jeden Dienstag so, denn in zwei ihre Wurst aus Schweinefleisch gegen Gemüse Stun den, um 19.00 Uhr, wird der „Brotkorb“ tauschen und findet auch gleich eine Tausch- geöffnet. partnerin. Bei den meisten hier hätte ich nie Fotos: Thomas Renth Fotos: In den Kisten sind Lebensmittel aller Art: vermutet, dass sie darauf angewiesen und dank- Gemüse, Obst, Brot, Molkereiprodukte, auch bar für diese Aktion sind. ein paar Blumen sind dabei. Es handelt sich um Dann kommt mir in den Kopf: Es ist wie Spenden von verschiedenen Supermärkten und Weihnachten, nur andersrum – es wird nicht Bäckereien. Abgeholt werden die Sachen von aus-, sondern eingepackt. Und ich bin stolz auf der „Initiative Hilfe für Menschen e.V.“ unseren Stadtteil und gerührt, dass sich diese Der Verein wurde 2010 gegründet und hat Männer und Frauen jede Woche für den Verein seinen Sitz in Wiesbaden.
    [Show full text]