By Deborah Holmes, Lisa Silverman (editors)
Even though beset via social, political, and monetary instabilities, interwar Vienna was once a thrilling position, with pioneering advancements within the arts and strategies within the social sphere. study at the interval lengthy observed town as an insignificant shadow of its former imperial self; extra lately it has targeting high-profile person figures or celebration politics. This quantity of recent essays widens the spectrum, stretching disciplinary obstacles to contemplate the cultural and social pursuits that formed town. The cave in of the Austro-Hungarian Empire resulted no longer in an abandonment of the humanities, yet quite resulted in new different types of expression that have been however conditioned through the legacies of prior classes. The city's tradition was once stuck among extremes, from neopositivism to cultural pessimism, Catholic mysticism to Austromarxism, past due Enlightenment liberalism to rabid antisemitism. targeting the paradoxes and infrequently effective tensions that those created, the volume's 11 essays discover achievements and anxieties in fields starting from glossy dance, theater, song, movie, and literature to financial, cultural, and racial coverage. the amount will entice social, cultural, and political historians in addition to to experts in glossy ecu literary and visible tradition. Deborah Holmes is a researcher on the Ludwig Boltzmann Institute for the background and conception of Biography in Vienna. Lisa Silverman is Assistant Professor of heritage and Jewish experiences on the college of Wisconsin-Milwaukee.
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Extra info for Interwar Vienna: Culture between Tradition and Modernity (Studies in German Literature Linguistics and Culture)
However, thanks to the appointment in 1932 of the experienced German theater practitioner Hermann Röbbeling as director, the state-run Burgtheater and Akademietheater were able to maintain a successful repertoire while paying attention to the requirements of the corporate state.
Ralph Benatzky and Robert Stolz moved to the German capital, where their works were premiered alongside those of Franz Lehár, rather than in Vienna, as 24 had been the custom. If moving northward for some was purely a matter of career opportunities, others left because of antisemitism. For example, the gifted director and filmmaker Max Ophüls emigrated in 1927 after just one season at the Burgtheater in 1925–26. Conservatism in the visual arts led the avant-gardist Friedrich Kiesler to leave for Paris and the United States after completing his work for the 1924 Music and Theater Festival, while talented artist, illustrator, and stage designer Harry Täuber (the nearest Vienna had to Berlin’s George Grosz) left for Germany in 1926, never to return.
A more comprehensive diagram would also be needed to incorporate the economic dimensions of cultural life. By contrast with the period around 1900, the political parties were now vital sources of patronage, especially the Social Democratic–led municipal government of Vienna. The Kunststellen of the various factions played a decisive role, as did the feuilleton editors of ideologically committed newspapers like the Arbeiter-Zeitung. But it would also be necessary to identify a new generation of individual paymasters.