Implementing Germanic Repertoires: Institutional Dramaturgy After 1939

In this essay, Heinrich discusses Nazi concepts concerning the theatre and, particularly, its repertoire and the role of the dramaturg. The fact that theatre programmes after 1933 did not entirely resemble Nazi theories around a heroic theatre and a völkisch repertoire led to a particular focus on the dramaturg as communicator and ideologue, as someone who could contextualise and justify repertoires even if they did not correspond to higher ideals. The outbreak of the war, and the role German-speaking theatres played to support it, led to a growth of dramaturgy departments, a focus on programme notes and press departments, and increased efforts to link specific productions and entire seasons to wider political agendas.