Das (Musik-)Theater in Exil und Diktatur

Viac o knihe

Georg Kreisler reflects on his experiences as a cabaret artist and songwriter, while Karl Mueller explores the online project dedicated to Austrian writers in exile. Primavera Gruber discusses the Orpheus Trust, focusing on music in exile and persecuted musicians. Stefan Tilg analyzes political propaganda in Jesuit drama, and Helmut Schanze examines Heinrich Heine's role as a theater critic. Wolfgang Schild critiques Wagner’s “Meistersinger” as a Nazi celebration, while Derek Scott highlights the influence of Black performance on 19th-century theater. Hermann Jung looks at Jacques Offenbach's “Orphee aux Enfers,” and Tobias Klein reviews Offenbach productions in post-war Berlin. Thomas Schipperges addresses the intersections of Offenbach, antisemitism, and Nazism. Albert Gier discusses Raoul Gunsbourg and the Monte Carlo Opera, and Theo Hirsbrunner covers Igor Stravinsky in Switzerland. Tschoerner and Gier detail Arturo Toscanini’s fight against fascism, while Seiji Choki examines Manfred Gurlitt's impact in Japan. Arne Stollberg and Oswald Panagl focus on Erich Wolfgang Korngold and the Korngold family's experiences in 1938. Other contributors analyze figures like Kurt Weill, Walter Braunfels, and Hans Krasa, as well as the influences of composers like Béla Bartók and Sergei Prokofiev. The text also touches on themes of exile and dictatorship, with insights into the German-speaking emigrant film in Austria and the evolution o