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00:301945. Life resumes for those who survived. The unconditional surrender on the 8th and 9th of May
00:50was the final curtain on the 12-year run of the Nazi Third Reich.
00:54Everyday life was now a fight for survival against hunger and cold before a backdrop of destruction.
01:02Nevertheless, in the first weeks after capitulation, a new cultural life emerged
01:08from the ruins of German culture. The occupying Soviets were instrumental.
01:24Russian cultural officers waved the baton initially throughout all Berlin in those parts of Germany
01:43occupied by the Soviet army. Most of them spoke German well and came from Leningrad or Moscow.
01:49It was for us very surprising, that we should stay for a long time in Germany. We were
02:01military front-officeers, politicians and thought we would soon go home. The war is out.
02:08They had first a very nĂĽchtern idea. They said, Berlin is so kaputt and the population
02:14is so bad. And if we don't want, that there will be a resistance, then we had to be afraid
02:21of, that the soldiers had to be afraid, that the Germans could still do a revolution. Then
02:27we have to push them down. We have to give them games. We have to allow them to develop their
02:33culture again.
02:35Senior cultural officer Professor Dimschitz was responsible for a number of cultural
02:41institutions such as the DEFA. His task was to rally the resources available in Germany and
02:47democratize them. The first cabaret in the Möwe, a popular place with artists, reflected everyday life
02:53in this new era.
03:00The other three allies arrived in Berlin a few months later.
03:05The other three allies arrived in Berlin a few months later.
03:12The other three allies arrived in Berlin a few months later.
03:15The other three allies arrived in Berlin a few months later.
03:19When the Westmächte came, so in August, they were no doubt about what they did in Berlin.
03:26They couldn't imagine themselves that the Russians had to first put value on, so much
03:31cultural life to build up. But as they came back, how much the population positively reacted to
03:38the culture of the Russians, they quickly pulled up.
03:42Extra for you, a old French people.
03:45Korean culture,
03:47Korean culture, Korean culture, Korean culture.
04:05Competition among the Allies allowed cultural life to blossom even faster, both in towns
04:14and the country.
04:16Theatres reopened in famous directors staged plays.
04:19Some were new, others the Nazis had forbidden.
04:26Slowly at first, the emigrants returned from Western countries as well.
04:30They wanted to play a role in the democratic reconstruction of their occupied homeland.
05:00I thought that it would be possible and worthwhile, a new culture to build a new culture.
05:11It seems that we could be able to do the subject of democracy together.
05:17It was said that we were not good Democrats, but I did not.
05:22The demolition of the Berlin city palace in 1950 by the GDR authorities, despite widespread protest.
05:39This could be seen as an overture for the way culture was to be handled from now on.
05:43The SED followed the Soviet lead.
05:46The goal was to create ideological clarity in the arts by implementing socialist realism.
05:52The debate on formalism spread to all sectors of the arts.
05:55The slogan of the early 50s.
06:09Any form of art is non-formalist if it serves the nation and society, if it cultivates beauty,
06:15positive thinking and development.
06:17The theme of art is a great place.
06:30The theater is on new ways.
06:34This stage is a very powerful beginning.
06:38The theme of art is a great place.
06:42On June 17, 1953, the people took to the streets in protest against the Ulrich regime.
06:48They demonstrated against the steady increase in work norms and demanded freedom and unity for Germany.
06:54An emergency meeting of the Writers Guild was convened in haste.
06:59The goal was to make a resolution to the support of the government.
07:12We are the people of the system.
07:14We are the people of the system.
07:16This resolution was in such a phrase-speaking language,
07:21that I stood up and said, no, that's not going to go.
07:26Das ist ja kontraproduktiv, wenn ihr sowas da unterschreibt.
07:32Und ich schlug vor, dass noch zwei Kollegen und ich eine neue Resolution schreiben sollten.
07:42Und dann kamen wir raus und lasen das vor.
07:45Und dann plötzlich erklärte Kuba, das hat gar keinen Zweck, Leute.
07:49Die Resolution, die wir vorgeschlagen haben, also der Vorstand, die ist ja schon vom Zentralkomitee gebilligt.
07:56Und ich habe gesagt, was?
07:59Ihr holt uns hierher an einem solchen Tag, um eine vom Zentralkomitee bestellte Resolution zu unterschreiben, seid ihr wahnsinnig?
08:09Und darauf wurde ĂĽberhaupt keine Resolution gefasst.
08:14Und so ist es gekommen, dass der 17. Juni ohne eine Stellungnahme des Schriftstellerverbandes vorbeigegangen ist.
08:22Only a handful of people dared challenge the authorities at this time.
08:25One of them was the author and social critic Bertolt Brecht.
08:29Er hatte mir einmal erzählt, dass er am Vormittag mit dem Erwin Strittmatter die Friedrichstraße in Richtung Linden gegangen wäre.
08:38Und er hätte zu ihm gesagt, also wenn Mittag nicht die Panzer hier sind, dann hängen wir beide.
08:44Hier am Laternenmast. Aber da hörte ich sie schon.
08:46The first Secretary of the Writers Guild, Kurt Barthel, nicknamed Kuba, published a work entitled I Am So Ashamed.
08:55Brecht's response was a poem, The Solution.
08:58After the uprising on June 17, 1953, the Writers Guild secretary had leaflets distributed in Stalin L.A.
09:07They stated that the nation had betrayed the government's trust, but that it could regain its support by working twice as hard.
09:14Wouldn't it be easier for the regime to dissolve the nation and elect a new one?
09:20Dieses berühmte Gedicht, was nun alle kennen, dass sich die Partei ein neues Volk wählen sollte, ist damals nicht veröffentlicht.
09:32Das hat Brecht schlau ihr wahr, ist schön für sich behalten und das ist dann später mal im Nachlass gefunden worden.
09:38Despite his controversial stance, Brecht continued to obtain all the help he needed from the SED for his theater, the Berliner Ensemble.
09:47He staged performances of worldwide renown, such as Mother Courage, starring Helena Weigl.
10:00Brecht followed party guidelines and condemned the workers' uprising as a fascist counter-revolution plotted by groups in the West.
10:08Our state encourages and promotes everything good and valuable in our nation.
10:15And so it is not more than true, if the best of our people are at us.
10:21And their work lives at us and in us.
10:25Johannes R. Becher was named Minister of Culture by Walter Ulbricht.
10:30His appointment was welcomed by many of his fellow writers.
10:33He was considered to be a beacon of liberal policy in literature and culture.
10:36Becher did not live up to his reputation.
10:40Demands for political reform and discussion were soon a thing of the past.
10:44Nevertheless, the authors and artists complied almost without protest.
10:48In July 1953, Ulbricht and the League of Culture were thus able to announce that the intellectuals
10:54had supported GDR government policy on June 17th,
10:58despite their critical comments.
11:00The state took it upon itself to promote cultural institutions with particular propaganda value.
11:14The Allied Soviet Union supported this cultural policy.
11:34From 1955 until 1958, it returned a large percentage of the art treasures,
11:39which had been confiscated in eastern Germany at the end of the war.
11:43In Leipzig, an intellectual and socially critical group had got together.
11:56It included the philosopher Ernst Bloch and the historian Hans Meyer.
12:01They were able to oppose the party nomenclature for many years,
12:04but were finally crushed and disbanded.
12:06After the workers' uprising, the SED had promised artists and authors
12:11it would stop obstructing their work with their restrictions.
12:13They did not keep their promise.
12:15Wer also sich weigert all das seine zu tun, mit besten Kräften dabei mitzuhelfen,
12:23dass neue Errungenschaften entstehen und auf diese Weise die Alten lebendig bleiben,
12:29der bringt all das, was wir unter solchen groĂźen Schwierigkeiten
12:33und unter solchen bitteren MĂĽhen errungen haben in Gefahr.
12:37The fourth Writers' Congress was cancelled five times.
12:43Finally, it was allowed to take place in January 1956 in Berlin.
12:48The writers criticized the SED's autocratic tutelage,
12:51which demanded a rose-tinted portrayal of reality.
12:54Sie haben geglaubt, wenn Sie also eine bestimmte Art von BĂĽchern,
13:01die Sie sich gewĂĽnscht haben, bestellen und dann dafĂĽr auch ein bisschen zahlen,
13:05dann kriegen Sie das.
13:07NatĂĽrlich haben Sie solche BĂĽcher gekriegt, aber Sie haben nichts getaugt.
13:11Und das versuchte ich Ihnen klarzumachen,
13:15weil diese Art von Literatur und Umgang mit Literatur natürlich ans Lächerliche grenzt.
13:22Und ich war nicht der Meinung, dass das eine Regierung war,
13:26die sich unbedingt dauernd lächerlich machen musste.
13:29Die Debatten waren dennoch heftig.
13:33Und Stefan Heim legte sich öffentlich mit Walter Ulbricht an.
13:37Wann hat es das jemals gegeben?
13:39Ja, das war sehr hĂĽbsch.
13:41Denn Ulbricht war das nicht gewöhnt, dass ihm einer öffentlich widersprach.
13:46Er war völlig baff.
13:49Und er hat ja zweimal mit mir geredet.
13:51Und einmal hat er mich attackiert aufgrund des kurzen Referats,
13:58was ich auf dem Kongress gemacht habe.
14:01Und dann, als ich ihm widersprach, konnte er auch das nicht in der Luft hängen lassen.
14:06Dann musste er noch mal reden.
14:07Und das war sehr interessant, die Veränderung seiner Haltung.
14:11Während bei seiner ersten Intervention ich Herrheim war,
14:15wurde ich bei seiner zweiten Antwort,
14:17nachdem er gemerkt hat, dass er hier jemand ist,
14:20der sich nichts gefallen lässt,
14:22wurde ich genossen heim.
14:24Sehr interessant.
14:25The dispute between politics and literature
14:28was fuelled by events at the 20th Communist Party conference in Moscow.
14:33Khrushchev hit out at Stalinism in a secretly prepared speech.
14:37Overnight, the flamboyant statues of Stalin were removed
14:40and the communist world was temporarily thrown off track.
14:49Die Konterrevolution wĂĽtete in Ungarns Hauptstadt.
14:52Antifaschistische Literatur wurde verbrannt,
14:55wie 1933 in Deutschland.
14:57Der weiĂźe Terror raste, mordete und plĂĽnderte.
15:00After this bloody uprising had failed,
15:03Ulbricht used the situation to remove
15:05the political opponents in his own country
15:07who had expressed criticism of recent events.
15:12The director of the famous Aufbau Publishing House,
15:15Walter Janker,
15:16had not only published forbidden Hungarian authors
15:18such as Lukács and Hay.
15:20Janker himself belonged to a group of opponents.
15:23He was accused of joining in a plot to overthrow Ulbricht
15:25and was tried as a statutory example.
15:28Er hätte mit anderen eine Verschwörung gegen Ulbricht vorbereitet.
15:33Die Frage ist dann, warum gab es so wenig Solidarisierung?
15:36Da gab es am Anfang,
15:39als ich verhaftete,
15:41von vielen Leuten,
15:43einschlieĂźlich Pescher,
15:45Segers,
15:46Solidaritätserklärungen,
15:49und die haben noch zu Weihnachten
15:50meinen Kindern nach Kleinmachno hier
15:52und meiner Frau geschenkte geschickt.
15:54Die wurden aber dann von der Partei
15:56in die Mangel genommen
15:57und so lange bearbeitet,
15:58bis sie sich von uns distanziert haben.
16:01Und das ist das,
16:03was ich also nach wie vor
16:05und auch damals schon,
16:06auch während des Prozesses,
16:08ich habe ja verlangt,
16:08dass Becher und Segers als Zeugen von der Welt,
16:11das ist abgelehnt worden
16:12mit der BegrĂĽndung,
16:13ich will eine Staatskrise herbeifĂĽhren.
16:15Ich kann es nur so erklären,
16:17dass die Intellektuellen,
16:18die es nicht nötig hatten,
16:20wie Segers und Becher oder Bredel,
16:22dass die aus falsch verstandener Parteitreue,
16:27aus falsch verstandener Parteidisziplin,
16:30aus falsch verstandener Solidarität
16:35sich haben missbrauchen lassen.
16:39The thought ended in a new ice age.
16:42In 1957,
16:44Ubrich managed to win back
16:45complete political control
16:46with a change of course
16:47and a strict refusal
16:49to consider reform.
16:50Die Festveranstaltung der Sozialistischen Einheitspartei Deutschlands
16:59war eine machtvolle Demonstration
17:01der Werktätigen
17:02und der KĂĽnstler
17:03fĂĽr die neue sozialistische Kultur.
17:06Unlike the socialist realism
17:08of the early 50s,
17:09this was not a copy
17:10of a Soviet example.
17:12The SCD called its new program,
17:13which it launched
17:14at the end of the 50s,
17:15the Bitterfeld Way.
17:17Es ging damals in der DDR
17:23innerhalb des 7-Jahr-Planes
17:25um die sozialistische Rekonstruktion der Industrie,
17:30um die Entwicklung der Chemie
17:31und die Erreichung
17:32des wissenschaftlich-technischen Weltniveaus.
17:38Parallel dazu
17:39war eine umfassende
17:41sozialistische Umwälzung
17:43auf dem Gebiet der Ideologie
17:45und Kultur
17:47eingeleitet worden.
17:49Man wollte den
17:50Typ des sozialistischen Arbeiters schaffen,
17:55der sich ständig weiterbildet,
17:57der liest.
17:58Die Losung lautete
17:59Arbeiter,
18:01er stürmt die Höhen der Kultur.
18:03In Bitterfeld,
18:04einer Stadt
18:05mitten im Industriezentrum der DDR,
18:07treffen sich deshalb
18:08Arbeiter und KĂĽnstler
18:09mit Funktionären der SED,
18:11der Gewerkschaften
18:12und der Regierung.
18:14Später erzählt man,
18:15hier seien sich begegnet
18:16ein Bergmann,
18:18dessen Name
18:18wegen seiner Produktionsleistungen
18:20in aller Munde ist,
18:21ein Schriftsteller,
18:22dessen BĂĽcher
18:23in hoher Auflage
18:24verkauft werden.
18:25Aber der Bergmann
18:26habe seit seiner Schulzeit
18:27kein Buch mehr gelesen
18:28und der Schriftsteller
18:30sei noch nie
18:30in einer Fabrik gewesen.
18:34Und die Schriftsteller
18:35und KĂĽnstler
18:36bekamen die Aufgabe
18:39zugewiesen,
18:41ihr eigenes Leben
18:41zu ändern
18:42und an die Brennpunkte
18:44dieser Entwicklung
18:46zu gehen,
18:48in Betriebe,
18:49in landwirtschaftliche
18:50Produktionsgenossenschaften
18:52und dort,
18:53wie es Ulbricht
18:54in seinem Referat
18:55formulierte,
18:56als KĂĽnder des Neuen,
18:58eben dieses Neue
19:00zu begreifen,
19:03zu erkennen,
19:05aufzuspĂĽren
19:05und kĂĽnstlerisch
19:07zu gestalten.
19:10In der LPG Spartakus
19:12in Klein-Liebenau
19:13bei Leipzig.
19:16Während der Arbeit
19:17und nach Feierabend
19:18beobachtet der Maler
19:19Hannes Burghaft
19:20die Genossenschaftsbauern,
19:21um ihr Leben
19:22kĂĽnstlerisch zu gestalten.
19:25Mehrere Blätter
19:25hat der 30-Jährige
19:26aus dem Leben der LPG
19:27und ihrer Mitglieder geschaffen.
19:29Mit der Delegierung
19:30zu den sechsten
19:31Weltfestspielen
19:31der Jugend in Wien
19:32fand die Arbeit
19:33des KĂĽnstlers
19:34ihre Anerkennung.
19:35Es war diese Zeit,
19:42als es ist dann
19:43wieder völlig untergegangen,
19:45als es hieĂź,
19:45jetzt mĂĽssen Offiziere
19:47ein Jahr,
19:48zwei Monate im Jahr
19:50als Soldaten dienen.
19:52Und Werkleiter
19:52mĂĽssen zwei Monate
19:54in der Fabrik
19:55unten arbeiten.
19:56Und nun kommt
19:58in dieser Zeit
19:59diese Idee auf,
20:00die Schriftsteller
20:01sollen nicht nur
20:03zu den Arbeitern gehen,
20:04um ĂĽber sie zu schreiben,
20:06sondern sie sollen
20:07wie Arbeiter werden.
20:10Und die Arbeiter
20:11sollen sich erheben
20:12aus ihrer Klasse heraus
20:15und es soll dann
20:16eine wunderbare
20:17Symbiose
20:17zwischen Arbeit
20:18und Geist
20:19und Schreiben
20:20und Schönheit
20:21sollte nun erreicht werden.
20:23Not just Literature
20:25but all sectors
20:26of the arts
20:27from theater
20:27to music
20:28were mobilized
20:29by party decree.
20:30Artists
20:30and workers
20:31contributed
20:32a wide spectrum
20:33of works of art
20:34to the bitterfeld way.
20:35Neben den Bildern
20:41der BerufskĂĽnstler
20:42das Volksschaffen.
20:44Ein SchĂĽler radiert
20:45Segelflug.
20:47Ein Schweinezuchtmeister
20:49malt Kohlernte.
20:51Ein Schlosser
20:52seine Kollegen.
20:55Ein Bauingenieur
20:56tuscht einen
20:56Kastanienweg.
20:58Ein Modellbauer
20:59zeichnet den Aufbau
21:00Leipzigs.
21:01Ein Ingenieur
21:02aquarelliert
21:03eine Erzgebirgslandschaft.
21:04Eine offizielle Kritik
21:09des Bitterfelder Weges
21:10hat es nie gegeben.
21:13Er wurde immer dargestellt
21:14als richtig
21:15und erfolgreich.
21:18Aber es hatte sich
21:19längst herumgesprochen
21:20dass dieser Bitterfelder Weg
21:22unterwegs
21:23in eine Sackgasse geraten war.
21:27Countless East Germans
21:28enjoyed a wealth
21:29of cultural amenities
21:30and social organizations
21:31which, statistically speaking,
21:33far outnumbered
21:34those in the Federal Republic.
21:36According to data
21:37from the 1980s,
21:38around 90 theaters
21:40played to audiences
21:40of 10 million people
21:41every year.
21:43More than 800 cinemas
21:44were visited
21:45by around 70 million people
21:46and 88 orchestras
21:48gave almost 7,000 concerts.
21:50The DDR boasted
21:51over 700 museums,
21:536,868 public libraries
21:55and 79 publishing houses.
22:03190 music schools
22:05and groups
22:05provided up-and-coming
22:06young musicians.
22:07This despite
22:08the perpetual conflict
22:09between mind and might.
22:11Also ich und meine Freunde
22:20wir waren der Meinung
22:21jetzt wird der Laden
22:22dicht gemacht
22:23jetzt sind wir unter uns
22:24jetzt kann man
22:25Tachles reden.
22:27Es gab eine Zeit lang
22:28so zwei, drei Jahre lang
22:30die Hoffnung
22:30bei vielen
22:31dass es jetzt
22:32wirklich sozialistisch
22:34zugehen wĂĽrde.
22:34Was willst du denn machen?
22:41Ich werde höchstwahrscheinlich
22:42nach Florida fliegen,
22:43Baden, Moment mal.
22:46Nach Florida, was?
22:48The author and director
22:49of the Dafa movie
22:50On the Sunny Side
22:51aimed to make
22:52a humorous film
22:53and introduce jazz
22:54to GDRU.
22:56There were few fans
22:57of jazz music
22:57which was officially
22:58forbidden anyway.
23:00The film starring
23:01Manfred Krug
23:02and containing elements
23:03of his life story
23:04was meant to give
23:05moviegoers
23:05a good time.
23:06Sollte ein bisschen verstehen
23:06an dem die kino-besucher
23:08ihren SpaĂź hatten.
23:10Care is love
23:12Love, oh love, oh care is love
23:19Love, oh love, oh care is love
23:28You see what care is love can do
23:33But at the 11th plenum in 1965
23:49performing artists
23:50became scapegoats
23:51for the first time.
23:52Sollte eigentlich
23:52ein ökonomisches plenum sein.
23:55Im Vorfeld dieses plenums
23:56gab es ganz komplizierte
23:58Verhandlungen offensichtlich
24:00mit der Sowjetunion.
24:02Das war eine Zeit wo der
24:03kalte Krieg und die RĂĽstung
24:04wieder eine neue Drehung
24:06machte.
24:07Die DDR wurde ökonomisch
24:08eingebunden in viel stärkerer
24:10Weise als das bestimmte
24:11Leute hier wollten.
24:12Aus späterer Sicht
24:13kann man sagen wurde
24:14vor diese Dinge
24:15eine Art Nebelvorhang
24:17gezogen.
24:17Es wurde eine
24:17kulturdiskussion veranstaltet
24:19unter den Stichworten
24:21pessimismus und skeptizismus
24:23also die Filmleute
24:24wurden beschuldigt
24:25dass sie in der Gesellschaft
24:26skeptizismus und pessimismus
24:28verbreiten wollten
24:30was das auch immer ist
24:32es war genau gesagt
24:33abgeschrieben
24:34nicht einmal die Formulierung
24:35war originell und original
24:37es war abgeschrieben
24:38bei Khrushchev
24:39bei den kulturdiskussionen
24:40in der Sowjetunion
24:41im Jahre 1963.
24:42During this tribunal
24:45Honecker denigrated
24:46DEFA movies
24:47as well as TV
24:48and radio programs
24:49such as the youth channel
24:50DT64
24:52which mainly broadcast
24:53pop music
24:54he also attacked
24:55Wolf BĂĽhrmann
24:56personally
24:56for his anthology
24:57The Wire Harp
24:58which had been published
24:59by Wagenbach
25:00in West Berlin
25:01his anthology
25:02The Drahthafer
25:02publiziert hatte
25:03Mein Junge
25:07es gibt Herren
25:08die RĂĽsten
25:11fĂĽr den Krieg
25:13gegen die Arbeiterstaaten
25:17von kann ich dir
25:19nur raten
25:21geh zu unseren Soldaten
25:24wenigstens vier Wochen
25:26verdammt
25:27PolitbĂĽro
25:28candidate Horst Zindermann
25:29took it upon himself
25:30to discredit
25:31Biermann in public
25:32Was aber ist
25:33an Biermann
25:34zu verunglimpfen
25:35was er nicht selbst
25:37schon längst
25:37verunglimpft hätte
25:38Angeblich haben wir
25:41seine Seele
25:42die als die Seele
25:43Francois Villions
25:44declariert
25:45auf der Mauer
25:47um West Berlin
25:48erschossen
25:48Was legte
25:50seine Seele
25:50zwischen Sozialismus
25:51und Impelismus
25:52As if it had been
25:54arranged
25:54Ubrich stayed
25:55in the background
25:56while Honecker
25:57played the
25:57State Disciplinarian
25:58Sie tun fast so
26:00als könnten
26:02die Menschen
26:03durch die Popularisierung
26:05von Schwierigkeiten
26:06leben und satt werden
26:08Stephan Heim
26:10gehört auch
26:10zu den ständigen
26:13negativen
26:15Kritikern
26:15der Verhältnisse
26:16in unserer deutschen
26:18demokratischen Republik
26:19eigentlich war das
26:21ein Gegenangriff
26:22von Seiten der Partei
26:24von Seiten des
26:25Genossen Honecker
26:27und seiner Leute
26:28die ihm die Rede
26:28geschrieben haben
26:29und
26:32ich dachte mir
26:35wie dumm kann man sein
26:36denn wenn ich bisher
26:38nicht populär war
26:39dann war ich jetzt
26:41Tops
26:42ganz oben
26:43nicht
26:44und auch
26:46der Biermann
26:47der vorher
26:47war ein talentierter
26:50Benkelsänger
26:51gewesen
26:52war
26:52und plötzlich
26:53hochgeschossen
26:54und Hovemann
26:55hatte natĂĽrlich
26:57eine Menge
26:57interessanter
26:58Gedanken
26:58fĂĽr euch
26:59Robert Hovemann
27:01was the
27:01symbolic
27:02leader
27:02of critical
27:03intellectuals
27:04in the
27:04GDR
27:04he called
27:05for
27:05communism
27:06with a
27:06human
27:07face
27:07the
27:08candidate
27:08for
27:08the
27:08Central
27:09Committee
27:09Christel
27:10Wolff
27:10also
27:11spoke
27:11out
27:11ich möchte euch
27:12vor dieser Gefahr
27:14warnen
27:15die ich in vielen
27:16Institutionen
27:17sehe
27:17Genossen
27:18die gleichen Leute
27:19die alle diese
27:21Erscheinungen
27:21gekannt haben
27:22die nicht dazu
27:24gekommen sind
27:25uns ein einziges
27:26mal einzuladen
27:27ein einziges
27:29mal mit uns
27:29darĂĽber zu sprechen
27:30die Leute
27:32werden jetzt
27:32sich umdrehen
27:33aber um
27:34180 Grad
27:35und werden
27:36alles abdrehen
27:37die werden nicht nur
27:37jeden nackten
27:38Hals
27:39zudecken
27:40in jedem Fernsehspiel
27:41die werden auch
27:42jede kritische
27:43Ă„uĂźerung
27:43an irgendeinem
27:44Staats- oder
27:45Parteifunktionär
27:46als Parteischädigen
27:47ansehen und
27:48zurĂĽckdenken
27:49und sie tun es
27:49schon
27:50und wenn man
27:51die Christa
27:52Wolff
27:52kennt
27:52die ja ein
27:53sehr sensibles
27:54Mädchen ist
27:54dann
27:56kann man sich
27:57vorstellen
27:58dass das
27:59sehr schwer
27:59fĂĽr sie
28:00gewesen ist
28:00damals
28:01dem ganzen
28:02Zentralkomitee
28:04all diesen
28:05Marionetten
28:06da
28:07zu widersprechen
28:08und aufzustehen
28:09und zu sagen
28:10das stimmt ja
28:11gar nicht
28:12was ihr sagt
28:12also
28:14Respekt
28:15Hut ab
28:16vor ihr
28:16The author
28:18Erik Neutsch
28:19wrote a hugely
28:20popular novel
28:20The Trace of Stones
28:22Heiner MĂĽller
28:23wrote a stage
28:24adaption
28:24which made
28:24several
28:25references
28:25to the
28:26construction
28:26of the
28:26Berlin Wall
28:27this invoked
28:28the party's
28:29wrath
28:29later
28:30director
28:30Frank
28:31Bayer
28:31found himself
28:32in the
28:32line
28:32of fire
28:33for his
28:33movie
28:33version
28:34of
28:34The Trace
28:34of
28:36film
28:37and
28:42man
28:42fand
28:42offensichtlich
28:43zunächst
28:44einmal
28:44keine
28:44möglichkeit
28:45oder
28:45wusste
28:46nicht
28:46wie
28:47man
28:47den
28:47leuten
28:48erklären
28:48sollte
28:49dass
28:49dieser
28:50bedeutende
28:51sozialistische
28:51roman
28:52zu einem
28:53partei- und
28:54staatsfeindlichen
28:55film
28:55gefĂĽhrt
28:55hat
28:55und
28:56so
28:57traten
28:57sie
28:57zunächst
28:58die
28:58flucht
28:58nach
28:58vorn
28:59an
28:59und
29:00der
29:00film
29:00wurde
29:00abgenommen
29:01unmittelbar
29:02im
29:02zusammenhang
29:02mit der
29:03premiere
29:03fand
29:04eine
29:04politbĂĽrositzung
29:04statt
29:05und dort
29:05war der
29:05film
29:06nochmal
29:06auf der
29:06tagesordnung
29:07und dann
29:08wurde er
29:08gespielt
29:09und im
29:10kino
29:10unterschiedlich
29:11behandelt
29:11niedergeschrien
29:12von leuten
29:13die da
29:13bestellt
29:14waren
29:14und dann
29:14nach
29:14ein paar
29:14tagen
29:15abgesetzt
29:15ich
29:17musste
29:18das
29:19studio
29:19verlassen
29:19ich
29:20hatte
29:21ein
29:21ja
29:23ich
29:23hatte
29:23ein
29:23berufsverbot
29:24ich
29:24durfte
29:24keine
29:25filme
29:25drehen
29:25ich
29:26hatte
29:26ein
29:26arbeitsverbot
29:27auch
29:27fĂĽr
29:27berlin
29:27und
29:27portz
29:28die
29:29hush
29:31restriktive
29:32criticism
29:32voiced
29:33at
29:3311th
29:34plenum
29:34hat
29:34indoctrinating
29:35effects
29:35on
29:36the
29:36media
29:36A TV show with social political contents bearing the harmless title With Heart and Soul showed the party's preferred representation of the GDR, a clean state which placed great importance on good moral behavior.
29:49In his show Rumpelkamer, Willi Schwaber whet the viewer's appetites with excerpts from innocuous films to be shown weekly.
30:11After the deep breach in confidence caused by the 11th plenum,
30:18artists with guaranteed state contracts suffered less from its effects.
30:23They could create their own artforms in an uncontrolled free sector, as did Professor Bernhard Heisig at the Leipzig Art Academy.
30:31As the professor Bernhard Heisig was always in the field of art.
30:36The artists were always more in the field than painters.
30:40The painters could be a little bit more.
30:42The poor pigs were sometimes hurt when the faces were gray,
30:45because they had no idea for the pictures.
30:47And now they have to say something.
30:50The idea that we also had to think about the idea that we had to think about,
30:53is that they were never coming.
30:58During the Prague Spring, troops from almost all Warsaw Pact countries invaded Czechoslovakia.
31:03Only a few authors and artists supported DubÄŤek's policy of reform and protested against the new Ice Age.
31:09This obvious reticence led to a kind of internal emigration.
31:21At the beginning of the 1970s, the now secure government made concessions in the field of cultural politics.
31:26Honnaker proclaimed, if we assume that socialism is indisputable,
31:31I see no grounds for taboos in the fields of art and literature.
31:39The change of course implemented by Honnaker in an attempt to soften the contrast between mind and might
31:44was of no benefit to Wolf Böhmann.
31:47The state mistrusted him, shadowed him, and tried to extradite him.
32:09A concert tour in West Germany was the perfect opportunity.
32:12I had a too high opinion of the people who have been protected now.
32:21I have not believed that it is so bad, that they are so weak.
32:28That they have to be so afraid.
32:33Not for me, for my songs, but for their people.
32:38It was also so, that not the cultural minister was asked,
32:45or his vice president,
32:48and he was responsible for the culture.
32:52It was a decision, a silent decision,
32:55by my opinion,
32:57by the general secretary and the security minister,
32:59and that they were also not the case.
33:00I don't know exactly what it is.
33:01I don't know exactly what it is.
33:02I don't know exactly what it is.
33:03There were 12 or 15 people,
33:05who were not clear about the facts.
33:10The sad thing was that a good part of the people who protested,
33:16went away from the country.
33:19But the government had promised that.
33:22It did not have opposition votes.
33:24Friends of Birman and more than 100 celebrities signed a letter
33:30distancing themselves from this act of repression.
33:33It was sent to a news agency in the West.
33:35They challenged the authorities to revoke their decision.
33:37On the other hand, there was no shortage of opportunists or party fanatics
33:50who supported the state's decision implicitly.
33:53That was the thing, by which the spirits were made.
34:03I only can see it from my opinion.
34:05I went to Berlin.
34:06I went to the minister,
34:07and then I went to the meeting.
34:09I didn't know what was going on.
34:11I went to the building of the KĂĽnstlers.
34:13And there was immediately a statement
34:17that I had to write a letter
34:20that I had to write a letter.
34:21I said, I didn't do that.
34:22I said, I didn't do that.
34:23I said, I didn't do that.
34:25So, please, that was accepted.
34:29Although there were people that were flankingly agitated.
34:33I had to write a letter.
34:34But I didn't do that.
34:35I went to Leipzig.
34:36That was going to happen again.
34:38Under the motto,
34:39Those who are not for us are against us,
34:41Herman Kant expelled nine well-known authors
34:43from the Writers Guild,
34:45including Adolf Indler, Eric Leust and Stefan Haim.
34:48Their attempts to write the truth failed,
34:50due to party lies.
34:53This was the final failure
34:54of the much-praised alliance
34:55between mind and might.
34:57It was always a attempt to keep the party
35:01to keep the power of the party,
35:03to strengthen the power of the party,
35:05and to stop them,
35:06and to stop them.
35:08They had a very nice feeling for us,
35:10who has a feeling,
35:11who brings democracy into play,
35:14who does not do it with.
35:16That was from the beginning.
35:18The youth program RUND portrayed GDR youth to its viewers
35:36as the party wished to see it,
35:38optimistic,
35:39disciplined,
35:40and loyal to the GDR.
35:53Popular rock groups promoted by the state
35:55definitely offered an outlet to young people.
35:57They were attracted by the German lyrics
35:59and subject matter.
36:21In later years,
36:22a tolerated musical subculture developed.
36:24The young generation used it to let off steam.
36:32In the early 80s,
36:33a new scene developed outside
36:34the state-controlled culture scene.
36:36In Prinzlauerberg,
36:37in Berlin,
36:38and in other GDR cities.
36:40It became a new forum for artists.
36:42It offered a home to authors,
36:43artists and musicians.
36:45Prinzlauerberg became a center
36:47for romantic dissidents.
36:50It was very typical for the GDR
36:52that there was an intellectual
36:54proletariat
36:57such as an intellectual milieu
37:00outside the university area.
37:02It was open in different directions,
37:05with a lot of creative artists,
37:07with a lot of entrepreneurs
37:09from established lives,
37:11with a lot of niches,
37:13from the paint production,
37:15to those who were then
37:17involved in religious organizations,
37:18religious organizations,
37:19in religious organizations.
37:21The scene consisted of a network
37:23of very different groups
37:24and their friends.
37:25Their western contacts
37:26aided in publishing manuscripts,
37:28exchanging information
37:29and organizing literary evenings
37:31and art exhibitions.
37:32The state did not seem worried
37:34about this underground culture.
37:36They were aware of the Ministry of Culture.
37:37They were not aware of the Ministry of Culture,
37:38but they were actually,
37:41if I correct remember,
37:45ignored.
37:46They came actually,
37:47I guess I can say
37:48in the weekly service meetings
37:49with the Minister
37:50not enough that they were
37:51speaking first.
37:52They were delegitated
37:55on the observation
37:59by the security.
38:01Well, the state has in first of all over the state's security reacted.
38:06He reacted very pragmatically, he had no big concepts,
38:10but he has always tried to help them to help them at least.
38:15This has led to this scene very thoroughly.
38:20It has been able to help him a lot of people as IMs to build
38:26and in a very complicated relationship for themselves to work
38:31and at the same time a certain space.
38:34There is really something that happened,
38:37if I think of such a figure like Sasha Andersen,
38:40which is not in 1-2 sentences,
38:45where a scene was irrevocable,
38:48was made up of,
38:50also in Personalunion Komplize and Rebell to be,
38:55is happened to people,
38:57who were 2-3 years in this and this and this time
39:00and then worked out.
39:02There are a whole lot of cases.
39:05The rebellion,
39:07which was caused,
39:09while it was caused,
39:11as a state of security,
39:13and tried to strengthen,
39:16is not a rebellion,
39:20but,
39:22there is something that has been done
39:25by the people,
39:27which has the path to the communication and articulation forms,
39:34which were otherwise without influence
39:36from the state of security.
39:38Insofern,
39:39it had this scene in the end of the end of the phase
39:41also something that was artful,
39:43which has not led to that in Berlin
39:46the Angehörigen of the scene,
39:48which had now this development in 1989
39:50has been introduced.
39:57I have another suggestion.
39:59I have a suggestion.
40:00I have a suggestion.
40:01I have a suggestion.
40:02I am going to invite you to make a home
40:04a new year
40:05in the past.
40:06The over-60 and 65-year-olds can now stay there already?
40:23If they do what I do now, do they do?
40:33Only a few artists were directly connected with the change when it finally came.
40:44Together with national celebrities, some of them tried to use the spectacular appeal
40:48for our country to initiate a socialist alternative to the Federal Republic.
40:55But they were too late.
40:58The SED state, which first distorted the truth, then ignored it, finally became the
41:03victim of its own fabrications.
41:07The game was lost.
41:09In a state, which creates a dictatorship, comes the statement of justice.
41:18Where the power is, is of course the possibility of the misuse of the power.
41:23And I can always use the power, if I want to force someone to a certain point of view.
41:30In fact, it was the first time in the German history, by the so-called Arbeiter- and Bauern-Staat,
41:41there was a reconciliation between spirit and power.
41:44In fact, with the events of the Spur der Steine, that of course, it was a illusion.
41:52In fact, it was all a illusion.
41:54What is the difference between spirit and power?
41:56Der Widerspruch zwischen Geist und Macht ist unlösbar.
42:00Damals hat Ulbricht zum Beispiel verkĂĽndet, in der DDR haben wir diesen Widerspruch abgeschafft.
42:07Und das war ein typisches Beispiel, die haben immer verkĂĽndet, was sie meinten, dass es sein sollte.
42:16Aber die Realität war anders.
42:18Ich glaube, dass dieser schöpferische und produktive Widerspruch zwischen Geist und Macht nie aufzuheben ist
42:24und auch nie aufgehoben werden darf.
42:26Vor 25 Jahren wurde ich in der DDR verboten.
42:35Nun singe ich hier in Leipzig.
42:41Und ich weiĂź sehr genau, wem ich es verdanke, dass ich so lange nicht singen durfte.
42:46Und ich werde es nie vergessen.
42:49Aber...
42:50Ich weiĂź auch sehr genau und werde es niemals vergessen, wem ich es verdanke, dass ich hier heute singen darf.
43:07Euch!
43:08Und ob es mir schwer wird und ob es mir leicht ist, ich geh' unseren Weg, geh' mit Sehnsucht und Zorn.
43:23Mag sein, dass ich einmal, wenn alles erreicht ist, erreicht habe nichts als ein Anfang von vorn.
43:33Mag sein, dass ich einmal, wenn alles erreicht ist, erreicht habe nichts als ein Anfang von vorn.
43:44Applaus
43:47Mag sein, dass ich mal, wenn alles geht, weiĂź nicht als ein Anfang von vorn.
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