· Theatre flourished during ww2
· From ‘40-44 several hundred plays packed the 4 auditoriums in Paris
· Emergence of the Resistance Theatre
o Due to German ignorance
o Subtlety of the French playwrights
o Theatre gave citizens what they needed most; warmth and entertainment
· Paris was obviously the center of artist exploration during the occupation
· Most popular shows occasionally toured to smaller houses in the suburbs
· Censor was re-introduced to the theatre community for the first time since 1906
· Post occupation, trials conducted for playwrights only, not actors or directors
· The Parisian press printed mainly the Nazi agenda so plays were circulated by mouths and thru underground papers
· Postwar French drama was mostly expressed through the existential and absurdist styles
· Camus and Jean-Paul Sarte most notably combined theory, philosophy and psychology with theatre
· Jazz clubs closed, curfew was 8pm
· It was a strange reconcile. Paris was a hot bed of bona-fide jazz-loving, leaf-smoking, jew-friending ‘degenerates’. And while Hitler’s army were arresting musicians, shutting down swing-joints, storming cabarets that housed the “rhythms of belly-dancing negroes”,
· “Strictly prohibited is the use of instruments alien to the German spirit – so-called cowbells, flexatone, brushes, etc – as well as all mutes which turn the noble sound of wind and brass instruments into a Jewish-Freemasonic yowl – so-called wa-wa, hat, etc.” (Step 5 in Nazifing Jazz, as recalled in Josef Skvorecky’s ‘Bass Saxophone’)
· Edith Piaf, in Nazi run nightclubs and brothels. Way of life furnished by nazi income, but friends spoke out on her behalf post occupation and she was resigned to her old labels
areudirty
stormborns
gummygunk
blakekathryn
romaincrisis
germansingergirl
kianamaiart
