Sex and Satire in the Weimar Republic

Sydney Kightlinger

HIS 315

September 23, 2019

Emerging out of extreme political turmoil, the Weimar Republic (1919-1933) was a great experiment. With the nation in fractions, most notably from the reading, a decision to pull towards communism like Russia or counteract with a plethora of other ideologies, a great movement of expression appeared. Although there had been cabarets (or nightclubs) in Germany prior to the turn of the century, the use of the stage, during and into the 1920s varied in numerous ways.

To focus on Jelavich ‘s chapter five “Political Satire in the Early Weimar Republic,” the years immediately following the war leading to 1925 lead to a temporary resurgence of the cabaret. Satire infested the acts of the stage due to what as Jelavich attributes to as, “the discrepancies between ideals and realities, that contradiction offered a field that humorists cultivated with ease” (130). However, eventually the satire inclination towards satirical humor began to wan as the living conditions ceased to improve.

For the remainder of the Weimer Republic audiences wanted a spectacle. Revues, or variety shows (which could be salacious), came into fashion because they provided just that. The discussion of whether dancing women, nude or not, lead to a discussion over whether these performers where being hyper sexualized or expressive artists. With all of this commotion, this decade leaves an impact. Let’s discuss how with these questions:

1. What are the complications for artistic society of the politically divided Weimar Republic?

2. Arguably, the artistic enveloped is pushed further after WWI. How did the lack of censorship change the cultural scene?

3. The book briefly mentions a rise of anti-Semitic behavior, how was creative expression used by some to make anti-Semitic statements (Bonus question: Do artists have a responsibility to society to insure they are producing non-bigoted work?)

4. How does authority (or lack of it) shape the Weimar Republic?

5. What role does economics following the war play in the republic’s entertainment consumption?

6. In regard to the law code, what do we think of the regulation of naked women’s bodies in respect to 19th century art?

7. What are the most prominent aspect of American culture that penetrated German art, and how do they effect German sensibilities?

8. In what ways did the cinema and revues work against each other? Is this always the case, or is it the result of a specific market?

9. How is the art of the Weimar Republic a glaring example of modernity? (Is it? The book seems to believe so.)

10. What does marketing kicklines as “purer” than a one-woman show say about the era?

3 Replies to “Sex and Satire in the Weimar Republic”

  1. I think the authority (or lack there of) of the Weimar regime really shaped this artistic era into something extremely iconic and unforgettable. The previous regime was much more strict, so expression was limited as well as anything provocative was not allowed. With this being said, the “freedom” of the Weimar regime allowed for people to express themselves artistically in ways that couldn’t have been done before. For example, Cabarets in Germany actually resembling traditional French Cabarets without censorship. The Cabarets were not just for entertainment, but they also provided Germans with an outlet for political expression and critiques.

  2. 1. Due to the financial troubles growing in the Weimar Republic and the restrictions on the art allowed to be performed, the artistic society, particularly in theater, faced growing complications. With inflation rising and rationing pushed on the citizens, the majority of people could not afford to attend these shows and audience numbers dwindled. While some, like Rudolf Nelson, still managed to run successful shows, the audience consisted of “members of the middle classes as well as a small number of officers, NCOs, and enlisted personnel” as well as “better women of the demimonde” (122).
    In addition to the financial struggles endured by the people, there was a growing push towards nationalism, specifically due to the ensuing war. As such, just as we have seen with the Soviet Union, the Weimar Republic wished to utilize music as a tool in the war effort. Not only was music used to inspire those actually fighting in the war, but the Republic aimed to target the home front by encouraging citizens to contribute by doing things such as subscribing to war loans or donating time and possessions. Certain topics were off limits and censorship only grew, so despite the efforts made by entertainers to “make the best of an increasingly bad situation,” it is doubtful that the audience was convinced by the new music.
    Ultimately, with conditions of the Weimar Republic only worsening as the war went on for many citizens, people largely became divided and this can be seen in the divides in music and other forms of art. With prorepublican, antinationalist writers and performers facing growing competition from conservative competitors who attracted larger audiences due to the interests of the people that could actually afford to see the shows, the artistic community was left divided as was the country. As such, those who could afford theater only attended shows that cemented their own views, only increasing the growing divide and contempt in the Weimar Republic.

  3. I definitely agree with Sydney’s statement that this decade leaves an impact, because there were just so many things tried and brought to the table that it is hard not to say that this decade could simply be forgotten. Also with thinking back to Russia and how the arts were monitored so much more than, I think that this, kind of, freedom that was created with the arts (to perform satires and acts that were making fun of some cultures) helped to really make this era so distinct and impactful. People could finally be and do whatever they wanted to be and do…(even if that was sometimes dancing naked or making fun of the Jews).

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