Weimar Berlin: Bittersweet Metropolis (1/6)

Summary

The video script explores the Weimar Republic era in Germany, a time of cultural and artistic renaissance following World War I's devastation. It delves into the birth of the new German constitution in Weimar, the flourishing of cinema, the shift from Expressionism to New Objectivity in arts, the influential Bauhaus movement, and the significant role of music, with composers reflecting the socio-political changes of the time. Despite economic instability and political turmoil, the period was marked by a vibrant and diverse cultural scene that shaped modern Germany.

Takeaways

• 🎼 The Weimar Republic marked the beginning of an extraordinary period of artistic experimentation in Germany, starting a century ago in the city of Weimar.
• 🏛 Weimar was historically a peaceful cultural center, known for figures like Goethe and Schiller, and became the birthplace of the new German constitution post-World War I.
• 🌐 The shift from an imperial world to a democratic one was challenging, reflecting the broader societal and economic upheavals of the time.
• 🎬 Cinema experienced a meteoric rise during the Weimar Republic, becoming a major cultural force and reflecting the diverse and divided society.
• 🎭 The mid-1920s saw a shift in German cinema from stylized expressionist films to more realistic portrayals of contemporary life, influenced by the New Objectivity movement in the arts.
• 👩‍🎨 The New Objectivity movement in visual arts focused on the grim social consequences of World War I, with artists like Grosz and Dix depicting the harsh realities of the time.
• 🏢 The Bauhaus school, founded in 1919, was a response to cultural collapse, advocating for functional and austere design, free from ornamental lies.
• 🎵 Post-World War I, music saw a shift from grandiosity to smaller ensembles with a social function, with composers like Kurt Weill and Paul Hindemith leading the change.
• 👥 The Bauhaus was inclusive, with women playing key roles in its vision, reflecting the broader societal changes, such as women's suffrage, during the Weimar Republic.
• 😄 Despite the hardships of the 1920s, including inflation and political instability, there was a rise in humor and light-heartedness in art and culture.
• ⏳ The Weimar Republic was a time of enthralling cultural development but also dangerous political and economic volatility, setting the stage for the tumultuous 1930s.

Q & A

Who is the speaker in the video script and what is his role?

The speaker is Gavin Plumley, a cultural historian and the series advisor for the Philharmonia Orchestra's 'Weimar Berlin: Bittersweet Metropolis'.

What era does the script discuss and what was its starting point?

The script discusses the era of the Weimar Republic, which began exactly a century ago from the time of the script, starting in the city of Weimar.

What was the political situation in Europe after the First World War according to the script?

Europe was in tatters with old political systems on their knees, and millions had been slaughtered, with Germany being held largely responsible according to the Treaty of Versailles.

How did the city of Weimar change its role from the past to the era of the Weimar Republic?

Previously a peaceful cultural center known for figures like Goethe and Schiller, Weimar became a political hub where the new German constitution was agreed upon, representing a fresh start.

What significant shift in German arts occurred during the Weimar Republic?

There was an extraordinary period of artistic experimentation, with a shift from emotional subjectivity in Expressionism to detached objectivity in New Objectivity.

How did the First World War impact Germany's societal and cultural landscape?

The war caused a brutal caesura, changing Germany from a triumphant, technologically advanced nation to a defeated, poor, and almost ungovernable country with evaporated values.

What was the significance of cinema during the Weimar Republic?

Cinema had a meteoric rise, becoming a major supplier of new thrills and sensations for a diverse and divided society, and epitomizing urban modernity.

What was the mid-20s shift in German cinema and what influenced it?

There was a shift away from stylization towards reflecting contemporary German reality, influenced by the growing confidence of the German film industry and a more friendly international attitude towards Germany.

What was the Bauhaus movement and what was its core philosophy?

The Bauhaus was an art school founded in Weimar in 1919 that focused on functionality and austerity, rejecting ornamentation as a lie and striving for a world that was pure and functional.

Who were some of the key figures associated with the Bauhaus movement?

Key figures included the founding director Walter Gropius, painter Wassily Kandinsky, carpenter Marcel Breuer, architect Mies van der Rohe, textile artist Anni Albers, and silversmith Marianne Brant.

How did music evolve during the Weimar Republic, according to the script?

Music shifted from post-Romantic opulence to a focus on smaller ensembles and social function, with composers like Kurt Weill, Paul Hindemith, Hanns Eisler, and Alban Berg contributing to this change.

Outlines

00:00

🎼 Weimar Berlin: The Birth of a New Republic

This paragraph introduces the Weimar Republic era in Germany, beginning with the establishment of the new German constitution in Weimar's National Theatre. It discusses the cultural and political shift from an imperial past to a democratic future, marked by the aftermath of World War I. The paragraph highlights the city's historical significance as a cultural center, the challenges faced by Germany post-war, and the flourishing of artistic expression during this period. It also touches on the rise of cinema as a significant art form and its reflection of the diverse and divided society of the time.

05:02

🎨 The Dichotomy of Weimar Art: Expressionism and New Objectivity

The second paragraph delves into the artistic movements of the Weimar Republic, focusing on the contrast between Expressionism and New Objectivity. It describes Expressionism's emphasis on emotional subjectivity and its portrayal of the war's horror, as well as the shift towards New Objectivity, which embraced a detached, rational, and realistic approach to art. The paragraph also discusses the influence of the Bauhaus movement, its philosophy of functional and pure design, and the notable figures associated with it. Additionally, it mentions the role of music and composers like Kurt Weill and Paul Hindemith in reflecting the social and cultural changes of the era.

10:04

🏙️ The Weimar Republic's Cultural Impact and Challenges

The final paragraph of the script invites the audience to explore the cultural landscape of the Weimar Republic, emphasizing its diverse and thrilling new culture. It acknowledges the challenges posed by the violently fluctuating economy, a divided society, and the political instability of the time. The paragraph sets the stage for a journey through Germany to understand the complexities and vibrancy of the Weimar period, leading into the turbulent 1930s.

Keywords

💡Weimar Republic

The Weimar Republic refers to the period in German history from 1919 to 1933, marked by the establishment of a democratic government following World War I. It was a time of significant cultural and artistic development, as well as political and economic instability. In the script, the Weimar Republic is the central theme, representing the era's transformation and challenges, particularly highlighted by the new constitution conceived by the Social Democrats in the National Theatre in Weimar.

💡Cultural Historian

A cultural historian is a scholar who studies the cultural aspects of history, including the arts, beliefs, and customs of a society. Gavin Plumley, introduced as a cultural historian and the series advisor, provides the expert perspective on the cultural shifts and developments during the Weimar Republic era, guiding viewers through the artistic and societal changes of the time.

💡Treaty of Versailles

The Treaty of Versailles was the peace treaty signed after World War I, which imposed heavy penalties on Germany, including war guilt and reparations. The script mentions that Germany was seen as entirely to blame for the war according to this treaty, which contributed to the country's negative perception and the difficult conditions during the Weimar Republic.

💡Expressionism

Expressionism is an artistic and cultural movement characterized by the use of distorted imagery and exaggerated colors to evoke emotional responses. In the video, Expressionism is associated with the early years of the Weimar Republic, where it gave free reign to feelings and often depicted the horror of war in a nightmarish manner, as illustrated by the work of artist Käthe Kollwitz.

💡New Objectivity

New Objectivity, or 'Neue Sachlichkeit' in German, was an artistic movement that emerged in the 1920s as a reaction against Expressionism. It focused on a realistic and objective representation of the world, often with a critical or satirical edge. The script describes this shift in the visual arts as a move away from fantastic settings to reflect contemporary German reality, with artists like Grosz and Dix portraying the social consequences of World War I.

💡Bauhaus

The Bauhaus was a German art school that combined crafts and fine arts, and was known for its focus on functionality and the 'form follows function' philosophy. Founded in Weimar in 1919, as mentioned in the script, it aimed to create a new kind of practical and intellectual creative figure, eliminating classist barriers between artists and craftsmen. The Bauhaus movement is a key example of the innovative spirit of the Weimar era.

💡Gebrauchsmusik

Gebrauchsmusik, or 'utility music', is a term coined by Paul Hindemith to describe music that was intended to be functional and accessible, rather than purely artistic. The script notes a shift in post-World War I music, where composers like Hindemith were interested in creating music with a social function, reflecting the changing spirit of the arts during the Weimar Republic.

💡Inflationary Chaos

Inflationary chaos refers to the period of extreme inflation experienced by Germany after World War I, which led to a significant devaluation of the currency and economic instability. The script describes this as a backdrop to the Weimar Republic, where people tended to spend what they had and live in the moment, seeking new experiences and entertainments, such as cinema.

💡Cinema

Cinema is highlighted in the script as a major art form that flourished during the Weimar Republic, with both silent films and talkies experiencing a meteoric rise. It was a significant cultural phenomenon, reflecting the urban modernity and speed of the big city, and serving as a 'dream factory' for the new mass audience, including a growing class of urban white-collar workers.

💡Walter Gropius

Walter Gropius was the founder and first director of the Bauhaus. As mentioned in the script, Gropius aimed to eliminate classist barriers between artists and craftsmen, creating a new kind of practical yet intellectual cultural creative figure. His vision and leadership were instrumental in shaping the Bauhaus movement and its influence on art and design during the Weimar Republic.

💡Political Lurches

Political lurches refer to the sudden and often extreme shifts in political direction or policy. The script describes the Weimar Republic as a time of violently fluctuating economy and a divided society, with political lurches from right to left, indicating the instability and challenges faced during this period, which ultimately led to the rise of the 1930s and significant cultural and political changes.

Highlights

Introduction to the Weimar Berlin: Bittersweet Metropolis series by cultural historian Gavin Plumley.

Exploration of the Weimar Republic era, beginning in Weimar city a century ago amidst a devastated Europe.

Germany's blame and the Treaty of Versailles' impact on the country's perception post-World War I.

The creation of a new German constitution by Social Democrats in the National Theatre in Weimar.

Weimar's history as a cultural center with figures like Goethe and Schiller, transitioning to a political focus.

The artistic experimentation period following the new constitution, a shift from pre-war Germany.

The transformation of Germany from a triumphant story to a devastated nation after World War I.

Cultural shift from an old imperial world to a democratic, metropolitan society during the Weimar Republic.

The rise of cinema as a major art form and its reflection of the diverse and divided society.

The societal and economic context influencing the popularity of cinema as a source of new thrills.

Evolution in German cinema from silent films to talkies and the industry's growing confidence.

The emergence of New Objectivity in visual arts and its focus on the social consequences of World War I.

The dichotomy between emotional subjectivity and detached objectivity in Weimar arts.

The founding of the Bauhaus school and its principles of functionality and austerity in design.

Walter Gropius's vision for the Bauhaus, eliminating barriers between artists and craftsmen.

The role of women in the Bauhaus and their contribution to the new Republic.

The change in music composition post-World War I, focusing on smaller ensembles and social function.

The introduction of humor in music and plays as a response to the hardships of the 1920s.

The challenges of the Weimar Republic, including a fluctuating economy and divided society.

Invitation to explore the diverse new culture born from the Weimar Republic a century ago.

Transcripts

Welcome to Germany. My name is Gavin Plumley.

I'm a cultural historian and the series advisor

for the Philharmonia Orchestra's "Weimar Berlin: Bittersweet Metropolis".

Over the next few months we'll be guiding you

through the exciting and sometimes treacherous era

of the Weimar Republic.

And it all began here, in the city of Weimar,

exactly a century ago.

Europe was in tatters.

Old political systems were on their knees.

Millions had been slaughtered.

And Germany was entirely to blame,

at least according to the Treaty of Versailles.

But despite the pervasive negativity and factionalism

of the immediate post-war period,

a new German constitution was conceived by the Social Democrats.

and agreed in this building, the National Theatre in Weimar.

Previously, this city had been home to great writers

and cultural figures, including Goethe and Schiller.

Weimar was a peaceful cultural centre

instead of a restless political hub.

And coming here to agree the terms

for a new republic represented a fresh start.

And with this constitution began the most extraordinary period

of artistic experimentation Germany had ever seen.

The experience of the First World War

really changed Germany completely.

Before that it had all been up,

almost a sort of triumphant story.

A provincial, relatively poor country became strong,

became technologically advanced, highly educated,

had the most important artists and scientists.

And Germany was going places,

Germany was going to the top of the world,

which incidentally its neighbours looked at with great suspicion.

And then this brutal caesura of the war,

millions of people killed,

many, many more people traumatised.

And everybody losing this glorious future

they had been going towards.

And coming back to a country that was defeated,

that was poor, that was almost ungovernable

and whose values had almost evaporated overnight.

This shift from an old imperial world

to an urgent democratic one,

as well as the move from agrarian to metropolitan

was not achieved without difficulty.

The city was an uncertain place,

but it was also a major new focus for the artists of the age.

That was certainly the case for cinema,

which had a meteoric rise during the Weimar Republic.

First with silent films and then with talkies,

the art of filmmaking flourished in Germany between the wars.

And it had a diverse and often divided society to draw on.

In the aftermath of World War I,

it was a time of revolutionary turmoil and inflationary chaos,

so people tended to spend what they had and live in the moment,

going in search of new thrills and sensations

of which cinema was a major supplier.

Film was the new technological medium for a new machine age.

It epitomised urban modernity,

the speed and motion of the big city.

It was like a dream factory for a new mass audience,

including a growing class of urban white-collar workers,

many of whom were women.

A shift in stylisation occurred around the mid-20s,

which had partly to do with the growing confidence

of the German film industry.

Following the success of the so-called expressionist films,

they felt they had a strong product.

And they also felt more confident some years on

from Germany's defeat about the more friendly attitude

to Germany in international markets.

So they were able to move away from fantastic, gothic,

exotic, historical type settings

and dare to reflect contemporary German reality.

This shift away from stylisation also coincided

with the rise of a new style in the visual arts,

dubbed New Objectivity,

which focused on the terrible consequences socially

of World War I, with artists like Grosz and Dix

portraying beggars, injured war veterans, prostitutes.

In cinema, New Objectivity was a kind of largely still studio-bound,

socially engaged Realism with a progressive flavour.

All Weimar arts were typified by this kind of dichotomy

between emotional subjectivity and detached objectivity.

Expressionism flourishing even before the First World War,

gave free reign to feeling

and often distorted sensations to nightmarish ends.

It found a particularly expressive subject

in the horror of war.

And for some including artist Käthe Kollwitz,

it continued to provide a source of fascination during the 1920s.

But Neue Sachlichkeit – New Objectivity – was a decisive step

away from this emotional brink.

Presenting people and things with a sense of coolness

rationality and detachment.

It was typified first and foremost

by the art of figures such as Christian Schad and Jeanne Mammen.

But it also found potent archetypes in the work

of a new art school founded in Weimar in 1919,

the same year as the constitution was adopted.

One of the responses to the cultural collapse

that had happened was the Bauhaus, was the idea that

here was this movement that was extremely functional and austere.

The Viennese architect Adolf Loos described ornament as crime,

because he said an ornament is essentially a lie on something.

It's there to pretend that it comes from a time it doesn't come from,

made of materials it's not made of, etc.

It's made to look like something else

and like something grander than itself so let's strip all that away

and get back to the bare function.

And that idea has resonated very strongly with the artists

that came together or architects or craftsmen

who came together in the Bauhaus, and they wanted to design a world

that was sheer, pure and functional,

in which none of the imperial aesthetics of previous ages was still present.

The Bauhaus was formed out of two institutions –

Weimar's Grand-Ducal Saxon Art School

and the city's School of Applied Arts.

The founding director of the Bauhaus,

as it became known, was Walter Gropius.

He wanted to eliminate all classist barriers

between artists and craftsmen,

instead creating a new kind of practical,

but intellectual cultural creative figure.

And his Bauhaus encompassed many great minds and makers,

including painter Wassily Kandinsky,

carpenter Marcel Breuer and architect Mies van der Rohe,

as well as textile artist Anni Albers,

and silversmith Marianne Brant.

Because this wasn't just a school for men,

women were also key to the vision of the Bauhaus,

just as they were to the Republic at large.

After all, German women had been granted the right to vote

and the right to be elected on the 12th of November 1918,

the day after the Armistice.

But who provided the soundtrack for this period of social,

political and cultural change?

It was of course the composers at the heart of the Philharmonia series.

Composers such as Kurt Weill, Paul Hindemith,

Hanns Eisler and Alban Berg.

The spirit of all arts, but especially music,

changed after the First World War.

The sort of post-Romantic, late-Romantic opulence

and grandiosity disappeared.

And composers were more interested in smaller ensembles,

music that would have a social function.

I think it was Hindemith who launched the term Gebrauchsmusik –

"utility music", music to be used.

There was a lot of humor,

life in Berlin and in Germany generally

must have been incredibly hard in the twenties,

with the inflation and all the problems, that people had to resort to humor.

At least you could laugh at things. So for the first time

since I would say Mozart and Rossini,

we are witnessing a kind of funny, truly funny operas and truly funny plays.

So the human expression expanded quite a bit in those years.

Regardless of your vocation as an artist,

the Weimar Republic was enthralling.

But it was also dangerous, with a violently fluctuating economy,

a divided society and mad political lurches

from right to left and back again.

And that made for great challenges as the 1920s hurtled

towards the even more tempestuous decade of the 1930s.

Come with me on this tour around Germany,

and discover what it was like a century ago

as the Weimar Republic gave birth to a thrillingly diverse new culture.