Comparative Studies on the Aesthetics and Politics of Performance in Europe, 1925-1945
\nEdited by G\u00fcnter Berghaus
\n304 pages, 45 photos, bibliog., index
\nISBN 978-1-57181-901-7 Pb $24.50\/\u00a314.95 Published ( 1995)
\nISBN 978-1-57181-877-5 Hb $59.95\/\u00a340.00 Published ( 1995)<\/p>\n
„… [an] important and well-compiled collection … Berghaus‘ superb introductory piece reminds us how severely distorted the lens through which we regard these troubling two decades has become … [he] seeks … to enlist the relatively new discipline of ‚theatre anthropology‘ [and] the results are most impressive.“
\n\u00b7 German Studies Review<\/p>\n
„… an important addition to the literature … a fascinating, authoritative and highly informative collection of essays which will prove invaluable both to the specialist and the student reader.“ \u00b7 Theatre Research International<\/p>\n
„… represents a fresh perspective on fascist theatre history … a valuable source book on the politics … achieves a searching comparative perspective on the phenomenon of Fascist aesthetics and theatrics … and will be useful both to all students of Fascism and … students of the performing arts.“ \u00b7 The International History Review<\/p>\n
Since the 1920s, an endless flow of studies has analyzed the political systems of fascism, theseizure of power, the nature of the regimes, the atrocities committed, and, finally, the wars waged against other countries. However, much less attention has been paid to the strategies of persuasion employed by the regimes to win over the masses for their cause. Among these, fascist propaganda has traditionally been seen as the key means of influencing public opinion. Only recently has the „fascination with Fascism“ become a topic of enquiry that has also formed the guiding interest of this volume: it offers, for the first time, a comparative analysis of the forms and functions of theater in countries governed by fascist or para-fascist regimes. By examining a wide spectrum of theatrical manifestations in a number of States with a varying degree of fascistization, these studies establish some of the similarities and differences between the theatrical cultures of several cultures in the interwar period. G\u00fcnter Berghaus received his Ph.D. in Theatre Studies and his Habilitation from the Free University of Berlin, he taught at the University of London and now holds a Readership in Theatre History and Performance Studies at the University of Bristol.<\/p>\n
Table of Contents
\nChapter 1. R. Griffin: Staging the Nations Rebirth: The Politics and Aesthetics of Performance in the Context of Fascist Studies
\nChapter 2. R. K\u00fchnl: The Cultural Politics of Fascist Governments
\nChapter 3. G. Berghaus: The Ritual Core of Fascist Theatre: An Anthropological Perspective
\nChapter 4. E. Gentile: The Theatre of Politics in Fascist Italy
\nChapter 5. D. Thompson: The Organization, Fascistization and Management of Theatre in Italy, 1925-43
\nChapter 6. P. Cavallo: Theatre Politics of the Mussolini Regime and their Influence on Fascist Drama
\nChapter 7. M. Verdone: Mussolini’s „Theatre of the Masses“
\nChapter 8. B. Panse: Censorship in Nazi Germany: The Influence of the Reich’s Ministry of Propaganda on German Theatre and Drama, 1933-1945
\nChapter 9. B. Sch\u00fcltke: The Municipal Theatre in Frankfurt-on-the-Main: A Provincial Theatre under National Socialism
\nChapter 10. H.-U. Thamer: The Orchestration of the National Community: The Nuremburg Party Rallies of the NSDAP
\nChapter 11. S. Wahnon: Theatre and Falangism at the Beginning of the Franco Regime
\nChapter 12. J. London: Competing Together in Fascist Europe: Sport in Early Francoism
\nChapter 13. S. Added: Jacques Copeau and „Popular Theatre“ in Vichy France
\nChapter 14. E. Levi: Towards an Aesthetics of Fascist Opera
\nBibliography
\nIllustrations
\nIndex<\/p>\n
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