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This book examines the institutional contexts of dramaturgical
practices in the changing political landscape of 20th century
Germany. Through wide-ranging case studies, it discusses the way in
which operationalised modes of action, legal frameworks and an
established profession have shaped dramaturgical practice and thus
links to current debates around the “institutional turn” in
theatre and performance studies. German theatre represents a rich
and well-chosen field as it is here where the role of the dramaturg
was first created and where dramaturgy played a significantly
politicised role in the changing political systems of the 20th
century. The volume represents an important addition to a growing
field of work on dramaturgy by contributing to a historical
contextualisation of current practice. In doing so, it understands
dramaturgy not only as a process which occurs in rehearsal rooms
and writers’ studies, but one that has far wider institutional
and political implications.
The Second World War went beyond previous military conflicts. It
was not only about specific geographical gains or economic goals,
but also about the brutal and lasting reshaping of Europe as a
whole. Theatre in Europe Under German Occupation explores the part
that theatre played in the Nazi war effort. Using a case-study
approach, it illustrates the crucial and heavily subsidised role of
theatre as a cultural extension of the military machine, key to
Nazi Germany's total war doctrine. Covering theatres in Oslo, Riga,
Lille, Lodz, Krakau, Warsaw, Prague, The Hague and Kiev, Anselm
Heinrich looks at the history and context of their operation; the
wider political, cultural and propagandistic implications in view
of their function in wartime; and their legacies. Theatre in Europe
Under German Occupation focuses for the first time on Nazi
Germany's attempts to control and shape the cultural sector in
occupied territories, shedding new light on the importance of
theatre for the regime's military and political goals.
Dr Heinrich takes Yorkshire and Westphalia as his two
representative regions, detailing the history of theatre in York,
Hull, Sheffield, Bradford and Leeds as well as in Munster,
Dortmund, Hagen, Bielefeld and Bochum. Dr Heinrich moves from the
histories and repertoires of individual theatres to examine their
social function, with interesting results. The perception of
theatre in Britain changed dramatically during the War years:
suddenly the British government became interested in influencing
the arts and introduced state subsidies on an unprecedented scale.
At the heart of the new policy was not only the belief that theatre
could play an important role in the war effort (as both
entertainment and education) but also a concept of municipal
theatre provision which was, in effect, similar to that which
already prevailed in Germany.In Germany, despite claims by the
Nazis that theatre programmes must reflect National-Socialist
ideas, regional repertoires remained largely unchanged from the
days of the Weimar Republic, with comedies, farces and operettas
designed to appeal to public taste. In successfully challenging
dominant views regarding the alleged fundamental differences
between British and German theatre, Dr Heinrich's findings mean
that, to an extent, a key chapter in European theatre history must
be rewritten.
The Second World War went beyond previous military conflicts. It
was not only about specific geographical gains or economic goals,
but also about the brutal and lasting reshaping of Europe as a
whole. Theatre in Europe Under German Occupation explores the part
that theatre played in the Nazi war effort. Using a case-study
approach, it illustrates the crucial and heavily subsidised role of
theatre as a cultural extension of the military machine, key to
Nazi Germany's total war doctrine. Covering theatres in Oslo, Riga,
Lille, Lodz, Krakau, Warsaw, Prague, The Hague and Kiev, Anselm
Heinrich looks at the history and context of their operation; the
wider political, cultural and propagandistic implications in view
of their function in wartime; and their legacies. Theatre in Europe
Under German Occupation focuses for the first time on Nazi
Germany's attempts to control and shape the cultural sector in
occupied territories, shedding new light on the importance of
theatre for the regime's military and political goals.
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