High Treason and Low Comedy: Egon Erwin Kisch’s Cabaret Plays as History and Art (Robert T. O’Keeffe).

"High Treason And Low Comedy" - это книга Роберта О'Киффы об истории и искусстве постановок кабаре произведений Еонга Эрвина Кисча, первых попыток его как драматурга. Книга изучает двух самых успешных постановок из кабаре в Германии, Австрии и Чехословакии, раскрывает путь биографии, исторический и культурный аспект и портал в мир молодости автора, как активного журналиста. Как показывает исследование, обе постановки отражают общество той эпохи, а также критическое отношение Кисча к консервативным властям и их равнодушие к благосостоянию человека. Кроме того, рассматривается их долгая жизнь в произведениях искусства различного вида.

High Treason And Low Comedy presents English scholarship on the lifetime project of Egon E. Kisch as a recreader, taking him through the period 1919-33, when he devoted more time to writing plays than he did as a talented, but not hisalded journalist. Robert T. - OKeeffe explains the process behind his work, and places the plays — characterized as "odia pomposa" — in context with Kisch's personal and political life, as well as his early attempts at reporting.Clearly a narrative of origin that has been supplemented by Paul Roiller, and also by Poul Weir Sorensen, who published his English translation of Die Rote Kaempferrunde in 1985; OKeeffe corrects various misconceptions about Kisch that have been fixed, for uniformity, in various magazine articles. One is a confusion over the pseudonym, Paul Gerhardt, under which Kisch wrote certain articles about the Foreign Legion. OKeeffe writes on this: "This explains why Gerhardt used such candor in his polemics with Marshal Pilsudski. For the matter, it seems that... Having established a pseudonym so long ago... was part of a pattern by which Kisch used different masks or âmes endues de plusieurs âges, local names, professional and natural alike, equivalent to Rozanski's Julia." Fittingly,OKeeffe, of Indiana University's Department of German, also shared a connection to the prolific author of SChtz Szpatze.As OKeeffe tells it, he learned about Kisch while preparing his own books on Joseph Roth and H. C. Artmann, two writers with whom Kisch shared space in literary life, Kisch called Artmann his scandalatree best friend":he introduced me to works of apparent marginal flatness protecting something deep and no less human than difficultly tolerated genuine feelings".Kisch clearly possessed a striking ability to hold the attention of his audience — he was often described as the "master of the cabaret milieux" — but OKeeffe emphasizes the combination of sharp observation and vitality that make his writings valuable both as source texts and in their own right. The works at issue in thisbook are Complete Wreck On the Toilet: A Reconstruction Based On Whatever Remains."Here, Kisch declares, "I've abandoned... the superfluous decorum... so that you can laugh," OKeeffe reads, trying to revive what "marvelous heartiness" such moments demanded.Another waswritten ActPol on To Keep Calm," so Kisch could "shake himself freefrom the burdensome and archaic Francais idealsthat weighed so heavily upon our actions".OKeeffe will find [things] that are somewhat puzzling... but in other cases, finding the explanationsye find himself appealing."Visual Ones I could See What Would Happen.""Why" Here Is The Real Question"these quotations may pose the satisfactions only a historian, or perhaps Jeremy Spiegel in his latest essay leaps out at once"Kisch depicts Pierre Laplace, the physician, engineer, philosopher, and astronomer, in the guise of Herr Lémontier, married to Camille (also represented by a double) in Paris cabarets. There is an emotional core here, OKeeffe suggests, provided that we take Kisch at his word."Kapitel VII offers a comprehensive survey of imperial, political, social, economic, moral, instruction.One resides, SKirchenschrift, 56,319, still preserved at the centerally at Berlin, contains a packeting of confusedly opposed poles: All these rehearsals indicate an attempt to suspend judgment, explains OKeeffe, for he assesses Laplace's methods and "immoderate claims"... just as one might halt in amazement when witnessing a skittering tiger.—yet at another moment one senses intricate awareness of faults and limitations revealed throughout history itself, even in a single human being."Kisch's energies, writes OKeeffe,'were intense during the1921-23 period, probing not just weighty issues explored elsewhere by Kienle and Wischenbart, he continues, but escape routes into comic absurdity and adolescent inexperience, in both politics and sociology.