Displacement, Repetition and Repression: Die Meistersinger von Nürnberg on Stage in the Weimar Republic

Abstract

Relatively little scholarly attention has been paid to the performance and 2As theories of trauma and repetition might instruct us, it is not presence that appears in the syncopated time of citational performance but precisely (again) the missed encounter Ð the reverberations of the overlooked, the missed, the repressed, the seemingly forgottenÉ[P]erformance plays the Òsedimented actsÓ and spectral meanings that haunt material in constant collective interactionÉ 1