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Mushroom Age Lösung

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See Gaspare Giudice, Pirandello: A Biography, trans. Alastair Hamilton London: Oxford University Press , Gilbertini, La Tribuna November 27, in Pirandello, Saggi e interviste, For a performance history of the play, see Jennifer Lorch, Pirandello: Six Characters in Search of an Author Cambridge: Cambridge University Press, Tinterri, Savinio e lo spettacolo, April 3, , Il Tevere, in PC, Bassnett and Lorch , Documentary, Luigi Pirandello, La Sagra, Corrado Alvaro, Cronache e scritti teatrali Rome: Edizioni Abete, , 76; Bassnett and Lorch, Documentary, See in particular Emilio Gentile, Il culto del littorio Rome: Laterza, [] , in English, The Sacralization of Politics in Fascist Italy, trans.

Keith Botsford Cambridge, MA: Harvard University Press, Alvaro, Cronache e scritti teatrali, April 12, , in PC, Mussolini, in his interviews with Emil Ludwig.

Emil Ludwig, Colloqui con Mussolini ; Milan: Mondadori, , Yvon De Begnac, Taccuini Mussoliniani, ed. Francesco Perfetti ; Bologna: Mulino, , An early adherent of the PNF, he had written a successful biography of il duce in and was close enough to Mussolini to facilitate communication between him and Pirandello in the early stages of their collaboration.

Bontempelli would be a vocal devotee of Mussolini for at least the first decade of his rule; il duce, in turn, enthusiastically praised him throughout the years and personally pushed for his nomination to the Royal Academy of Italian Intellectuals in Massimo Bontempelli, Il Neosofista e altri scritti Milan: Mondadori, , Mussolini, Opera Omnia, vol.

Marco Praga, Cronache teatrali Milan: Treves, , June 29, , quoted in PC, Lorch, Pirandello, See Documentary, Excerpt translated in Love Letters, The complete set of letters, with the exception of a handful the Pirandello Estate did not authorize, can be found in Luigi Pirandello, Lettere a Marta Abba, ed.

Benito Ortolani Milan: Mondadori, The Gruppi Universitari Fascisti sponsored various cultural activities, including film and theater groups.

For the crowds of La Sagra e Gli dei, Pirandello used students from the Santa Cecilia acting academy, in part of an attempt to give students professional experience alongside academic instruction.

Translated in Jeffrey T. Gentile, Origini, Ferdinando Taviani, Uomini di scena, uomini di libro: La scena sulla coscienza ; Rome: Officina, , Trapped in France after the Nazi invasion in , Hasenclever committed suicide.

Bronnen was from his teenage years attracted to both extremes of the political spectrum. However, he quickly fell out of favor due to both the avant-garde form and lurid sexual content of his work.

In , Bronnen became a Communist, and after the war he enjoyed the support, if not perhaps the complete trust, of the GDR.

They not only expose the deficiencies of the legal system and the bourgeois order it supports, but they attack law and authority in any form.

This chapter examines the plays against the broader context of early twentieth-century avant-garde performance and German politics. During this era, invocations of aesthetic and political violence intertwine in the writings of both theater artists and vanguardist politicians.

Goebbels paints war in apocalyptic terms, as violence so extreme and complete as to baffle the imagination. Intensity, grandeur, and boundlessness are all characteristic of the sublime.

First appearing in a Roman treatise describing a particularly heightened rhetorical style, the concept of the sublime emerged in its modern form during the eighteenth century.

Immanuel Kant and Edmund Burke, two of its earliest and most important theorists, describe it as an aesthetic response to experiences of limitlessness.

From the fourteenth century until late in the nineteenth, European theater also became increasingly representational, in the sense that it aimed for increasing illusionism.

Hasenclever and Bronnen portray patricide as an act of war generating a sublime, nonrepresentational mode of both politics and performance.

In the process, they reveal troubling affinities with key currents in interwar right-wing German thought, including Nazism, which likewise hailed war as a sublime event forging forms of performance and politics beyond representation.

Politics as War Zone The Son and Patricide hover on the border between avant-garde experiment and nineteenth-century illusionism.

Yet as Patricide progresses, the repetitions and ellipses increasingly signal not the hesitations of everyday speech, but the distortion and collapse of language under an overwhelming emotional onslaught.

Surrealism expects nothing save from violence. They portray such situations as generating the sublime, suggesting that they possess an authenticity and intensity that resist any form of limitation or mediation.

Marinetti, Artaud, and Breton want to capture these qualities in theatrical performance. At the same time, they see actual war as both the supreme political act and ultimate avant-garde performance.

While Hasenclever expresses himself in a more measured manner, he too suggests that patricide releases his protagonist from all restraints. The patricides achieve this effect within their respective dramas.

Anticipating subsequent generations of performance artists, the Son performs himself. The story of suffering he relates is his own personal history; the scars he shows the crowd are real, not stage makeup.

Hasenclever and Bronnen represent the patricides not simply as bids for individual liberation, but as acts of revolutionary warfare.

In the modern West, supreme political authority typically rests with centralized states. At the same time, it delegitimizes violence deployed by those not acting as representatives of the state.

The Father resorts to having his Son arrested and returned home by the police because he has lost the ability to control the Son on his own.

Fessel senior is determined to turn Walter into a lawyer because he wants his son to represent the downtrodden in their grievances against the rich and powerful, and so gain retribution for the hardships Fessel and his family have suffered.

While the Father and Fessel permit the state to represent them against their enemies, Walter and the Son take violence into their own hands.

In doing so, the protagonists transform the political realm into a war zone. Wars occur in situations where a monopoly on violence, and hence a sovereign political authority, are absent.

And as Hobbes observes, there is no monopoly on violence in the international arena: nation-states exist in the same anarchic relationship to each other as do individuals in the mythical state of nature.

The playwrights depict this transposition as an act of liberation. However, the sublime conception of freedom that he and Bronnen herald bears little resemblance to that found within the liberal democratic tradition, where the state maintains a firm monopoly on violence and periodic elections are designed to substitute for armed conflict between opposing factions.

But while some anarchists condoned violence as a technique for achieving their political goals, major figures like Pierre-Joseph Proudhon and Mikhail Bakunin tended to picture a stateless society as the epitome of order and peace.

This is not an ideal that Hasenclever and Bronnen share. Instead, the playwrights are drawn to the moment of orgiastic violence itself, suggesting that war offers the only truly representation-free politics.

Such sentiments do play a significant role within a certain apocalyptic strain of late nineteenth- and early twentieth-century European political discourse, one that, at least initially, fostered uncanny affinities between the far Left and extreme Right.

In the years preceding World War I, a wide variety of political figures joined with the avant-gardes in suggesting that sublime violence could become the vehicle for a more authentic and vital form of politics than that found within the bourgeois legal state.

That we have so long failed to appreciate this, is proof how effeminate the science of the state as treated by the hands of civilians has finally become.

Life is built on cruelty, horror, force. Moreover, like the playwrights, he sees war as a sublime aesthetic and political event. Sorel insists on the importance of political myths as catalysts for revolutionary action.

A variety of interwar German intellectuals looked to the destruction and chaos of the recent war as a model for the kind of ethos they hoped to instill in postwar Weimar society.

Schmitt, who would go on to serve the Nazi regime, cites war as the basis for all genuine politics. Likewise the various large parties acknowledge the need to adopt means of power that express the fact that the battle of opinions will not be decided solely through votes and programs but also by the stalwarts committed to march in support of those programs.

By , 25 percent of all men between the ages of eighteen and twenty-five could claim membership in a paramilitary group.

The playwrights contribute to a broader shift in early twentieth-century German discourse, in which a paramilitary street-fighter might appear more admirable than the desk-bound parliamentarian, and bloodshed nobler than rational discussion and compromise.

Total Power, Total Theater Despite their longing for individual liberation, Hasenclever and Bronnen share a fascination with unlimited power, and suggest that, through patricide, their protagonists gain omnipotence.

In this dazzling nothingness, all and nothing are closely allied, since both are absolved from limits. It is for this reason that feeling utterly inconsiderable can tip over into a sense of omnipotence.

As previously noted, the speech breaks down the barrier between performer and audience, aesthetic event and lived experience.

However, this transformation does not enable the audience to challenge or critique the performance, but instead serves as a means for the performer to gain power over the audience.

The Son in turn asserts a similar form of control albeit half-unwittingly over the audience; while he does not literally hypnotize them, Hasenclever suggests that his performance achieves an equally mesmerizing effect.

Hasenclever and Bronnen depict the patricides themselves as even more emphatic performances of power. The Son and Walter force the fathers to participate in their performances.

They confirm their absolute power over their progenitors, wiping them out of existence. While presenting themselves as restoring order to the nation, they actually enshrined the limitlessness and lawlessness of war at the very heart of state authority, in a sovereign authority embodying unlimited power and unchecked violence.

While most of the party leadership shared an intense hostility toward modernist art and literature, Nazi rallies were, like many avant-garde performances, designed to dismantle any psychic barrier between the star performer and other participants.

Hitler describes speech-making in the way that Marinetti and Artaud describe the ideal performance: as both an artistic act and a form of assault.

It alone gives its chosen one the words which like hammer blows can open the gates to the heart of a people.

It overcomes the last rudiments of collapsing epochs and clears a free path for the future. There must be destruction if there is to be new creation.

Like Hasenclever and Bronnen, but on an exponentially grander scale, the Nazis viewed the ideal performance as an exercise in subjugation through annihilation.

It is a long way from patricide to world war; neither Hasenclever nor Bronnen advocate for anything like wholesale slaughter the Nazis engaged in.

Hasenclever, like several other expressionist dramatists, often dispenses with individual character names. In The Son, he designates the main characters by their relationship to the Son Friend, Governess, Father , except for the Son himself who, Hasenclever suggests, is defined by his relationship to the Father.

Unless otherwise noted, all translations from German are my own. Walter Sokel, The Writer in Extremis: Expressionism in Twentieth Century German Literature New York: McGraw-Hill, , Sokel, The Writer in Extremis, Roderick Stackelberg and Sally A.

Winkle London: Routledge, , Filippo Tommaso Marinetti, Selected Writings, ed. Flint, trans. Flint and Arthur A. Coppotelli New York: Farrar, Straus and Giroux, , 42, Edmund Burke, A Philosophical Inquiry into the Origin of Our Ideas of the Sublime and the Beautiful Oxford: Oxford University Press, , 67; Immanuel Kant, Critique of Judgment, trans.

Werner S. Pluhar Indianapolis: Hackett, , Walter Hasenclever, Dramen Berlin: Die Schmiede Verlag, , Marinetti, Selected Writings, Richard Seaver and Helen R.

Lane Ann Arbor: University of Michigan Press, , Sigmund Freud, Totem and Taboo: Some Points of Agreement between the Mental Lives of Savages and Neurotics, trans.

Arnold Bronnen, Vatermord, in Werke, vol. Hasenclever, Dramen, 56, Bronnen, Vatermord, Hasenclever, Dramen, Hasenclever, Dramen, , Thomas Hobbes, Leviathan New York: E.

Dutton, , Hasenclever, Dramen, , 53, ; Bronnen, Vatermord, Peter Vershov New York: Columbia University Press, , Georges Sorel, Reflections on Violence, trans.

Hulme New York: Peter Smith, , Sorel, Reflections on Violence, Sorel, Reflections on Violence, , , Carl Schmitt, The Crisis of Parliamentary Democracy, trans.

Kennedy Cambridge, MA: MIT Press, , Schmitt, The Concept of the Political, trans. George Schwab Chicago: University of Chicago Press, , Schmitt, Concept of the Political, Anton Kaes, Martin Jay, and Edward Dimendberg Berkeley: University of California Press, , Timothy S.

Brown, Weimar Radicals: Nazis and Communists Between Authenticity and Performance New York: Berghahn Books, , Brown, Weimar Radicals, Terry Eagleton, Holy Terror Oxford: Oxford University Press, , Carl Schmitt, Political Theology: Four Chapters on the Concept of Sovereignty, trans.

George Schwab Cambridge, MA: MIT Press, , Michael Burleigh, The Third Reich: A New History New York: Hill and Wang, , , , Adolf Hitler, Mein Kampf, trans.

Nevertheless, this quote seems revealing. Joseph Goebbels, quoted in James M. Rhodes, The Hitler Movement: A Modern Millenarian Revolution Stanford: Hoover Institution Press, , Albert Speer, Spandau: The Secret Diaries, trans.

Richard Winston and Clara Winston New York: Macmillan, , Yet in the history of vanguard movements in English fascism, such visions of political transcendence often collapse in performative failure.

This essay considers how the idealization of an imagined moment of vanguard performance entwines with the frequently disastrous history of the Far Right in English nationalism.

The fascist imaginary often conceives a transcendent moment of renewal and reinvention as if it were to come into being in a moment of revelatory presence built around a charismatic leader, the spearhead of the movement, before the body of its massing troops.

Lindbergh realizes the consummation of his political ambitions when he steps into the hall of the deadlocked Republican convention and seizes the chance to win the party nomination through his understanding of the potential of performance.

It is a compelling, convincing vision of what might have happened. The figure of Lindbergh is a familiar s icon of vaulting manhood.

He is the vanguard leader whose charisma is registered through acts of heroism, endurance, and pioneering achievement in physical, military, or aesthetic spheres.

A masculine figure such as Lindbergh, or the Italian air ace Italo Balbo whose formation of flying boats crossed the Atlantic in , is represented in the moment as a parapolitical animal, an enthusiastic innovator whose successes as explorer, warrior, or flyer illustrate his ability to pioneer and to inspire.

He was both a military leader and a participant in the experience and group identity of the common soldier, reverting to the ranks under an assumed name after the war in order to escape the pressures of celebrity.

Williamson had risen to prominence as a leading British prose embodier of a particular vision of rural order and natural essentialism, most celebratedly as the author of the novel Tarka the Otter.

According to Genius of Friendship, their letters were regular and, judging from the contents of those from which Williamson quotes, tended to the intense.

His experience of the Christmas truce suggested to him that the enemy was in fact a band of brothers like his own army and that both sides were manipulated and betrayed by those whose interests the war served.

This identification of a common identity and trauma between soldiers and their fellow combatants led him to the belief that Lawrence might share his sense of its potential to unify nations and to prevent war.

So far, so idealistic and even so communitarian. So that the sun should shine on free men! This event was also attended by a variety of British and American fellow-travelers, including Unity and Diana Mitford, sisters whose associations with fascism became notorious.

People on their feet, a roar of heil hitler! People sat down, like hundreds of thousands of friends, knowing each other, equal with the same trust.

I can only describe it this way, picking each word deliberately as I write. He padded into the cottage. His eyes and head moved with noticeable quickness.

He was instantly alert to what I said, he reacted to my every movement. He knew what I was going to say before I said it. His reflexes were extraordinarily quick and sensitive: quicksilver.

It was not noticeable. But at the time I did not have these thoughts or rather reflections; I formulated them later. All I felt at that moment was that, for the first time in my life, I was becoming real and strong.

The potential, as we shall see, for performance to fail, to be misread, poorly staged, interrupted, uncommunicative, inadequate, is a contemporary theoretical commonplace.

Brought into being as a reality, an imagined performance risks being undermined rather than ideally realized.

Mushroom Age Lösung

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