The Last Train to Tomorrow

Total Page:16

File Type:pdf, Size:1020Kb

The Last Train to Tomorrow VOLUME 14 NO.11 NOVEMBER 2014 journal The Association of Jewish Refugees Marriages of convenience SPECIAL EVENT as a survival strategy The Last Train The following article is an adapted version Until now, this strategy of escape and to Tomorrow of a paper given in March 2014 at the of resistance to the Nazis has not been Sunday 9 November 2014, 3 pm annual conference of the Gesellschaft für the subject of any academic research, at The Roundhouse, London NW1 Exilforschung (Society for Exile Studies) in a gap that Irene Messinger, a political Vienna. scientist working in Vienna, is seeking to We are delighted to announce that or those exposed to persecution in fill. It is her intention to raise the profile a VIP will be the guest of honour Nazi Germany, marriage to a foreign of marriages of convenience in research at the AJR’s London premiere of national presented a means of into the Holocaust and emigration and The Last Train to Tomorrow at The Femigrating to another country, where they to anchor them firmly in the mainstream Roundhouse on Sunday 9 November were protected by their new citizenship of historical research. Messinger’s research 2014 and that Natasha Kaplinsky, the from being deported back to Germany aims to present the women persecuted newsreader and television presenter, or from being rendered stateless if they by the Nazi regime as active agents, and member of Prime Minister David were stripped of their German citizenship capable of exploiting their networks of Cameron’s Holocaust Commission, will by the Nazi authorities. The advantages contacts in order to enter into marriages of be introducing the event. offered by marriages of convenience were convenience, and also to investigate their primarily of benefit to women; this was marital partners, whose motives would Commissioned by the Halle Orchestra due to the patriarchal cast of legislation have ranged from friendship and kindness and composed and conducted by relating to citizenship at the time, under and social and political commitment to the internationally acclaimed artist which a woman, as a mere ‘appendage’ of straightforward financial gain. Carl Davis CBE, The Last Train to her husband, automatically assumed his In the course of her research, Messinger Tomorrow tells the extraordinary story nationality on marriage. These marriages, has to date unearthed more than 60 of the Kindertransport through a series which often existed only on paper, have marriages of convenience, in works of of songs written by the children’s author in retrospect come to be seen as a form scholarship, autobiographies and eye- Hiawyn Oram. of assistance rendered to those under witness accounts (interviews). There are The music will be performed by the threat in Nazi Germany and are now many more such marriages than might Finchley Children’s Music Group and the judged positively. A number of people appear at first glance. It will never be concert programme will also feature The also married in order to secure a visa more possible to discover exactly how many Marriage of Figaro Overture by Mozart easily, as was, for example, the case with women attempted to save themselves by entry visas for Palestine, then administered contracting marriages of convenience as and Mendelssohn’s Violin Concerto by Britain under a League of Nations this is a deeply private subject and, in many performed by the City of London Sinfonia mandate. cases, a matter of shame, which only very together with an outstanding young violin few have spoken about publicly. Many soloist from the Yehudi Menuhin School. women concealed the fact of their fictitious This special and historic one-off occasion marriages on returning to Austria after will begin with a commemoration of 1945, fearing possible legal consequences the anniversary of Kristallnacht and, or the loss of pension rights and the like. as the event takes place on a Sunday Who were the people who entered afternoon, we particularly encourage into marriages of convenience? To judge members to bring along their children by those cases that are already known, and grandchildren. The symbolism that they were Jewish women who came from the Roundhouse was formerly a turning the middle classes or sometimes from point for trains and is located near Swiss the social élites and/or were members of political organisations with international Cottage, where many of the escaping connections. Among other factors, this refugees settled, should help make the is due to the high proportion of artists, concert memorable and historic. academics and other professional women Further information is on the flyer among those who emigrated to Britain. enclosed with this month’s Journal. The individuals discussed in this article are known to us from biographies, Tickets can be purchased strictly autobiographies and other records that through The Roundhouse Box Office have been preserved. However, Messinger – visit www.roundhouse.org.uk or Erika Mann, 1905-69, Thomas Mann’s elder telephone 0300 6789 222. daughter continued on page 2 journal NOVEMBER 2014 Marriages of convenience as a survival strategy continued ANNUAL ELECTION is especially interested in cases of marriages in 1975. MEETING OF THE of convenience among the ‘ordinary’ The radical left-wing Internationale ASSOCIATION OF émigrés, which have hitherto remained Sozialistische Kampfbund (International JEWISH REFUGEES (AJR) unresearched. Little is known, too, about Socialist Combat League, ISK), which had those individuals, for example members been banned by the Nazis in 1933, also he Annual Election Meeting of Jewish youth organisations in Nazi brought a number of its female members of The Association of Jewish Germany, who contracted marriages of to safety in Britain through marriages of TRefugees (AJR) will take place at convenience in order to improve their convenience. One of them was Susanne 11.00 am on Tuesday 18 November chances of securing a visa for Palestine by Strasser, born in 1915 and brought up 2014 at Belsize Square Synagogue, applying jointly as a married couple. in Vienna, who was later to become a 51 Belsize Square, London NW3 4HX. The most prominent examples of historian and a leading authority on the Agenda: Annual Report, Financial marriages of convenience among the German Social Democratic Party. As Report, Discussion, Election of Trustees emigrants to Britain occurred within the a student, she had travelled frequently The following have been nominated circle of friends around Klaus and Erika to London and, after the annexation of for re-election as Trustees: Eleanor Mann, the children of Thomas Mann, Austria by Germany in 1938, she remained Angel, Gaby Glassman, Frank Harding. where such marriages proliferated. Erika in London, where she rapidly came to play Mann, writer, cabaret artist and founder of an active role among the women refugees. All questions for the chair should be the anti-fascist political cabaret ensemble In order to remain permanently in Britain, submitted by Monday 10 November Die Pfeffermühle (The Peppermill), she entered into a marriage of convenience 2014 to the Chief Executive at Jubilee was stripped of her German citizenship with a British citizen, Horace Miller. House, Merrion Avenue, Stanmore, in 1935. Klaus Mann and his circle of Viennese-born Hilde Meisel had Middx HA7 4RL. homosexual friends assisted her in her joined the ISK at 15. From 1932 she efforts to find a British husband. In June had been a student in London, where, 1935 she married the gay British poet under the pseudonym Hilda Monte, suspicious. Ebner was thus able to emigrate W. H. Auden, whom she had never met, she published a number of articles in on a French passport, arriving in 1939 thereby immediately acquiring British magazines and books and made radio in Britain, where she was active in the citizenship. broadcasts calling for resistance to the organisation Austrian Self Aid. The art Erika Mann’s close friend, the actress Nazi regime. Through a marriage of collector Jenny Steiner, one of Vienna’s Therese Giehse, who had also been active convenience to John Olday, a gay artist, wealthiest women, exploited her private in the Pfeffermühle ensemble, found cartoonist and anarchist, she acquired networks to organise marriages for her refuge in Switzerland in 1933 but was British citizenship in 1938. She was twin daughters Anna and Clara, so that not secure there. Marriage to the novelist killed in April 1945 attempting to cross they were able to leave Austria without any John Hampson-Simpson secured a British the border to Austria from Switzerland, difficulty in 1938, one with a British and passport for Giehse, who, however, where she had been sent on a secret one with a French husband. Anna married remained in Switzerland. She later became mission. Similar cases are those of the Charles Weinberg, a British subject, famous for her performances in the plays mathematician and philosopher Grete and escaped a few days later as a British of Bertolt Brecht; cinema fans will recall Hermann, who married Edward Henry, national – but without her husband – via her last role, in Louis Malle’s Lacombe, and of Maria Saran, the future women’s Paris to Brazil, where she was reunited Lucien (1974). Sybille von Schoenebeck secretary of the Socialist International. with her mother. was another friend of Klaus and Erika ISK member Liesel Mayer entered These examples of women whose lives Mann. After the German authorities into a fictitious marriage with Charles were saved by marriages of convenience had frozen her bank accounts, and with Bruckner but this developed into a love underline the importance of pre-existing her German passport about to expire, relationship, from which four children networks, whether of family members emigration became an urgent necessity were born. After 1933 the ISK continued or politically like-minded people, in the for her.
Recommended publications
  • Information Issued by The
    Volume XXIII No. 4 April, 1968 INFORMATION ISSUED BY THE ASSOCIATION OF JEWISH REFUGEES IN GREAT BRITAIN fiobert Wehsch Elly Heuss were present. They were waiting for an attack on Stolper's house that evening which, however, did not occur then (it took place three nights later). All were very pessi­ DATES TO REMEMBER mistic but did not know what to do. Miss Wiskemann was not in Berlin on the When the first great blow fell on German Jews a strong sense of destiny and of soli­ 1st of April and she does not mention that Jewry just 35 years ago, only very few people darity, but they also made possible an orderly spectacular date at all. She went back to realised that this was an event of universal emigration of a large part of the Jewish London on March 26 and was deeply dis­ importance which opened the floodgate to population. appointed when she noticed the apathy and destruction and chaos in the whole of Europe, This was by no means an easy job. It is incredulity of the public. Even such men ^^i indeed in the whole world. unnecessary to point out that emigration from as Sir Herbert Samuel and Colonel Wedgwood The 1st of April, 1933, remains inscribed a country where one had thought to be secure are said to have been unresponsive to her 5s a black day in the Jewish Calendar. Those is a shattering event, not only economically warnings. In London, she felt, " it was quite Who remember it know well that on that day and socially but also psychologically.
    [Show full text]
  • Central Europe
    Central Europe Federal Republic of Germany Domestic Affairs A HE ECONOMIC RECESSION continued in 1975. The gross national prod- uct fell by 3.6 per cent. The average price rise for the year was 6 per cent. The number of unemployed remained almost as high as before: over one million, or 5.3 per cent, at year's end. Politically, the year saw efforts by the Socialist-Liberal government-coalition parties in Bonn to consolidate their position, and by the opposition parties to broaden their bases in preparation for the 1976 Bundestag elections. The Social Democratic party (SPD) had some further losses; but the sharp trend away from it in the previous year was almost arrested, mainly because of Chancellor Helmut Schmidt's energetic leadership. The Christian Democratic Union/Christian Social Union (CDU/CSU) opposition charged the coalition with incompetence and lack of initiative in foreign policy, and even more in economic affairs, but offered no alternative program of its own. It was involved in internal power struggles, primarily over the choice of a candidate for chancellor to head its ticket in 1976. It finally chose as its candidate Helmut Kohl, prime minister of Rhineland-Palatinate and CDU chairman, in preference to CSU chairman Franz-Josef Strauss. The results of the state legislative elections were as follows: In Rhineland-Palati- nate, on March 9, CDU received 53.9 per cent of the vote (50 per cent in 1971); SPD, 38.5 per cent (40.5 in 1971) and its coalition partner, the Free Democratic party (FDP), 5.6 per cent (5.9 in 1971); the ultra-right National Democratic party (NPD), 1.1 (2.7 in 1971); the German Communist party (DKP), 0.5 per cent (0.9 in 1971).
    [Show full text]
  • Brecht and Cabaret
    3 OLIVER DOUBLE AND MICHAEL WILSON Brecht and cabaret One of the most popular anecdotes about Brecht’s early years in Munich involves a significant encounter with the popular comedian Karl Valentin (1882–1948). In October 1922, following on from the success the previous month of the première of Drums in the Night at the Munich Kammerspiele, Brecht was appointed to the dramaturgical team of the theatre and was immediately given the task of rewriting and adapting Marlowe’s Edward II. The writing took place over the winter of 1922/3, but the eight-week rehearsal period, then the longest in the Kammerspiele’s history, did not start until January 1924. In one of his conversations with the essayist and critic Walter Benjamin on 29 June 1938, Brecht told the story of how ‘the idea of Epic Theatre first came into his head’ at one of these rehearsals: The battle in the play is supposed to occupy the stage for three-quarters of an hour. Brecht couldn’t stage manage the soldiers, and neither could Asya [Lacis], his production assistant. Finally he turned in despair to Karl Valentin, at that time one of his closest friends, who was attending the rehearsal, and asked him: ‘Well, what is it? What’s the truth about these soldiers? What about them?’ Valentin: ‘They’re pale, they’re scared, that’s what!’ The remark settled the issue, Brecht adding: ‘They’re tired.’ Whereupon the soldiers’ faces were thickly made up with chalk, and that was the day the production’s style was determined.1 A few years later, Brecht himself wrote a version of the same story in The Messingkauf Dialogues: ‘When the Augsburger was producing his first play, which included a thirty minutes’ battle, he asked Valentin what he ought to do with the soldiers.
    [Show full text]
  • A Gestão Escolar Em Escolas Públicas Municipais
    EUROPEAN ACADEMIC RESEARCH Vol. IX, Issue 3/ June2021 Impact Factor: 3.4546 (UIF) DRJI Value: 5.9 (B+) ISSN 2286-4822 www.euacademic.org Motherhood in Bertolt Brecht’s "Mother Courage and Her Children" ALAA ABDULRIDA ODA ALSAADY, MA Degree1 English Language Department, College of Education Ibn Rushd University of Baghdad Assistant Instructor at Al-yarmok University College in Iraq- Diyala English Language Department Abstract The political and social plights that encountered the nations from time to time through the past era of the twentieth-century all over the Globe in general and in Europe in particular were surprisingly destructive and of dramatic changes. The playwrights of that period tried their best to cope with the de facto status of these changes. Bertolt Brecht (1898-1956) had tackled deeply the overall changing social and political issues of that era in Europe from a multi-dimension vision. Moreover, at that time the European communities encountered a hard time. A time coloured with shadowy hews reflected from WWI and WWII outcomes. Therefore Brecht and his contemporary dramatists produced dramas and other literary genres that envisaged their up to date dilemmas, yet with a modern perspective. Mother Courage and Her Children (1941) is arguably regarded Brecht's masterpiece. The play is inspired by the invasion of Poland. It is written in five months during 1939 after Brecht had fled to Sweden. The drama could not be produced in Scandinavia hence the latter faces Nazi occupation. Further, the play is first produced in Zurich in 1941. Brecht unfortunately misses the first performance then he revises the 1 ALAA ABDULRIDA ODA ALSAADY got his MA Degree in English Literature from the College of Education/ Ibn Rushd For Humanitarian Sciences / University of Baghdad/IRAQ in 2017.
    [Show full text]
  • Bertolt Brecht Briefe 3
    Bertolt Brecht Briefe 3 Aufbau-Verlag Berlin und Weimar Suhrkamp Verlag Frankfurt am Main Briefe 3 Briefe 1950-1956 765 Inhalt Die Ziffern geben jeweils den Druckort und die Kommentar- stelle an. 1950 1460 An den Süddeutschen Rundfunk, Berlin, 2. Januar 1950 7 481 1461 An Kurt Desch, Berlin, 2. Januar 1950 8 481 1462 An E. Reinhold, Berlin, 2. Januar 1950 8 481 1463 An Martin Hellberg (Staatstheater Dresden), Berlin, 9. Januar 1950 9 481 1464 An Ashley Dukes, Berlin, 11. Januar 1950 .. 10 481 1465 An Berthold Viertel, Berlin, 17. Januar 1950 10 481 1466 An Hans Tombrock, Berlin, 20. Januar 1950 11 482 1467 An Max Frisch, Berlin, 23. Januar 1950 12 482 1468 An Ruth Berlau, Berlin, 26. Januar 1950 .... 12 482 1469 An Fritz Kortner, Berlin, Anfang Februar 1950 13 482 1470 An Stefan S: Brecht, Berlin, Mitte Februar 1950 13 482 1471 An Ruth Berlau, Berlin, Datierung von Ruth Berlau: 22. Februar 1950 14 483 1472 An Hans Tombrock, Berlin, Februar 1950 .. 15 483 1473 An Peter Suhrkamp, Berlin, Empfangsdatierung Sekretariat Suhrkamp: Februar 1950 16 483 1474 An Ferdinand Reyher, Berlin, Februar 1950 16 483 1475 An Ruth Berlau, Datierung von Ruth Berlau: Berlin, 2. März 1950 17 483 1476 An Ruth Berlau, Berlin, Datierung von Ruth Berlau: 5. März 1950 17 483 1477 An Ruth Berlau, Berlin, 8. März 1950 18 484 1478 An Ruth Berlau, Berlin, Datierung von Ruth Berlau: 10. März 1950 19 484 1479 An Ruth Berlau, Berlin, 14. März 1950 19 485 1480 An Hans Mayer, Berlin, 25. März 1950 20 487 1481 An Ruth Berlau, Poststempel: Berlin, 14.
    [Show full text]
  • Bertolt Brecht
    1898/1978 BERTOLT BRECHT Samik Bandyopadhyay 'Truth is concrete', a quotation from Hegel, was chosen as the slogan for Bertolt Brecht 80, the comprehensive celebration organized in Calcutta last September by .the Max Mueller Bhavan, Calcutta and the Indian Council for Cultural Relations . The co-ordinators inducted into the project and the Max Mueller Bhavan team said in a note they prepared on the ·occasion, 'Indian productions of Brecht's plays have sometimes exposed merely the limitations or idiosyncrasies of the producers themselves. But in most cases, producers have tried to remove the barriers of language a nd setting and make Brecht more accessible and relevant to a n Indian audience. Their attempts have provoked questions as to whether the changes were unavoid­ able.' The programme as a whole sought to accumulate a massive collection of materials that could equip theatre audiences and theatre workers alike with the background to answer these questions themselves. 37 The celebration had a quiet beginning with a series of four lectures by Dr. Alokeranjan Dasgupta of the Heidelberg University on the poetry, working diaries, and songs of Brecht, and an overview of changing interpreta­ tions of Brecht in international theatre, especially in Italy, the Soviet Union, England, the · Scandinavian countries and Portugal. Dr. Dasgupta identified three different phases in Brecht's poetry-the phase of Die Hausposti/le in which Brecht substitutes the Gebrauchslyrik, the lyric that is useful to man, for the Gedankenlyrik, the pure emotional
    [Show full text]
  • Brecht Between Mediums Kristin M. Seifert a Dissertation Submitted
    Brecht Between Mediums Kristin M. Seifert A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of philosophy University of Washington 2019 Reading committee: Stefka Mihaylova, chair Jennifer Bean, co-chair Scott Magelssen Program Authorized to Offer Degree: Department of Drama ©Copyright 2019 Kristin Seifert University of Washington Abstract Brecht Between Mediums Kristin M. Seifert Chair of the Supervisory Committee: Stefka Mihaylova Department of Drama Is Epic theory solely applicable to live performance? Was German writer and director Bertolt Brecht a champion for the theatre and theatre alone? This dissertation combines analysis of live and recorded performance, historical analysis, Epic theory, film and media theory in order to discuss Brecht’s shifting relationship with film and other multi-medium performance traditions. The historic and theoretical exploration of Brecht both influencing and being influenced by cinematic work seeks to reclaim him as a multi-medium artist and explore a kind of continual flow of Epic theory and technique not merely between Brecht’s cinematic and stage projects but also in the work of his contemporaries, fellow exiled artists during World War II, and a direct line of cinematic careers shaped, to this day, by the Brechtian legacy. The larger scope of this case study questions the allocation of artists, like Brecht, into disciplines and troubles the existing medium-disciplinary hierarchies-separations that negatively affect the ways in which performance is created, viewed and studied. This dissertation, therefore, more broadly examines the segregation of the performing arts within the academic world and scholarly research that maintains a staunchly medium-specific approach that fails to recognize the endless stream of theories and methods that circulate between performance mediums.
    [Show full text]
  • Bertolt Brecht: Gesammelte Werke (Werkausgabe Edition Suhrkamp), Frank• Furt 1967
    Notes References to Brecht's works in German text are generally to the collected edition in 20 volumes: Bertolt Brecht: Gesammelte Werke (werkausgabe edition suhrkamp), Frank­ furt 1967. Except in the case of the plays dealt with in detail in this book, the volume number is quoted first, the page following after a comma •. thus: 15, 174. It is difficult to date many of Brecht's texts, so I have dispensed with dates, but it may be useful to the reader to know that a single, very approximately chrono­ logical sequence runs through volumes 8-10 (poems), another through volumes 15-16 (essays on theatre), another through volumes 18-19 (essays on literature and art) and another through volume 20 (essays on politics); and that these groups of volumes are (like volumes 1-7, plays) through-paginated. Thus: vol. 8 pp. 1-424, poems 1913-33. val. 9 pp. 425-822, poems 1933-41. vol. 10 pp. 823-1082, poems 1941-56. vol. 15 pp. 1-498, theatre essays 1918-1942. vol. 16 pp. 499-942. theatre essays 1937-1956. vol. 18 pp. 1-284,literary essays 1920-1939. vol. 19 pp. 285-556,literary essays 1934-1956. val. 20 pp. 1-350, political essays 1919-56. His journals are quoted in the editions Bertolt Brecht: Arbeitsjournal, 2 vols., Frankfurt 1973 (abbreviated Ai .; my translations from it retain Brecht's private convention of not capitalising) and Bertolt Brecht: Tagebucher 1920-1922. Autobiographische Aufzeichnungen 1920-1954, ed. Herta Ramthun, Frankfurt 1975 (abbreviated Tb.). Theoretical works and poems contained in the following editions are quoted from them: 176 Notes Bre(:ht on Theatre- The Development of an Aesthetic, ed.
    [Show full text]
  • Salomé Auf Der Flucht. Tilla Durieux Und Das Exil Deutschsprachiger Schauspielerinnen in Der Schweiz 2002
    Repositorium für die Medienwissenschaft Astrid Pohl Salomé auf der Flucht. Tilla Durieux und das Exil deutschsprachiger Schauspielerinnen in der Schweiz 2002 https://doi.org/10.25969/mediarep/1514 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Pohl, Astrid: Salomé auf der Flucht. Tilla Durieux und das Exil deutschsprachiger Schauspielerinnen in der Schweiz. In: Augen-Blick. Marburger Hefte zur Medienwissenschaft. Heft 33: Flucht durch Europa. Schauspielerinnen im Exil 1933-1945 (2002), S. 71–107. DOI: https://doi.org/10.25969/mediarep/1514. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under a Deposit License (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, Gewährt wird ein nicht exklusives, nicht übertragbares, non-transferable, individual, and limited right for using this persönliches und beschränktes Recht auf Nutzung dieses document. This document is solely intended for your personal, Dokuments. Dieses Dokument ist ausschließlich für non-commercial use. All copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute, or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. dieses Dokument für öffentliche oder kommerzielle Zwecke By using this particular document, you accept the conditions of vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder use stated above.
    [Show full text]
  • Schauspieler
    SCHAUSPIELER Wien („Heldenplatz“). Seit 1999 ist sie bei Peymann am Berliner Ensemble. Gastrolle: „Clowns“ in Zürich, in der Inszenierung von George Tabori. Eleonore Zetzsche war neben ihrer Bühnenkarriere auch in verschiedenen Film- und Fernsehproduktionen zu sehen wie „Liebe deinen Nächsten“ (Regie: Detlev Buck) und „Praxis Bülowbogen“ (TV). Eleonore Zetzsche wurde insgesamt viermal von „Theater Heute“ als beste Schauspielerin des Jahres ausgezeichnet, für „Vor dem Ruhestand“ und für „Eines langen Tages Reise in die Nacht“ (Regie: Michael Gruner), „Regina Madre“ und ELEONORE ZETZSCHE (U.S. ALMA) „Nur Wir“ von Ulla Berkewics (Regie: Jürgen Kaizig), alle am Eleonore Zetzsche war bereits 1998 Alma Mahler-Werfel im Schauspiel Frankfurt. Sanatorium Purkersdorf in Wien und spielte die Titelrolle erneut, nunmehr als 127jährige Alma, im Jubiläumsjahr Zur Zeit ist Eleonore Zetzsche am BE in dem bezaubernden 2005 im Schloss Petronell bei Wien. Liederabend „Leise flehen meine Lieder“ (zusammen gestellt von Hermann Beil) und am Bochumer Schauspielhaus in „A Geboren 1919 in Leipzig begann Zetzsches Karriere vor Kiss is just a Kiss“ zu sehen. mehr als 50 Jahren am Berliner Ensemble, wohin sie 1949 von Bertolt Brecht engagiert wurde. Dort spielte sie in Brechts legendärer Inszenierungen von „Mutter Courage“ mit Helene Weigel die Kurtisane Yvette, in „Herr Puntila und sein Knecht Matti“ mit Therese Giehse und mit Leonard Steckel in „Der Hofmeister“ nach Lenz. Es folgte ein Gesangsstudium bei Elisabeth Schwartzkopf. In den Sechziger Jahren war sie Mitglied im berühmten Ensemble von Hans Schalla in Bochum und spielte mit Hannes Messemer und Rolf Boysen in Schallas Inszenier- ungen „Wer hat Angst vor Virginia Woolfe“, „Eines langen Tages Reise in die Nacht“ und „König Johann“ von WIEBKE FROST (ALMA 2) Shakespeare.
    [Show full text]
  • Die Bürgschaft
    Volume 16 Kurt Weill Number 1 Newsletter Spring 1998 Die Bürgschaft Then and Now In this issue Volume 16 Kurt Weill Number 1 Die Bürgschaft: Then and Now Newsletter Spring 1998 Die Bürgschaft in 1998: A Passion Play for the Twentieth Century 4 Jonathan Eaton Parable 6 Synopsis 6 ISSN 0899-6407 Excerpt from Portrait of a Quiet Man 7 Felix Jackson © 1998 Kurt Weill Foundation for Music 7 East 20th Street Kurt Weill: Concerning Die Bürgschaft 8 New York, NY 10003-1106 Stephen Hinton tel. (212) 505-5240 A Review of Die Bürgschaft in Bielefeld 10 fax (212) 353-9663 Horst Koegler A Question of Baloney: The Search for a Lost The Newsletter is published to provide an open forum Translation of The Seven Deadly Sins 12 wherein interested readers may express a variety of opin- Adam Pollock ions. The opinions expressed do not necessarily represent the publisher’s official viewpoint. The editor encourages the Books submission of articles, reviews, and news items for inclusion in future issues. Bertolt Brecht and Critical Theory: Marxism, Modernity and the Threepenny Lawsuit by Steve Giles 14 Michael Morley Staff Enchanted Evenings: The Broadway Musical from Show David Farneth, Editor Lys Symonette, Translator Boat to Sondheim by Geoffrey Block 15 Foster Hirsch Edward Harsh, Associate Editor Dave Stein, Production Joanna Lee, Associate Editor Brian Butcher, Production Performances The Threepenny Opera in Philadelphia 16 Susan Gould Trustees of the Kurt Weill Foundation Der Silbersee in Freiburg 17 Kim Kowalke, President Paul Epstein Elisabeth Schwind Lys Symonette, Vice-President Walter Hinderer Recordings Philip Getter, Vice-President Harold Prince Guy Stern, Secretary Julius Rudel Johnny Johnson (Cohen) 18 John Andrew Johnson Milton Coleman, Treasurer Bertolt Brecht: Werke, eine Auswahl 20 Eric Bentley String Quartet No.1, op.
    [Show full text]
  • German-American Embodiment in the Dance Works of Valeska Gert, Lotte
    CROSSING THE BORDERS OF GERMAN AND AMERICAN MODERNISM: EXILE AND TRANSNATIONALISM IN THE DANCE WORKS OF VALESKA GERT, LOTTE GOSLAR, AND POLA NIRENSKA DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Karen A. Mozingo, M.A., M.F.A. * * * * * The Ohio State University 2008 Dissertation Committee: Approved by Dr. Lesley Ferris, Advisor Dr. Sheila Marion Dr. Joy Reilly ________________________ Advisor Theatre Graduate Program Copyright by Karen A. Mozingo 2008 ABSTRACT “Crossing the Borders of German and American Modernism: Exile and Transnationalism in the Dance Works of Valeska Gert, Lotte Goslar, and Pola Nirenska,” focuses on three German dancers who fled into American exile as a result of Hitler’s rise to power in 1933. Valeska Gert’s exile cabarets created a multiracial and transsexual space in which her own exile and artistic identity could take shape. Lotte Goslar used clowning and fairy tales to subvert conventional images of women in dance and theatre. Pola Nirenska used dance to renarrate her history and connect her to the larger community of Holocaust survivors. Though a handful of established dancers in German dance history, like Mary Wigman or Gret Palucca, have received the attention of scholars since World War II, the careers of many exiled dancers have not been studied. Scholars have studied the contributions of some of the major women in American modern dance—Martha Graham, Doris Humphrey—but their careers do not reveal the full history of women in American modern dance. Both American and German dance scholarship has developed within the boundaries of a constricted idea of national and artistic identities, resulting in the omission of artistic influences that flowed in both directions over the Atlantic.
    [Show full text]