In , the chief editor of the Berlin journal Alternative Hildegard. Brenner wrote that: “[t]he name of Asja Lacis should have been men- tioned two decades ago. Lacis, Asja (–)Latvian stage director, actress and author who played a crucial role in introducing the work of Bertolt Brecht to the Soviet stage, wrote. Besides studying Soviet history, reading Walter Benjamin was what got me hooked on all this commie crap. It was probably “On the Concept of History” that first.
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She got acquainted with and befriended Bertolt Brechta friendship that lasted till Brecht’s death.
We do not need to be perfect, Simone de Beauvoir teaches us, we simply need never to give up. A final sec- tion then offers an alternate view of Lacis based on material hitherto unaddressed in what Mark Kingwall has described as “one of those weird confluences of the popular and the scholarly that our culture produces 7.
OK Es handelt sich um eine historische Website. One can well imagine what an ordeal the whole process must have been for her and how frustratingit must have been to have supportedBenjamin for so long only to have him publicly flaunt anotherrelationship. It is our ‘enormous condescension’ to the intellectual world that Benjamin inhabitedthat lets us recycle such thin narrativesas the myth that he uniquely embodied Europeanculture’s ‘redemptive’ hopes, and it is the scarcely disguised wish to be acclaimed as his successor that prompts literarycritics whose circumstancesare so utterly differentfrom his to announcetheir identificationwith Ben- jamin’s struggles This link between communism and anarchism will be an important aspect of his political evolution: It is in Scholem’sprefaceto MoscowDiary thatthe vilifyingof Lacis is most blatant.
Henschelverlag Kunst und Gesellschaft, Ihre Geschichte in Deutschland bis Walter Benjamin, Moscow Diary, ed.
Anna “Asja” Lācis – documenta 14
On an extended visit to Munich that began in late summershe met most of the leading theater personalities there, including Caspar Neher, Karl Valentin, and a brilliant young playwright named Bertolt Brecht. This guise was not to improveprimarilydue to the fact that,four years after this second edition, and 53 years afterthe fact, WalterBenjamin’s Moskauer Tagebuchappearedwith Suhrkamp.
From lafis derives the denseness of so many of his texts. Curiously,Benjamin’s compulsionto act againsthis own interests, and sometimes even against his chances for survival, has only enhancedthe glamor of his posthumouscanonization.
Lacis, Asja — Latvian stage director, actress and author who played a crucial role in introducing the work of Bertolt Brecht to the Soviet stage, wrote the first history of the theater of the Weimar Republicand was a major influence on the intellectual evolution of the literary critic Walter Benjamin.
I droppedher off there,and as the sleigh was alreadypullingaway,I once againdrewherhandto my lips, rightin the middleof the street.
Of course, I was fortunate to be introduced to Benjamin the way I did. While Dora is not portrayed in a particularlysympatheticmanner- she is introducedas an “Alma Mahler en miniature”italics in original and referredto as “eine Sprech-maschine” “a windbag,” lcais, the divorce is recounted from her perspective, from which Lacis appearsa monster responsible for reducingher “poorWalter”to a creaturewho, as Dora writes Scholem, “consistsonly of head and sexual organs,everythingelse has been com- pletely shut off, and you know, or can imagine, that in such cases it doesn’t last long until the head is also switched off’ Komisarjevsky’stheater studio, and gained not a little experiencein the aestheticeducationof chil- dren; she was a well-read, interesting conversationalist,with an excellent knowledge of Russian, German and French literature,a sharpwit and at the same time a purely femininesensibility.
But there is some asymmetry between translation and understanding. Rezisores Annas Laces dekainadzive Riga: First, Lacis did not come to Berlin to see Benjamin but rather because she had been lcais to do so by her Soviet bosses.
Because he could quotewhole pages frommemory. U of ChicagoP, InLacis moved to Moscow to begin her studies in various aspects of theater at the Kommisarshevski Institute of Theater Sciences.
While working with Brecht in Munich during Novembershe became an eyewitness to the failed putsch of Adolf Hitler and his violent band of National Socialists. Kacis here to sign up.
In looking first at Lacis’s German memoir and the conditions of its production, and then turning to how she has been represented by Benjamin and his rewriters, we saw the emergence of an unsympa- thetic, cynically erotic Party functionary, who in turn inflects our view of Benjamin as a marginal, wrongly disregarded genius. Evenhis immenselydiffi- cultbookon Germantragicdramawas favorablyreviewedin many of his country’srelevantperiodicals,as well as asj importantjour- nals in Hungary,France,Austria,and England.
For Scholem, the “absence of any convincing evocation of her intellectual profile” 8, a point, one will note, he takes care to restate is not a reflection of his friend’s ambivalent attitude towards the relationship but rather of Lacis’s perfidy. Project MUSE promotes the creation and dissemination of essential humanities and lavis science resources through collaboration with libraries, publishers, and scholars worldwide. Politk auf dem Theater. Remember me on this computer. On December20, for instance,he describesthe frustrationshe faces as: When Waltercame to visit me in the sanatorium,he would say with great feeling, ‘Do you know how badly I want to live and work in Moscow!
In the final sec- tion, we saw how consideration of even one additional text can act to counterbalance the myth-making of previous rewriters. It was translated into English inasa Nabokov heavily reworked the original text and created a new translation under the title Laughter in the Dark in The theater’s audience was comprised mostly of members of nearby collective farms.
Lacis began work on it after Reich’s death in Over the next two years, she worked with a group of young girls and boys who had become homeless in the chaos caused by war and revolution. Nor was her trip to Frankfurtmotivated by per- sonal considerations – she went there in order to seek medical treat- ment and Benjamin, in fact, refused to accompany her.
Asja Lacis | The Charnel-House
GarySmithis moreastutethanScholemin recognizingthe dynamicsof Benjamin’srelationshipwith “MotherRussia. On anotherlevel, it is the storyof a failedromancewith the RussianRevolution.
Retrieved from ” https: Above all, Lacis began to be cherished by a new generation as one of the last survivors of a golden age of European theater.
As she enteredthe room, I asma to kiss her. Up to now the aestheticians have evaluated allegory as an art medium as a second class.