Book contents
- Frontmatter
- Contents
- List of Illustrations
- Preface
- Jewish Identities in German Popular Entertainment, 1890–1933
- Introduction: Past and Present
- I “PONIM ET CIRCENSES”: JEWISH IDENTITIES IN CIRCUS ENTERTAINMENT, 1870–1933
- II COMIC RELIEF: JEWISH IDENTITIES IN JARGON THEATER, 1890 TO THE 1920S
- III THE LONELINESS OF THE LIMELIGHT: JEWISH IDENTITIES IN REVUE THEATER, 1898–1933
- Introduction: Spectacular Berlin
- 9 The Metropol: Between Culture and Kapital
- 10 Leading Characters
- 11 Stardom and Its Discontents
- 12 The Art of Pleasing All
- Conclusion to Part III
- Conclusion
- Appendix
- Bibliography
- Index
10 - Leading Characters
from III - THE LONELINESS OF THE LIMELIGHT: JEWISH IDENTITIES IN REVUE THEATER, 1898–1933
Published online by Cambridge University Press: 09 January 2010
- Frontmatter
- Contents
- List of Illustrations
- Preface
- Jewish Identities in German Popular Entertainment, 1890–1933
- Introduction: Past and Present
- I “PONIM ET CIRCENSES”: JEWISH IDENTITIES IN CIRCUS ENTERTAINMENT, 1870–1933
- II COMIC RELIEF: JEWISH IDENTITIES IN JARGON THEATER, 1890 TO THE 1920S
- III THE LONELINESS OF THE LIMELIGHT: JEWISH IDENTITIES IN REVUE THEATER, 1898–1933
- Introduction: Spectacular Berlin
- 9 The Metropol: Between Culture and Kapital
- 10 Leading Characters
- 11 Stardom and Its Discontents
- 12 The Art of Pleasing All
- Conclusion to Part III
- Conclusion
- Appendix
- Bibliography
- Index
Summary
Every discussion of the ambitions and infrastructure of a theater ultimately leads to a discussion of the theater's performers and staff. Only they could translate the management's vision into an unforgettable experience for hundreds of spectators every night. The most elaborate building, the most extravagant costumes, or the greatest budget could only facilitate, not create, a convincing narrative on stage. This chapter traces the lives and decisions of those who once populated the Metropol Theater both in front of and behind the curtain. To create a night of magic at the Metropol decisions had to be made: actors had to be selected, and roles defined. An analysis of the social relations and demographic backgrounds of the protagonists is vital for understanding such decisions. Our sense of the personal histories, professional training, and ethnic origins of actors or composers, for example, allows us to enter this complicated arena in which illusion became profession.
When Richard Schultz began with 200,000 marks earmarked per show (the royal opera house's [Königliche Oper] budget was 30,000 marks a show) he did not have any trouble recruiting collaborators for his theater. He easily attracted many of the greatest talents in popular entertainment. Religious and ethnic prejudices did not interfere with his choice of partners. Schultz saw himself as the head of a creative team that functioned well only if each member felt at ease and uninhibited.
- Type
- Chapter
- Information
- Jewish Identities in German Popular Entertainment, 1890–1933 , pp. 227 - 244Publisher: Cambridge University PressPrint publication year: 2006