Staging of Propaganda: Music Theatre in Nuremberg 1920-1950. A Transfer-project.

法西斯主义的美学与政治不仅密切相关，而且与表演性有着很强的联系。该项目试图分析那些被安排为有利于纳粹宣传的表演。这些表演被设置在剧院舞台(歌剧、轻歌剧)以及文雅的舞台上(游行、庆祝活动)，以创造集体体验，特别是通过使用音乐作为推动者。纽伦堡及其地形汇集了纳粹宣传的历史和当代方面，是瓦格纳·S·梅斯特辛格的小镇，也是派对集会的小镇。相应地，它为宣传表演建立了一个完美的舞台。国家社会主义时期的纽伦堡S音乐剧院是一种过度生产，是希特勒亲自倡导的，受到了他的人民的强烈呼吁。纳粹政权以其身临其境的特点接受了整体艺术作品的概念。令人振奋的是，通过在音乐剧中进行审美转变的政治表演，通过这一概念使集体体验成为可能。因此，最重要的是，对具体表现的分析将是项目的重点。对歌剧院五位常务董事在1920年至1950年期间选择的剧目进行分析，将有助于揭示节目中的连续性或间断性方面。此外，我们还将处理在党的集会场地和在歌剧院的表演。这一转让项目是与纽伦堡体育场和纽伦堡体育场这两个合作伙伴共同开发的。根据德国研究基金会创建的Stimme项目(2010-2015年)的历史表演分析概念，我们建议设立一个关于这一主题的展览，以便将音乐剧研究的成果作为一个活动展示，重点放在方法论上。作为关于历史业绩分析的进一步工作，展览应被理解为一种转让工具。相应地，展览将基于戏剧和博物馆实践的联系创造自己的存在，将学术成果可视化并向更广泛的观众交流。合作伙伴从概念、艺术和实践的角度参与了在赫尔曼·费切特(舞台设计师和装置艺术家)的指导下为纽伦堡S聚会集会场地的会议大厅创作展览的共同工作。展览由七个范例区域组成，每个区域展示一个主题，以呈现戏剧和宣传之间的关系，展览从梅斯特辛格和纽伦堡开始，继续举行聚会或建造歌剧院等。展览以一个名为Götterdämmerung的区域结束：通过这条轨道，我们试图呈现一条从派对庆祝活动到战争和破坏的灾难的连续线。

Aesthetics and politics in fascism are not only closely related to each other, but also have a strong bond to performativity. The project seeks to analyse performances, which were arranged to act in favour of Nazi propaganda. These performances were set up on theatre stage (opera, operetta) as well as on an urbane stage (parades, festivities) to create collective experiences, especially by using music as a promoter. Nuremberg and its topography brought together historical and contemporary aspects of Nazi propaganda, being the town of Wagner s Meistersinger as well as the town of the party rallies. Accordingly, it established a perfect stage for propaganda performances. Nuremberg s music theatre in times of National Socialism was an excessive production, which was initiated by Hitler himself and highly appealed by his people. The Nazi regime picked up on the concept of the total work of art with its immersive character. Bracingly, the collective experience was made possible through this concept by aesthetically transformed political performances in music theatre. Therefore, most important, the analysis of specific performances will be in focus of the project. An analysis of the repertoire chosen by the five managing directors of the opera house between 1920 and 1950 will shed light on the aspects of continuity or discontinuity within the programming. In addition we will deal with both performances on the party rally ground and the ones in the opera house. This Transfer-project was jointly developed with two cooperation partners, the Staatstheater Nürnberg and the Dokuzentrum der Stadt Nürnberg. According to the concept of historical performance analysis modelled in the context of the Stimme-project founded by the German Research Foundation (2010-2015), we suggest to create an exhibition on the topic in order to present results of music theatre research as an event with a focus on the methodological point of view. As a further work on historical performance analysis the exhibition is to be understood as an instrument for transfer. Correspondingly, the exhibition will create its own presence based on the connection of theatrical and museum practises to visualise and communicate academic findings to a broader audience. The cooperation partners are involved from a conceptual, an artistic and practical point of view in the common work of creating the exhibition under the direction of Hermann Feuchter (stage designer and installation artist) for the congress hall on Nuremberg s party rally ground. Consisting of seven paradigmatic areas, each showing one theme in order to present the relationship between theatre and propaganda, the exhibition starts with Meistersinger and Nuremberg and continues amongst others with party rally or the building of the opera house. The show closed with an area named Götterdämmerung: With this track we attempt to present a continuous line from party festivity to the catastrophe of war and destruction.