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blog-style-post-standard"> <article id="post-24357" class="post-item post-item-single post-24357 post type-post status-publish format-standard has-post-thumbnail hentry category-druha-svetova-vojna tag-antisemitizmus tag-kultura tag-propaganda tag-tretia-risa"> <meta content="https://historylab.dennikn.sk/wp-content/uploads/2024/09/Najznamejsia-pravdepodobna-podobizen-Williama-Shakespearea.-Malba-Johna-Taylora-z-r.-1611-803x1024.jpg" itemprop="image"/> <div class="post-type-content"> <div class="post-thumbnail"> <img src="https://historylab.dennikn.sk/wp-content/uploads/2024/09/Najznamejsia-pravdepodobna-podobizen-Williama-Shakespearea.-Malba-Johna-Taylora-z-r.-1611-1200x675.jpg" alt="Ako sa nacisti pokúsili privlastniť si Shakespeara"> <a href="https://historylab.dennikn.sk/wp-content/uploads/2024/09/Najznamejsia-pravdepodobna-podobizen-Williama-Shakespearea.-Malba-Johna-Taylora-z-r.-1611-scaled.jpg" class="post-lightbox" data-rel="lightcase:post_gallery_24357"></a> </div> </div> <div class="post-item-single-container"> <div class="post-single-meta"> <div class="post-categories-container"> <div class="post-categories"><a href="https://historylab.dennikn.sk/category/druha-svetova-vojna/">Druhá svetová vojna</a></div> </div> <a class="post-title"> <h1> Ako sa nacisti pokúsili privlastniť si Shakespeara <span class="post-read-later post-read-later-guest" href="#login-register" data-type="add" data-id="24357"><i class="fa fa-bookmark-o"></i></span> </h1> </a> <div class="post-meta"> <div class="post-meta-content"> <span class="post-auhor-date post-auhor-date-full"> <a href="https://historylab.dennikn.sk/author/mgr-jakub-drabik-ph-d/"> <img alt='' src='https://historylab.dennikn.sk/wp-content/uploads/2021/09/jakub-drabik-mudr-jpg-paedr.jpg' srcset='https://historylab.dennikn.sk/wp-content/uploads/2021/09/jakub-drabik-mudr-jpg-paedr.jpg 2x' class='avatar avatar-28 photo post-author-image' height='28' width='28' decoding='async'/> </a> <span> <a href="https://historylab.dennikn.sk/author/mgr-jakub-drabik-ph-d/" class="post-author">Mgr. Jakub Drábik, Ph.D.</a></span>, <a href="https://historylab.dennikn.sk/druha-svetova-vojna/ako-sa-nacisti-pokusili-privlastnit-si-shakespeara/" class="post-date"> 12. septembra 2024 </a> </span> <span class="post-readtime"> <i class="icon icon-clock"></i> 11 min <span>čítania</span> </span> <span class="responsive-post-read-later">  <span class="post-read-later post-read-later-guest" href="#login-register" data-type="add" data-id="24357"><i class="fa fa-bookmark-o"></i></span> </span> </div> </div> </div> <div class="post-content post-single-content"> <p><em>Shakespearove hry boli adaptované v rôznych historických a geografických kontextoch, často aj režimami, u ktorých by sme to zrejme úplne nečakali – ako napríklad nacistami v Nemecku. Ukazuje to, ako ďaleko dokážu ideológovia a propagandisti rôznych diktatúr zájsť pri snahe o svoju legitimizáciu.</em></p> <p>Snaha nacistov o privlastnenie si Shakespeara ako jedného z najväčších árijcov je kurióznou epizódou v dejinách Tretej ríše. Odhaľuje však veľa o ideologickej flexibilite režimu a jeho bezohľadnom využívaní kultúrneho dedičstva na propagandistické účely. Tieto nacistické adaptácie sú ukážkovým príkladom toho, ako môžu byť silné literárne diela prekrútené, aby vyhovovali zámerom tých, ktorí sú pri moci, napriek ich pôvodnému umeleckému a humanistickému posolstvu.</p> <h2 class="wp-block-heading"><strong>Komora ríšskej kultúry</strong></h2> <p>Fašistická „očista národa“ sa po prevzatí moci zvyčajne začína na kultúrnom poli. Výnimkou nebolo ani nacistické Nemecko. Od svojho nástupu k moci 31. januára 1933 začali nacisti systematicky zatvárať divadlá, múzeá, kiná a množstvo ďalších kultúrnych inštitúcií, ktoré považovali za dekadentné. V septembri 1933, len pár mesiacov po prevzatí moci, nacisti zriadili Komoru ríšskej kultúry (<em>Reichskulturkammer</em>), ktorá mala za cieľ riadiť a združovať celý kultúrny život v nacistickom Nemecku a najmä určovať, čo je vhodná a nemeckého árijca hodná kultúra, a čo nie. Vedenia sa neujal nikto iný ako ríšsky minister pre ľudovú osvetu a propagandu, Joseph Goebbels.</p> <p>Ešte pred vznikom Reichskulturkammer vznikla 1. augusta 1933 Komora ríšskeho divadla (<em>Reichstheaterkammer</em>), ktorá sa do Reichskulturkammer neskôr včlenila ako jedno z jej oddelení. Jej cieľom bolo kontrolovať divadlá a dohliadať na to, či sa v nich hrajú vhodné hry. Všetko – od kostýmov po jednotlivé gestá hercov – podliehalo prísnej kontrole a cenzúre. Kontrolu nacistov nad divadlom potvrdil aj zákon o divadlách z 15. mája 1934, na základe ktorého mohol Goebbels zamestnať alebo vyhodiť riaditeľov divadiel podľa vlastného uváženia. Rovnako tak mohol zakázať akékoľvek vystúpenie.</p> <p>Divadlá boli svojím spôsobom donútené hrať predovšetkým hry veľkých nemeckých dramatikov ako Goethe alebo Schiller a tiež hry národnosocialistických autorov, zvyčajne bez umeleckej hodnoty a veľmi primitívne. Pomedzi to sa však snažili sebe – Nemcom i svetu ukázať svoju kultúrnosť. Ak chceli zapôsobiť na vzdelanú nemeckú strednú triedu (alebo si ju aspoň neznepriateliť), najväčší dramatik a jeden z najvýznamnejších spisovateľov všetkých čias, aj keď nie Nemec, nemohol chýbať. Otázka znela, ako si Shakespeara privlastniť tak, aby to bolo aspoň trochu uveriteľné.</p> <div class="wp-block-image"> <figure class="aligncenter size-large"><img fetchpriority="high" decoding="async" width="1024" height="685" src="https://historylab.dennikn.sk/wp-content/uploads/2024/09/Hitler-Goebbels-a-´dalsi-nacisti-v-divadle-Charlottenburg-v-Berline-v-roku-1939-1024x685.jpg" alt="Hitler, Goebbels, a ďalší nacisti v divadle Charlottenburg v Berlíne v roku 1939" class="wp-image-24358" srcset="https://historylab.dennikn.sk/wp-content/uploads/2024/09/Hitler-Goebbels-a-´dalsi-nacisti-v-divadle-Charlottenburg-v-Berline-v-roku-1939-1024x685.jpg 1024w, https://historylab.dennikn.sk/wp-content/uploads/2024/09/Hitler-Goebbels-a-´dalsi-nacisti-v-divadle-Charlottenburg-v-Berline-v-roku-1939-768x514.jpg 768w, https://historylab.dennikn.sk/wp-content/uploads/2024/09/Hitler-Goebbels-a-´dalsi-nacisti-v-divadle-Charlottenburg-v-Berline-v-roku-1939-585x392.jpg 585w, https://historylab.dennikn.sk/wp-content/uploads/2024/09/Hitler-Goebbels-a-´dalsi-nacisti-v-divadle-Charlottenburg-v-Berline-v-roku-1939.jpg 1400w" sizes="(max-width: 1024px) 100vw, 1024px" /><figcaption class="wp-element-caption"><sub>Hitler, Goebbels, a ďalší nacisti v divadle Charlottenburg v Berlíne v roku 1939</sub></figcaption></figure></div> <p>Nacistickí propagandisti však neboli známi tým, že by si nevedeli rady, ako čo prekrútiť. Práve naopak. Ich zručnosť vo vytváraní nových, alternatívnych interpretácií, dokonca celej novej alternatívnej reality, bola na mimoriadne vysokej úrovni. Čakalo to aj Shakespearea. Jadrom snahy o jeho privlastnenie sa stalo tvrdenie, že bol v podstate Germánom. Nacisti začali tvrdiť, že Shakespearovo dielo stelesňuje univerzálne pravdy a hodnoty, ktoré presahujú národné hranice, a to z neho robí súčasťou spoločného árijského kultúrneho dedičstva. Toto tvrdenie nebolo úplne nové (vlastne ako máločo z nacistickej propagandy). Nemeckí romantici v 18. a 19. storočí Shakespeara dlho obdivovali a často ho označovali za čestného Nemca vzhľadom na hlboký vplyv jeho diel na nemeckú literatúru a drámu. Nacisti tento obdiv doviedli do extrému a tvrdili, že Shakespearova genialita je odrazom jeho údajne árijského ducha.</p> <p>Záujem nacistického režimu o Shakespeara možno vysledovať v jeho širších kultúrnych a ideologických cieľoch. Nacistické hnutie sa od svojho vzniku snažilo preformulovať nemeckú kultúrnu identitu a zakoreniť ju v oslavovanej a mytologizovanej minulosti. To zahŕňalo nielen propagáciu germánskych kultúrnych osobností, ale aj reinterpretáciu a privlastňovanie si cudzích kultúrnych ikon, ktoré sa dali pretvoriť tak, aby slúžili cieľom režimu. Shakespeare, napriek tomu, že bol kvintesenciou anglického dramatika, bol jednou z takýchto postáv.</p> <p>Rozhodujúcu úlohu v tomto kultúrnom privlastňovaní zohral, ako inak, ríšsky minister propagandy. Goebbels bol sofistikovaným manipulátorom kultúrnych symbolov a chápal silu umenia pri formovaní verejnej mienky a posilňovaní ideologických posolstiev. V Shakespearovi videl cenný nástroj propagandy. Pod Goebbelsovým vedením začal režim inscenovať Shakespearove hry spôsobom, ktorý zdôrazňoval témy a postavy, ktoré sa dali interpretovať na podporu nacistickej ideológie.</p> <div class="wp-block-image"> <figure class="aligncenter size-large"><img decoding="async" width="666" height="1024" src="https://historylab.dennikn.sk/wp-content/uploads/2024/09/Antisemitsky-pamflet-The-Kingdom-of-Shylock-australskeho-poslanca-Franka-Ansteyho-z-roku-1917-666x1024.jpg" alt="Antisemitsky pamflet The Kingdom of Shylock australskeho poslanca Franka Ansteyho z roku 1917 - Ako sa nacisti pokúsili privlastniť si Shakespeara" class="wp-image-24361" srcset="https://historylab.dennikn.sk/wp-content/uploads/2024/09/Antisemitsky-pamflet-The-Kingdom-of-Shylock-australskeho-poslanca-Franka-Ansteyho-z-roku-1917-666x1024.jpg 666w, https://historylab.dennikn.sk/wp-content/uploads/2024/09/Antisemitsky-pamflet-The-Kingdom-of-Shylock-australskeho-poslanca-Franka-Ansteyho-z-roku-1917-768x1180.jpg 768w, https://historylab.dennikn.sk/wp-content/uploads/2024/09/Antisemitsky-pamflet-The-Kingdom-of-Shylock-australskeho-poslanca-Franka-Ansteyho-z-roku-1917-1000x1536.jpg 1000w, https://historylab.dennikn.sk/wp-content/uploads/2024/09/Antisemitsky-pamflet-The-Kingdom-of-Shylock-australskeho-poslanca-Franka-Ansteyho-z-roku-1917-1333x2048.jpg 1333w, https://historylab.dennikn.sk/wp-content/uploads/2024/09/Antisemitsky-pamflet-The-Kingdom-of-Shylock-australskeho-poslanca-Franka-Ansteyho-z-roku-1917-585x899.jpg 585w, https://historylab.dennikn.sk/wp-content/uploads/2024/09/Antisemitsky-pamflet-The-Kingdom-of-Shylock-australskeho-poslanca-Franka-Ansteyho-z-roku-1917-scaled.jpg 1666w" sizes="(max-width: 666px) 100vw, 666px" /><figcaption class="wp-element-caption"><sub>Antisemitský pamflet The Kingdom of Shylock austrálskeho poslanca Franka Ansteyho z roku 1917</sub></figcaption></figure></div> <h2 class="wp-block-heading"><strong>Kupec benátsky</strong></h2> <p>Jedným z najvýraznejších príkladov, akým sa snažili nacisti využiť Shakespaera pre svoju propagandu, je tragikomédia <em>Kupec benátsky</em>, ktorú anglický renesančný dramatik napísal v rokoch 1596 a 1598. Hra sa odohráva v Benátkach a rozpráva príbeh kresťanského kupca Antonia, ktorého požiadal o pomoc jeho priateľ, mladý lord Besanius. Ten chce požiadať o ruku krásnu Portio, ale nemá dostatočný majetok. Poprosí preto Antonia, aby mu požičal 3000 dukátov. Ani ten však v tom čase nedisponuje hotovosťou (všetok majetok má v lodiach, ktoré sú na mori), a tak sa rozhodne požičať si peniaze od židovského lichvára Shylocka. Shylock požaduje ako záruku libru mäsa z Antoniovho tela, ak dlh nebude splatený.</p> <p>Dohodnú sa, lenže Antonio stratí svoje lode a príde o majetok. Svoj dlh preto nemôže splatiť. Shylock, ktorého dcéra medzičasom utiekla za mladým mužom, ba dokonca sa stala kresťankou a okradla ho o majetok, zúri a túži po pomste. Žiada splatenie dlhu – libru mäsa z Antoniovho tela. Na súd prídu Antoniovi priatelia a Shylockovi ponúknu dvojnásobok požičanej sumy, ten však odmieta a trvá na svojom mäse. Antonio sa už-už chystá na smrť a brúsi nože, keď vtom na súd vtrhne Portia, prezlečená za právnika. Šikovne zvráti situáciu tým, že poukáže na fakt, že Shylock má právo len na mäso, nie na krv. V dramatickom rozuzlení nakoniec Shylock príde o svoje bohatstvo a Antonio je zachránený.</p> <p>Asi neprekvapí, že hra o podlom židovskom úžerníkovi, ktorý sa chce pomstiť kresťanom a ktorý je pred súdom spravodlivo potrestaný, priťahovala pozornosť nacistov. Využívali ju na šírenie antisemitských nálad. V roku 1933, keď sa v januári stal Hitler nemeckým kancelárom, bola táto hra v nemeckých divadlách hraná celkom 86-krát a počas novembrového pogromu roku 1938 (známy pod nacistickým propagandistickým názvom „Krištáľová noc“) dokonca hrala v rozhlase jej rádiová verzia.</p> <div class="wp-block-image"> <figure class="aligncenter size-large"><img loading="lazy" decoding="async" width="781" height="1024" src="https://historylab.dennikn.sk/wp-content/uploads/2024/09/Herec-Ernst-von-Possart-ako-Shylock-v-roku-1904-781x1024.jpg" alt="Herec Ernst von Possart ako Shylock v roku 1904 - Ako sa nacisti pokúsili privlastniť si Shakespeara" class="wp-image-24359" srcset="https://historylab.dennikn.sk/wp-content/uploads/2024/09/Herec-Ernst-von-Possart-ako-Shylock-v-roku-1904-781x1024.jpg 781w, https://historylab.dennikn.sk/wp-content/uploads/2024/09/Herec-Ernst-von-Possart-ako-Shylock-v-roku-1904-768x1007.jpg 768w, https://historylab.dennikn.sk/wp-content/uploads/2024/09/Herec-Ernst-von-Possart-ako-Shylock-v-roku-1904-585x767.jpg 585w, https://historylab.dennikn.sk/wp-content/uploads/2024/09/Herec-Ernst-von-Possart-ako-Shylock-v-roku-1904.jpg 991w" sizes="auto, (max-width: 781px) 100vw, 781px" /><figcaption class="wp-element-caption"><sub>Herec Ernst von Possart ako Shylock v roku 1904</sub></figcaption></figure></div> <p>V nacistických inscenáciách bol Shylock zobrazovaný ako stelesnenie židovskej chamtivosti a zlomyseľnosti, čo bola karikatúra, ktorá sa zhodovala so zúrivým antisemitizmom režimu. Zdôrazňovaním Shylockových negatívnych vlastností a rámcovaním príbehu spôsobom, ktorý vyvolával sympatie k jeho kresťanským protivníkom, nacisti využívali hru na posilnenie svojej rasovej propagandy. Vyobrazovať ho čierno-bielo len ako krutého a nemilosrdného zloducha však bolo pomerne náročné. Shylock je pozoruhodne komplexná postava, ktorá bola nespočetne ráz prepracovaná a pretvorená a ktorá dlho priťahovala pozornosť divákov i akademikov. V hre je však výrazne prítomné a viditeľné aj antisemitské zneužívanie a diskriminácia, ktoré Shylock zažíva počas celého príbehu.</p> <p>V roku 1938 preto vzniesla Ríšska divadelná komora k hre niekoľko pripomienok. Sústredili sa najmä na scény, ktoré zobrazovali Shylocka ako obeť. Shakespearovo zobrazenie Shylockovho utrpenia spôsobeného kresťanmi, ktorí mu ukradli dcéru, dom a bohatstvo, robí zo Shylocka nepochybne sympatickú postavu  tragického hrdinu. To všetko muselo zmiznúť. Na základe odporúčaní Komory sa urobili v hre drastické zmeny. Približne sto riadkov divadelnej hry nacistickí dramatici kompletne prepísali a niektoré pasáže úplne vypustili. Stratila sa napríklad známa scéna z tretieho dejstva, v ktorom Shylock upozorňuje na pokrytectvo kresťanov a žiada, aby sa k nemu správali s rešpektom a pokorou.</p> <p>Nepovšimnuté nemohlo zostať ani „rasovo zmiešané“ manželstvo Lorenza a Shylockovej dcéry Jessicy. Lorenzova čistá árijská kresťanská krv sa predsa nemohla miešať s Jessicinou židovskou. Komora navrhla dve možné riešenia: v jednom Jessica opustila Lorenza a vrátila sa do ghetta k svojmu otcovi ešte pred akýmkoľvek sexuálnym aktom; v druhom bolo z kontextu hry jasné, že Jessica je adoptovaná a má čistú, kresťanskú krv. Zo Shylocka tak mohli nacisti urobiť čistokrvného zlosyna a démonickú postavu, ktorá mala na javisku „nesúvisle grgajúc, chrčiac a škriekajúc zúrivo pobehovať sem a tam.“</p> <div class="wp-block-image"> <figure class="aligncenter size-large"><img loading="lazy" decoding="async" width="1024" height="898" src="https://historylab.dennikn.sk/wp-content/uploads/2024/09/Albert-Basserman-ako-Shylock-v-roku-1905-1024x898.jpg" alt="Albert Basserman ako Shylock v roku 1905 - Ako sa nacisti pokúsili privlastniť si Shakespeara" class="wp-image-24360" srcset="https://historylab.dennikn.sk/wp-content/uploads/2024/09/Albert-Basserman-ako-Shylock-v-roku-1905-1024x898.jpg 1024w, https://historylab.dennikn.sk/wp-content/uploads/2024/09/Albert-Basserman-ako-Shylock-v-roku-1905-768x674.jpg 768w, https://historylab.dennikn.sk/wp-content/uploads/2024/09/Albert-Basserman-ako-Shylock-v-roku-1905-585x513.jpg 585w, https://historylab.dennikn.sk/wp-content/uploads/2024/09/Albert-Basserman-ako-Shylock-v-roku-1905.jpg 1051w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /><figcaption class="wp-element-caption"><sub>Albert Basserman ako Shylock v roku 1905</sub></figcaption></figure></div> <h2 class="wp-block-heading"><strong>Macbeth ako Hitler</strong></h2> <p><em>Kupec benátsky</em> však nebol jedinou Shakespearovou hrou, ktorej sa dostalo nacistickej pozornosti a úpravám. Podobne aj <em>Július Caesar</em> musel byť prispôsobený nacistickej ideologickej agende. Téma hry o politických intrigách a vodcovstve, ale aj témy moci, zrady a politických manipulácií boli prispôsobené, prepísané a dezinterpretované tak, aby sa vytvorili paralely so súčasnými politickými postavami a udalosťami. Ukazovali tiež morálne ospravedlnenie politického násilia cez prizmu nacistického totalitarizmu a nemeckého nacionalizmu. Caesara zobrazovali ako silného, rozhodného vodcu, ktorého zavraždenie sprisahancami predstavovalo nebezpečenstvo slabosti a vnútorného konfliktu. Nacistické verzie tejto hry zdôrazňovali násilný pád Caesara ako varovanie pred podkopávaním autority štátu. Napríklad postava Bruta, ktorý zradí Caesara, sa dala využiť na symbolizovanie nebezpečenstva vnútorného disentu a zrady štátu. Takéto interpretácie mali ospravedlniť čistky režimu a odradiť akúkoľvek potenciálnu opozíciu v radoch nacistov.</p> <p>Inscenácie <em>Macbetha</em> zas v Tretej ríši zdôrazňovali predstavu osudu a nevyhnutného vzostupu silného vodcu, čo rezonovalo s nacistickým ideálom Führerprinzipu (vodcovského princípu). Tým, že sa Macbethova bezohľadná ctižiadostivosť spájala s Hitlerovým údajným osudom viesť Nemecko, sa tieto inscenácie snažili legitimizovať Führerovu autoritu. Hlavného hrdinu Macbetha prekreslili nacisti ako silného, bezohľadného vodcu, čo malo odrážať aj ich vlastné uchopenie absolútnej kontroly nad štátom. Zdôrazňovali Macbethovu ochotu spáchať kráľovraždu a tyraniu, aby si zabezpečil svoju vládu, čím vyvodzovali paralely s vlastným násilným potláčaním politických oponentov. Macbethových protivníkov, rovnako ako aj právoplatného kráľa Duncana, nacisti naopak považovali za slabých a neefektívnych, neschopných viesť. Nacistické inscenácie hry zdôrazňovali motívy rozhodnej, nekompromisnej autority a zároveň bagatelizovali, či úplne vynechali a cenzurovali varovné aspekty Macbethovej konečnej záhuby. Táto selektívna interpretácia umožnila nacistom využiť prestíž Shakespearovho klasického diela na potvrdenie vlastného upevnenia absolútnej moci a násilného potlačenia politickej opozície.</p> <div class="wp-block-image"> <figure class="aligncenter size-full"><img loading="lazy" decoding="async" width="750" height="1000" src="https://historylab.dennikn.sk/wp-content/uploads/2024/09/Dvaja-prislusnici-Hitlerjugend-sa-chystaju-zaciatok-predstavenia-jednej-zo-Shakespearovych-hier-amaterskym-divadlom-rok-1940.jpg" alt="Dvaja prislusnici Hitlerjugend sa chystaju zaciatok predstavenia jednej zo Shakespearovych hier amaterskym divadlom rok 1940 - Ako sa nacisti pokúsili privlastniť si Shakespeara" class="wp-image-24362" srcset="https://historylab.dennikn.sk/wp-content/uploads/2024/09/Dvaja-prislusnici-Hitlerjugend-sa-chystaju-zaciatok-predstavenia-jednej-zo-Shakespearovych-hier-amaterskym-divadlom-rok-1940.jpg 750w, https://historylab.dennikn.sk/wp-content/uploads/2024/09/Dvaja-prislusnici-Hitlerjugend-sa-chystaju-zaciatok-predstavenia-jednej-zo-Shakespearovych-hier-amaterskym-divadlom-rok-1940-110x147.jpg 110w, https://historylab.dennikn.sk/wp-content/uploads/2024/09/Dvaja-prislusnici-Hitlerjugend-sa-chystaju-zaciatok-predstavenia-jednej-zo-Shakespearovych-hier-amaterskym-divadlom-rok-1940-585x780.jpg 585w" sizes="auto, (max-width: 750px) 100vw, 750px" /><figcaption class="wp-element-caption"><sub>Dvaja príslušníci Hitlerjugend sa chystajú začiatok predstavenia jednej zo Shakespearových hier amatérskym divadlom, rok 1940</sub></figcaption></figure></div> <h2 class="wp-block-heading"><strong>Arizácia Shakespeara</strong></h2> <p>Pri svojej snahe o privlastnenie si Shakespeara sa nacisti okrem tematickej manipulácie venovali aj textovej cenzúre a reinterpretácii. Pasáže, ktoré neboli v súlade s nacistickou ideológiou, boli buď vynechané alebo preformulované, čím sa zabezpečilo, aby hry sprostredkovali požadované ideologické posolstvá. Vzdelávací systém Tretej ríše tiež zohral pri nacistickom privlastňovaní si Shakespeara istú úlohu. Shakespeare sa v školách vyučoval ako súčasť nemeckého literárneho kánonu so špecifickým dôrazom na jeho údajne árijské kvality. Učitelia boli inštruovaní, aby zdôrazňovali témy, ktoré rezonovali s nacistickými ideálmi, ako napríklad hrdinstvo, vernosť a boj proti (domnelým) nepriateľom. Cieľom tohto selektívneho vyučovania bolo vštepiť nacionalistické cítenie a vychovať generáciu, ktorá by Shakespeara vnímala cez prizmu nacistickej ideológie.</p> <p>Kultúrna manipulácia nacistov sa neobmedzila len na obsah jednotlivých diel, ale rozšírila sa aj na ich prezentáciu a predvádzanie. Režim investoval do veľkolepých inscenácií, ktoré zdôrazňovali árijské aspekty hier. Estetika týchto inscenácií často odrážala nacistický ideál krásy, zdôrazňovala fyzickú silu a čistotu. Bolo to zjavné najmä pri stvárňovaní postáv, keď boli do hlavných úloh obsadzovaní árijskí herci a kostýmy a scénografia boli vytvorené tak, aby zodpovedali estetickým ideálom režimu. Divadlo považovali nacisti za mocné médium na ovplyvňovanie verejnej mienky a Shakespearove hry boli vzhľadom na ich kultúrnu prestíž v tomto smere obzvlášť účinné. Zároveň je privlastnenie si Shakespeara svedectvom schopnosti režimu kultúrne manipulovať a ideologicky využívať takmer čokoľvek.</p> <div class="wp-block-image"> <figure class="aligncenter size-large"><img loading="lazy" decoding="async" width="803" height="1024" src="https://historylab.dennikn.sk/wp-content/uploads/2024/09/Najznamejsia-pravdepodobna-podobizen-Williama-Shakespearea.-Malba-Johna-Taylora-z-r.-1611-803x1024.jpg" alt="Najznamejsia pravdepodobna podobizen Williama Shakespearea. Malba Johna Taylora z r. 1611 - Ako sa nacisti pokúsili privlastniť si Shakespeara" class="wp-image-24363" srcset="https://historylab.dennikn.sk/wp-content/uploads/2024/09/Najznamejsia-pravdepodobna-podobizen-Williama-Shakespearea.-Malba-Johna-Taylora-z-r.-1611-803x1024.jpg 803w, https://historylab.dennikn.sk/wp-content/uploads/2024/09/Najznamejsia-pravdepodobna-podobizen-Williama-Shakespearea.-Malba-Johna-Taylora-z-r.-1611-768x979.jpg 768w, https://historylab.dennikn.sk/wp-content/uploads/2024/09/Najznamejsia-pravdepodobna-podobizen-Williama-Shakespearea.-Malba-Johna-Taylora-z-r.-1611-1205x1536.jpg 1205w, https://historylab.dennikn.sk/wp-content/uploads/2024/09/Najznamejsia-pravdepodobna-podobizen-Williama-Shakespearea.-Malba-Johna-Taylora-z-r.-1611-1607x2048.jpg 1607w, https://historylab.dennikn.sk/wp-content/uploads/2024/09/Najznamejsia-pravdepodobna-podobizen-Williama-Shakespearea.-Malba-Johna-Taylora-z-r.-1611-585x746.jpg 585w, https://historylab.dennikn.sk/wp-content/uploads/2024/09/Najznamejsia-pravdepodobna-podobizen-Williama-Shakespearea.-Malba-Johna-Taylora-z-r.-1611-scaled.jpg 2008w" sizes="auto, (max-width: 803px) 100vw, 803px" /><figcaption class="wp-element-caption"><sub>Najznámejšia (pravdepodobná) podobizeň Williama Shakespearea. Maľba Johna Taylora z r. 1611</sub></figcaption></figure></div> <h2 class="wp-block-heading"><strong>Temné transformácie</strong></h2> <p>Manipulácia nacistického režimu s kultúrnymi ikonami a ich privlastňovanie ďaleko presahovali Shakespeara a odrážali širšiu stratégiu využívania kultúrneho dedičstva na ideologickú indoktrináciu. Jedným z prominentných príkladov je využívanie Richarda Wagnera, ktorého opery a hudba boli kooptované ako symbol údajnej nadradenosti árijskej kultúry. Wagnerove diela s veľkolepými témami hrdinstva, boja a vykúpenia boli pre nacistickú propagandu ideálne. Hitler, horlivý obdivovateľ Wagnera, považoval jeho hudbu za stelesnenie najčistejšej formy nemeckého ducha a osudu. Propagandistická mašinéria režimu zdôrazňovala Wagnerove mýtické príbehy a hrdinské postavy, aby vytvorila paralely s nacistickou víziou rasovo čistého a víťazného Nemecka. Silne sa propagovali festivaly a predstavenia venované Wagnerovým operám, čím sa posilňovalo ideologické posolstvo, že nacistický režim je právoplatným dedičom slávneho kultúrneho dedičstva.</p> <p>Ďalšou významnou kultúrnou osobnosťou, ktorú si nacisti privlastnili, bol filozof Friedrich Nietzsche. Napriek tomu, že Nietzsche počas svojho života ostro vystupoval proti nacionalizmu a antisemitizmu, nacisti selektívne interpretovali a prekrúcali jeho spisy, aby vyhovovali ich ideológii. Zdôrazňovali jeho koncepcie nadčloveka (Übermensch) a vôle k moci, vytrhli ich z pôvodného filozofického kontextu a použili ich na ospravedlnenie svojich doktrín rasovej nadradenosti a autoritárskej vlády. Nietzscheho kritika demokracie a jeho výzvy na prekonanie konvenčnej morálky boli prekrútené na podporu nacistického programu sociálneho darvinizmu a glorifikácie totalitného štátu. Manipulácia Nietzscheho filozofie režimom bola taká všadeprítomná, že zanechala trvalý vplyv na jeho posmrtnej povesti a v povojnovom období si vyžiadala (a do istej miery stále vyžaduje) rozsiahle vedecké úsilie, aby sa jeho myšlienky vymanili z deformácií, ktoré zaviedla nacistická ideológia.</p> <p>Nacistický režim robil všetko, čo bolo v jeho silách, aby si privlastnil kultúrne ikony ako William Shakespeare, Richard Wagner a Friedrich Nietzsche. Prostredníctvom nich chcel legitimizovať svoju vládu a propagovať svoju ideológiu. Nacistickej represívnej politike mali tieto manipulácie dodať intelektuálnu váhu a kultúrnu dôveryhodnosť. Vytvárali tým pocit kontinuity s údajne nadradeným árijským dedičstvom. Táto strategická manipulácia slúžila na vzbudenie národnej hrdosti, posilnenie rasistických a autoritárskych doktrín a oslabenie kultúrneho vplyvu ich nepriateľov, pričom sa brutalita režimu maskovala pod rúškom vysokej kultúry a intelektualizmu.</p> <h4 class="wp-block-heading">Použitá literatúra:</h4> <ul class="wp-block-list"> <li><a href="https://holocaustcentrenorth.org.uk/blog/shylocks-shadow-shakespeares-the-merchant-of-venice-and-the-nazi-takeover-of-theatres/" target="_blank" rel="noopener">ALLEN, Aimie: Shylock´s Shadow: Shakespear´s „The Merchant of Venice“ and the Nazi takeover of Theatres. In. Holocaust Centre North, 6. september 2023</a>. Online: <a href="https://holocaustcentrenorth.org.uk/blog/shylocks-shadow-shakespeares-the-merchant-of-venice-and-the-nazi-takeover-of-theatres/" target="_blank" rel="noopener">https://holocaustcentrenorth.org.uk/blog/shylocks-shadow-shakespeares-the-merchant-of-venice-and-the-nazi-takeover-of-theatres/</a></li> <li>BONNELL, Andrew G., Shylock in Germany : Antisemitism and the German Theatre from the Enlightenment to the Nazis, London, Tauris, 2008.</li> <li>HORTMANN, Wilhelm, Shakespeare on the German Stage : The Twentieth Century, Cambridge, Cambridge University Press, 1998.</li> <li><a href="https://shakespeare.edel.univ-poitiers.fr/index.php?id=865" target="_blank" rel="noopener">SCHNAUDER, Par Ludwig: The most infamous Shakespeare Production in History ? The Merchant of Venice at Vienna’s Burgtheater in 1943. In. <em>Shakespeare en devenir</em>, No. 9, 2015, ISSN 1958-9476</a> online: <a href="https://shakespeare.edel.univ-poitiers.fr/index.php?id=865" target="_blank" rel="noopener">https://shakespeare.edel.univ-poitiers.fr/index.php?id=865</a></li> <li>STROBL, Gerwin: The Swastika and the Stage. German Theatre and Society, 1933–1945. Cambridge: Cambridge University Press, 2007.</li> <li>SYMINGTON, Rodney: The Nazi Appropriation of Shakespeare: Cultural Politics in the Third Reich. Lewiston: Edwin Mellen Press, 2005.</li> </ul>   <div class="molongui-clearfix"></div><div class="m-a-box " data-box-layout="slim" data-box-position="below" data-multiauthor="false" data-author-id="36" data-author-type="user" data-author-archived=""><div class="m-a-box-container"><div class="m-a-box-tab m-a-box-content m-a-box-profile" data-profile-layout="layout-1" data-author-ref="user-36" itemscope itemid="https://historylab.dennikn.sk/author/mgr-jakub-drabik-ph-d/" itemtype="https://schema.org/Person"><div class="m-a-box-content-top"></div><div class="m-a-box-content-middle"><div class="m-a-box-item m-a-box-avatar" data-source="local"><a class="m-a-box-avatar-url" href="https://historylab.dennikn.sk/author/mgr-jakub-drabik-ph-d/"><img loading="lazy" decoding="async" width="150" height="150" src="https://historylab.dennikn.sk/wp-content/uploads/2021/09/jakub-drabik-mudr-jpg-paedr-150x150.jpg" class="attachment-150x150 size-150x150" alt="jakub drabik mudr jpg paedr - Ako sa nacisti pokúsili privlastniť si Shakespeara" itemprop="image" srcset="https://historylab.dennikn.sk/wp-content/uploads/2021/09/jakub-drabik-mudr-jpg-paedr-150x150.jpg 150w, https://historylab.dennikn.sk/wp-content/uploads/2021/09/jakub-drabik-mudr-jpg-paedr-70x70.jpg 70w, https://historylab.dennikn.sk/wp-content/uploads/2021/09/jakub-drabik-mudr-jpg-paedr-80x80.jpg 80w, https://historylab.dennikn.sk/wp-content/uploads/2021/09/jakub-drabik-mudr-jpg-paedr-768x768.jpg 768w, https://historylab.dennikn.sk/wp-content/uploads/2021/09/jakub-drabik-mudr-jpg-paedr-585x585.jpg 585w, https://historylab.dennikn.sk/wp-content/uploads/2021/09/jakub-drabik-mudr-jpg-paedr-220x220.jpg 220w, https://historylab.dennikn.sk/wp-content/uploads/2021/09/jakub-drabik-mudr-jpg-paedr-300x300.jpg 300w, https://historylab.dennikn.sk/wp-content/uploads/2021/09/jakub-drabik-mudr-jpg-paedr-600x600.jpg 600w, https://historylab.dennikn.sk/wp-content/uploads/2021/09/jakub-drabik-mudr-jpg-paedr-100x100.jpg 100w, https://historylab.dennikn.sk/wp-content/uploads/2021/09/jakub-drabik-mudr-jpg-paedr.jpg 1000w" sizes="auto, (max-width: 150px) 100vw, 150px"></a></div><div class="m-a-box-item m-a-box-data"><div class="m-a-box-name m-a-box-title"><h5 itemprop="name"><a class="m-a-box-name-url " href="https://historylab.dennikn.sk/author/mgr-jakub-drabik-ph-d/" itemprop="url"> Mgr. Jakub Drábik, Ph.D.</a></h5></div><div class="m-a-box-bio" itemprop="description"><p>Vyštudoval históriu a v roku 2014 získal na Ústave svetových dejín Filozofickej fakulty Univerzity Karlovej v Prahe titul Ph.D. Vo svojom výskume sa zaoberá komparatívnym štúdiom fašizmu (predovšetkým britského a českého fašizmu) a vybranými otázkami československých dejín. Absolvoval študijné a výskumné pobyty na Oxford Brookes University (2012/2013), Uniwersytet Wrocławski (2014), Central European University (2017/2018), Universität Wien (2021) a ďalších inštitúciách. Momentálne pracuje v Historickom ústave Slovenskej akadémie vied a na Masarykovej univerzite v Brne. Je autorom monografií Mýtus o znovuzrození (2014), Fašista (2017) a Fašizmus (2019). Je členom International Association for Comparative Fascist Studies (ComFas) a Slovenskej historickej spoločnosti pri SAV.</p></div></div></div><div class="m-a-box-content-bottom"></div></div></div></div> </div> <div class="sh-page-links"></div> <div class="post-tags-container"> <div class="post-tags"> <a class="post-tags-item post-tags-item-title"> Tagy </a> <a href="https://historylab.dennikn.sk/tag/antisemitizmus/" class="post-tags-item"> #antisemitizmus </a> <a href="https://historylab.dennikn.sk/tag/kultura/" class="post-tags-item"> #kultúra </a> <a href="https://historylab.dennikn.sk/tag/propaganda/" class="post-tags-item"> #propaganda </a> <a href="https://historylab.dennikn.sk/tag/tretia-risa/" class="post-tags-item"> #Tretia ríša </a> </div> <div class="sh-clear"></div> </div> </div> <div class="post-related-title post-slide-arrows-container"> <h2 class="post-single-title"> Mohlo by sa vám páčiť </h2> </div> <div class="post-related"> <div class="post-related-item"> <article 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class="sh-ratio-content" style="background-image: url( https://historylab.dennikn.sk/wp-content/uploads/2021/03/Bismarck_v_suboji_titanov_porazil_kriznik_Hood-420x265.jpg);"></div> </div> </div> <a href="https://historylab.dennikn.sk/druha-svetova-vojna/bismarck-v-suboji-titanov-porazil-kriznik-hood/" class="post-overlay"></a> <div class="post-categories-container"> <div class="post-categories"><a href="https://historylab.dennikn.sk/category/druha-svetova-vojna/">Druhá svetová vojna</a></div> </div> </div> <div class="post-content-container"> <a href="https://historylab.dennikn.sk/druha-svetova-vojna/bismarck-v-suboji-titanov-porazil-kriznik-hood/" class="post-title"> <h4> Bismarck v súboji titanov porazil krížnik Hood <span class="post-read-later post-read-later-guest" href="#login-register" data-type="add" data-id="8757"><i class="fa fa-bookmark-o"></i></span> </h4> </a> <div class="post-meta"> <div class="post-meta-content"> <span class="post-auhor-date"> <span> <a 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style="background-image: url( https://historylab.dennikn.sk/wp-content/uploads/2021/03/Wilhelm_Canaris_vojnu_nechcel-420x265.jpg);"></div> </div> </div> <a href="https://historylab.dennikn.sk/druha-svetova-vojna/wilhelm-canaris-admiral-v-zone-svetla-a-tiena/" class="post-overlay"></a> <div class="post-categories-container"> <div class="post-categories"><a href="https://historylab.dennikn.sk/category/druha-svetova-vojna/">Druhá svetová vojna</a></div> </div> </div> <div class="post-content-container"> <a href="https://historylab.dennikn.sk/druha-svetova-vojna/wilhelm-canaris-admiral-v-zone-svetla-a-tiena/" class="post-title"> <h4> Wilhelm Canaris – admirál v zóne svetla a tieňa <span class="post-read-later post-read-later-guest" href="#login-register" data-type="add" data-id="3169"><i class="fa fa-bookmark-o"></i></span> </h4> </a> <div class="post-meta"> <div class="post-meta-content"> <span class="post-auhor-date"> <span> <a 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