Culture of the German Democratic Republic
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[edit] Socialist Realism
In the 1950s the officially encouraged form of art was known as 'Socialist Realism'. This was intended to depict everyday life under Socialism in a way that showed the benefits of living and working in East Germany.
[edit] Music
Rock bands were expected to sing in German only. This seemed a logical constraint by Party leaders but it was somewhat unpopular amongst young people. Another problem for the authorities was having to check song texts very carefully for anti-socialist tendencies. The band Renft, for example, was prone to political misbehaviour, which eventually led to its breakdown.
The Puhdys and Karat were popular mainstream bands, managing to hint at critical thoughts in their lyrics without being explicit. Like most mainstream acts, they appeared in popular youth magazines such as Neues Leben and Magazin.
Influences from the West were heard everywhere, because TV and radio that came from the Klassenfeind (enemy of the working class) could be received in many parts of the East, too (a notorious exception being Dresden, with its geographically disadvantageous position in the Elbe valley, giving it the nickname of “Valley of the Clueless”). The Western influence led to the formation of more "underground" groups with a decisively western-oriented sound. A few of these bands were Die Skeptiker, as well as Feeling B.
[edit] Johann Sebastian Bach
On a more traditional level, the East German government celebrated the fact that Johann Sebastian Bach was born in East German territory, and spent a great deal of money converting his house in Eisenach into a museum of his life, which, among other things, included more than 300 instruments from Bach's life. In 1980 this museum was receiving more than 70,000 visitors annually.
In Leipzig, an enormous archive with recordings of all of Bach's music was compiled, along with many historical documents and letters both to and from him.
Every other year, school children from across East Germany gathered for a Bach competition held in East Berlin. Every four years an international Bach competition for keyboard and strings was held.
[edit] Theater
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East-German theater was in the beginning strongly dominated by Bertolt Brecht, who brought back a lot of artists from the antifascist resistance and reopened Theater am Schiffbauerdamm with his Berliner Ensemble. On other side some streams tried to establish pure workers theater, played by workers and plays about workers. After Brecht died, there were a lot of conflicts beetween the artists and the family (around Helene Weigel) about the heritage of Brecht. Heinz Kahlau, Slatan Dudow, Erwin Geschonneck, Erwin Strittmatter, Peter Hacks, Benno Besson, Peter Palitzsch and Ekkehard Schall are counted among Brechts scholars and followers. In 50s the Swiss Benno Besson had success whith "The Dragon" by Jewgenij Schwarz, so that he travelled with Deutsches Theater all-around Europe and Asia (also in Japan). He became the Intendant at Volksbühne in the 60s and worked often with Heiner Müller. Because of censorship a lot of artist left the GDR from 1975. Am parallel development was that some artists went to small-city-theaters, to create theater beyond Berlin. For example Peter Sodann founded the neues theater in Halle/Saale and Frank Castorf was at theater Anklam. Theater and Cabaret had a very important status in GDR for the people and so it was a very active and movable scene, what was reason for the contention with the state. Benno Besson said once about that: At least they took us serious.
[edit] Cinema
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In the GDR the movie industry was very active. Besides folksy movies, the East German movie industry became worldwide known for its productions, especially for its children's movies (Das kalte Herz and cinematic versions of the Grimms' fairy tales, but also modern productions like Das Schulgespenst). Movies about persecution of Jews in Third Reich like Jakob, der Lügner and the resistance against fascism Fünf Patronenhülsen (both directed by Frank Beyer) became internationally famous. Also movies about problems of daily life like Die Legende von Paul und Paula (directed by Heiner Carow) or Solo Sunny (directed by Konrad Wolf and Wolfgang Kohlhaase) were very popular.
Especially remarkable are western productions, in which American Indians often took the role of the displaced people in contrast to American westerns, in which they are often not mentioned or play the violators. Gojko Mitić is the most famous actor in this role; he often played the righteous, kindhearted and charming chief (Die Söhne der Großen Bärin directed by Josef Mach). He became an honorary chief of the Sioux nation, when he visited the United States of America in the 90's and the accompanying television crew showed the Sioux one of his movies.
Because of censorship a certain number of very remarkable movies were forbidden at this time and republished after the Wende in 1990. Examples are Spur der Steine (directed by Frank Beyer) and Der geteilte Himmel (directed by Konrad Wolf).
GDR cinemas did not only screen domestic productions. Besides the Czech, Polish a.s.o. productions also certain foreign movies were shown, the amount was limited because it cost a lot of money to buy the licences. Certainly movies which represented or glorified a capitalistic ideology were not bought. For example Grease was not shown but One Flew Over The Cuckoo's Nest was. Many people enjoyed comedies, like the Danish Olsen Gang or movies with the French comedian Louis de Funès.
[edit] GDR jokes
Main article: GDR jokes
With widespread censorship of literature, the media and the arts, political jokes were one of the main outlets for criticism of the German Democratic Republic (East Germany). After reunification, these became known as DDR-Witze (GDR jokes). Political jokes of this form have almost disappeared since reunification as they no longer play the same subversive role, being replaced by open democratic debate, political cartoons and satire.
