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The Nazis burned books and banned much modern art. However, few people know the fascinating story of German modern dance, which was the great exception. Modern expressive dance found favor with the regime and especially with the infamous Dr. Joseph Goebbels, the Minister of Propaganda. How modern artists collaborated with Nazism reveals an important aspect of modernism, uncovers the bizarre bureaucracy which controlled culture and tells the histories of great figures who became enthusiastic Nazis and lied about it later. The book offers three perspectives: the dancer Lilian Karina writes her very vivid personal story of dancing in interwar Germany; the dance historian Marion Kant gives a systematic account of the interaction of modern dance and the totalitarian state, and a documentary appendix provides a glimpse into the twisted reality created by Nazi racism, pedantic bureaucrats and artistic ambition.
Annotation Includes eleven essays on prewar theatre in Hitler's Germany, including analyses of Nazi ideology, popular dramatists, an actor, directors, specific theatres, a national theatre festival, Jewish theatre, and theatre in concentration camps.
When the National Socialist German Workers' party (Nazis) assumed power they vowed to cleanse the German theater of all things "un-German," which ostensibly included comedy. During the Third Reich nearly all German theaters, supported by enormous state funding, presented thousands of comedy productions. Perhaps it was a propaganda tool, however only a tiny fraction of these productions were outright propagandist efforts. French playwright and filmmaker, Marcel Pagnol described laughter as a "song of triumph... that] expresses the laugher's sudden discovery of his own momentary superiority over the person at whom he is laughing. That explains burst of laughter in all times in all countries." Hitler and his followers gladly embraced this triumphal expression. Yet, what did this laughter mean to the Nazi agenda and in what ways did it undermine its goals? Hitler Laughing offers insight into the world of comedy during the Third Reich and its role in the Nazi cultural agenda.
Adolf Hitler admired ancient Rome as the "crystallization point of a world empire," a capital with massive public monuments that reflected the supremacy of the State and the political might of the ancient world's "master-race." He also admired the way Mussolini turned the monuments of imperial Rome into validatory symbols of Fascism. Hitler planned a Reich that would be a as durable as the Roman Empire. Its capital, Berlin, would surpass the architectural magnificence of ancient Rome before the advent of Christianity as its official religion. This book examines Hitler's views on Roman imperialism, town planning, and architecture, and shows how Albert Speer, though a self-confessed student of "Doric" architecture, planned and sometimes built structures that were intended to rival such monuments as Nero's Golden House, Hadrian's Pantheon, and the Stadium of Herodes Atticus at Athens. Other architects, such as Ludwig Ruff and Cäsar Pinnau, were to plan structures inspired by the Colosseum and the Baths of Caracalla. The ancient Roman obsession with order, discipline, and the domination of the environment is clearly reflected in the town plans and public buildings conceived by Hitler and his architects. We see that "neoclassical" state architecture in Nazi Germany was intended to signify more than stability and the persistence of tradition. It was only one aspect of the Nazi attempt to re-create a "pagan" totalitarian state based on clearly defined forms of hierarchy that divided society into slaves and slave-owners, those with and those without human rights.
Lisa Pine's Hitler's 'National Community' explores German culture and society during the Nazi era and analyses how this impacted upon the Germany that followed this fateful regime. Drawing on a range of significant scholarly works on the subject, Pine informs us as to the major historiographical debates surrounding the subject whilst establishing her own original, interpretative arc. The book is divided into four parts. The first section explores the attempts of the Nazi regime to create a Volksgemeinschaft ('national community'). The second part examines men, women, the family, the churches and religion. The third section analyses the fate of those groups that were excluded from the Volksgemeinschaft. The final section of the book considers the impact of the Nazi government upon German culture, in particular focusing on the radio and press, cinema and theatre, art and architecture, music and literature. This new edition includes historiographical updates throughout, an additional chapter on the early Nazi movement and brand new primary source excerpt boxes and illustrations. There is also expanded material on key topics like resistance, women and family, men and masculinity and religion. A crucial text for all students of Nazi Germany, this book provides a sophisticated window into the social and cultural aspects of life under Hitler's rule.
"Revealing the complex interplay between history and human lives under conditions of duress, Rebecca Rovit focuses on the eight-year odyssey of Berlin's Jewish Kulturbund Theatre. By examining why and how an all-Jewish repertory theatre could coexist with the Nazi regime. Rovit raises broader questions about the nature of art in an environment of coercion and isolation, artistic integrity and adaptability, and community and identity."--BACK COVER.
In Becoming Hitler, Thomas Weber continues from where he left off in his previous book, Hitler's First War, stripping away the layers of myth and fabrication in Hitler's own tale to tell the real story of Hitler's politicization and radicalization in post-First World War Munich. It is the gripping account of how an awkward and unemployed loner with virtually no recognizable leadership qualities and fluctuating political ideas turned into thecharismatic, self-assured, virulently anti-Semitic leader with an all-or-nothing approach to politics with whom the world was soon to become tragically familiar. As Weber clearly shows, far from the picture of afully-formed political leader which Hitler wanted to portray in Mein Kampf, his ideas and priorities were still very uncertain and largely undefined in early 1919 - and they continued to shift until 1923.
A strategic analysis of the Nazi high command’s decisions in the north, from “an established scholar of the Scandinavian theater” (Publishers Weekly). One of the prominent controversies of World War II remains the debate over Germany’s strategy in the north of the Soviet Union as the tide of war turned and gigantic Russian armies began to close in on Berlin. Here, Henrik Lunde—former US Special Forces officer and author of renowned works on the campaigns in Norway and Finland—turns his sights to the withdrawal of Army Group North. Applying cool-headed analysis to the problem, the author first acknowledges that Hitler—often accused of holding on to ground for the sake of it—had valid reasons in this instance to maintain control of the Baltic coast. Without it, his supply of iron ore from Sweden would have been cut off, German naval U-boat bases would have been compromised, and an entire simpatico area of Europe—including East Prussia—would have been forsaken. On the other hand, Germany’s maintaining control of the Baltic would have meant convenient supply for forces on the coast—or evacuation if necessary—and, perhaps most important, remaining German defensive pockets behind the Soviets’ main drive to Europe would tie down disproportionate offensive forces. Stalwart German forces remaining on the coast and on their flank could break the Soviet tidal wave. However, unlike during today’s military planning, the German high command, in a situation that changed by the month, had to make quick decisions and gamble, the fate of hundreds of thousands of troops and the entire nation at stake on quickly decided throws of the dice. In this book, both combat and strategy are described in the final stages of the fighting in the Northern Theater with Lunde’s even-handed, thought-provoking analysis of the campaign a reward to every student of World War II. Includes maps.
Jay W. Baird demonstrates how poets and writers responded enthusiastically to Hitler's summons to artists to create a cultural revolution commensurate with the political radicalism of the new state.
Analyzes how the Nazi past has become increasingly normalized within western memory since the start of the new millennium.