Language:
English
Year of publication:
2015
Titel der Quelle:
Leo Baeck Institute Year Book
Angaben zur Quelle:
60 (2015) 123-140
Keywords:
Antisemitism History 1800-2000
;
Antisemitism in the theater
;
Jews History 20th century
Abstract:
Discusses why the Jewish music hall ensemble Budapester Orpheumgesellschaft, which played in Vienna's second district, Leopoldstadt, chose to stage a play with the title "Der kleine Kohn", which aroused clear antisemitic associations. The figure of "der kleine Kohn" was an anti-Jewish caricature well-known in Europe at the turn of the 20th century. The depiction of the small, elusive, ludicrous, simple-minded, and womanizing Jew gained circulation as a motif in postcard series, popular songs, and rhymes. The play "Der kleine Kohn" by Caprice (pseudonym for Antal Oroszy), however, was not antisemitic but rather redrew the figure of Kohn in almost pleasant terms and portrayed him as the sum of various projections. Views the play as a "post-colonial" piece, since it deconstructs the stereotype of the Jew, and sees the Jewish music hall's approach likewise as post-colonial, since it allowed Judaism, the "subaltern voice" in Europe, to respond. The Budapester Orpheumgesellschaft gave its performance a twist in questioning the designation of particular traits as typically Jewish, thereby undermining Judeophobic stereotypes. Since the company's audience did not belong to the educated stratum, which determined hegemonic culture and its discourses, and its performances were ignored by the Viennese press, they kept the dubious title in order to attract audiences, hoping to thereby spread the message articulated on stage.
DOI:
10.1093/leobaeck/ybv004
URL:
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