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Since its founding in 1876, the Bayreuth Festival had been a locus of representation for
politically prominent figures; among the guests of the first Festival were the German Emperor
Wilhelm I and the Brazilian Emperor Dom Pedro II2. In the years to come, Bayreuth would
keep its meaning as a “political symbol“ 3.
From 1933 on, the Wagnerian Hitler used the Festival for both the representation of his
person and his regime. The Foundations for this appropriation were both ideological and
personal:
Firstly, after Richard Wagner’s death, his “Bayreuth disciples” 4, grouped in the “Bayreuth
Circle” 5 especially Hans von Wolzogen and Houston Stewart Chamberlain6, created the “Bayreuth idea” 7; in this process of formulating their ‘German Wagnerism’ as a völkisch
ideology, they focused more on Wagner’s prose writings8, than on his music, and especially
emphasized Wagner’s anti-Semitism9.
2 Eger, Manfred: Die Bayreuther Festspiele, in: Müller, Ulrich/Wapnewski, Peter (eds.): Richard-Wagner-
Handbuch, Stuttgart 1986, p. 589-624, here: p. 596.
3 Schmidt, Michael: Bayreuth als politisches Symbol. 125 Jahre Richard-Wagner-Festspiele, in: Neue
Gesellschaft. Frankfurter Hefte 48 (2001), p. 470-474.
4 Large, David Clay: Wagner’s Bayreuth Disciples, in: Large, David C. & Weber, William (eds.): Wagnerism in
European Culture and Politics, Ithaka and London 1984, p. 72-133.
5 Schüler, Winfried: Der Bayreuther Kreis von seiner Entstehung bis zum Ausgang der Wilhelminischen Ära,
Münster 1971.
6 The English-born racial theoretician Chamberlain had from 1888 on contact with Wagner‘s widow Cosima; in
1908, he married Eva Wagner, the daughter of Richard and Cosima and moved to Bayreuth; see Large, David Clay: Ein Spiegelbild des Meisters? Die Rassenlehre von Houston Stewart Chamberlain, in: Borchmeyer,
Dieter/Maayani, Ami/Vill (eds.), Susanne: Richard Wagner und die Juden, Stuttgart &Weimar 2000., p. 140-
159.
7 Large, Disciples, op.cit., p.133.
8 Large, Disciples, op.cit., p. 133.
9 For a differentiated and instructive analysis of Wagner’s anti-Semitism see Katz, Jacob: The Darker Side og
Genius. Richard Wagner’s Anti-Semitism. Hanover & London, 1986.
Inhaltsverzeichnis (Table of Contents)
- I. Introduction
- II. Bayreuth and Hitler 1933-1939
- III. Bayreuth's special standing in the 'Third Reich'
Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)
This paper aims to describe the relationship between National Socialism and the Bayreuth Festival from 1933 to 1944. It examines how the festival was used for the representation of Hitler and his regime, challenging the notion of a purely personal connection between Winifred Wagner and Hitler. The analysis will show the intertwining of arts and politics at the Bayreuth Festival during this period.
- The appropriation of the Bayreuth Festival by the Nazi regime.
- The role of Winifred Wagner in facilitating the Nazi influence on Bayreuth.
- The financial support and political patronage provided by the Nazi government to the festival.
- The unique position of Bayreuth within the Nazi cultural landscape, its exemption from Gleichschaltung.
- The conflict between traditional Wagnerians and Winifred Wagner’s innovative approach to staging.
Zusammenfassung der Kapitel (Chapter Summaries)
I. Introduction: This introductory chapter establishes the central argument of the paper: that the history of the Bayreuth Festival under the Third Reich is intrinsically linked to the relationship between Hitler and the festival. It highlights the pre-existing political significance of Bayreuth, emphasizing how Hitler utilized both ideological and personal connections to appropriate the festival for his regime. The chapter introduces key figures like Winifred Wagner and the "Bayreuth Circle," whose role in fostering a völkisch interpretation of Wagner's work and its anti-Semitic elements is emphasized as crucial groundwork for the Nazi appropriation. The introduction lays out the author's intention to demonstrate that the relationship between Winifred Wagner and Hitler was not merely personal but deeply intertwined with the political manipulation of the festival.
II. Bayreuth and Hitler 1933-1939: This chapter details the financial and political support provided to the Bayreuth Festival by the Nazi regime after its initial struggles in 1933. The initial cancellation of foreign ticket reservations due to political turmoil is contrasted with the swift resolution of financial problems following a personal intervention by Hitler. The chapter highlights the systematic purchase of tickets by the Nazi party and government, using them to reward "worthy persons," illustrating the festival's transformation into a tool for political propaganda. Furthermore, it reveals ongoing, substantial financial aid given by Hitler's chancellery and tax exemptions, demonstrating the direct and consistent material support that ensured Bayreuth's continued operation under the Nazi regime. This financial support solidified the regime's influence and control over the festival.
III. Bayreuth's special standing in the 'Third Reich': This chapter examines the unique position of the Bayreuth Festival within the Nazi cultural landscape. It explores how the festival largely avoided the cultural coordination (Gleichschaltung) imposed on other cultural institutions. The chapter attributes this special standing to two key factors: the patronage of Hermann Göring (through his protégé Heinz Tietjen, the artistic director) and, most importantly, Hitler's personal support for Winifred Wagner. The chapter also describes the significant internal conflict between Winifred Wagner, who pushed for innovative stage designs, and the traditionalist Wagnerians who opposed her changes. This conflict highlights the tension between artistic autonomy and political control, further demonstrating the complex interplay between artistic freedom and the Nazi regime’s influence.
Schlüsselwörter (Keywords)
Bayreuth Festival, Third Reich, Hitler, Winifred Wagner, National Socialism, Wagnerian ideology, völkisch ideology, anti-Semitism, cultural politics, Gleichschaltung, patronage, propaganda, artistic innovation, traditionalism, financial support.
Bayreuth Festival and National Socialism: Frequently Asked Questions
What is the main topic of this paper?
This paper examines the relationship between the Bayreuth Festival and National Socialism from 1933 to 1944. It focuses on how the festival was utilized as a tool of Nazi propaganda and the role of key figures like Winifred Wagner in facilitating this.
What are the key themes explored in the paper?
The paper explores the Nazi regime's appropriation of the Bayreuth Festival, Winifred Wagner's role in this process, the financial and political support provided by the Nazis, Bayreuth's unique position within the Nazi cultural landscape (its exemption from Gleichschaltung), and the internal conflicts between traditional Wagnerians and Winifred Wagner's innovative staging approaches.
What is the significance of Winifred Wagner's role?
The paper challenges the idea of a purely personal relationship between Winifred Wagner and Hitler. It argues that her role was deeply intertwined with the political manipulation of the Bayreuth Festival, highlighting her contribution to fostering a völkisch interpretation of Wagner's work and its anti-Semitic elements.
How did the Nazi regime influence the Bayreuth Festival financially?
The Nazi regime provided substantial financial support to the Bayreuth Festival, including direct funding from Hitler's chancellery and tax exemptions. The systematic purchase of tickets by the Nazi party and government, used to reward party members, further demonstrates the regime's financial control and influence.
What was Bayreuth's unique position within the Nazi cultural landscape?
Unlike many other cultural institutions that underwent Gleichschaltung (coordination), the Bayreuth Festival largely avoided this process. This special status is attributed to the patronage of Hermann Göring and, crucially, Hitler's personal support for Winifred Wagner.
What internal conflicts existed within the Bayreuth Festival during this period?
Significant internal conflict existed between Winifred Wagner, who promoted innovative stage designs, and traditionalist Wagnerians who opposed her changes. This conflict highlights the tension between artistic autonomy and political control under the Nazi regime.
What are the key chapters and their summaries?
Chapter I: Introduction lays the groundwork, establishing the central argument and introducing key figures. Chapter II: Bayreuth and Hitler 1933-1939 details the financial and political support provided by the Nazi regime. Chapter III: Bayreuth's special standing in the 'Third Reich' examines the festival's unique position within the Nazi cultural landscape and internal conflicts.
What are the keywords associated with this paper?
Bayreuth Festival, Third Reich, Hitler, Winifred Wagner, National Socialism, Wagnerian ideology, völkisch ideology, anti-Semitism, cultural politics, Gleichschaltung, patronage, propaganda, artistic innovation, traditionalism, financial support.
- Quote paper
- Helmut Strauss (Author), 2004, The Bayreuth Festival during the 'Third Reich', Munich, GRIN Verlag, https://www.grin.com/document/28724
