Seite - 115 - in Entangled Entertainers - Jews and Popular Culture in Fin-de-Siècle Vienna

Jewishness and the Viennese Volkssänger | 115 Jewish artists, as I illustrate in the following chapter, articulated a similar frame- work for community. Th e triad of time, space, and performance represented a prism of identity for a segment of Viennese Jewry, which distinguished them from many non-Jews. We can interpret this triad as a way of characterizing Jew- ishness based on secular, rather than religious, diff erences. Notes 1. See Evyatar Friesel, “Th e German-Jewish Encounter as a Historical Problem: A Recon- sideration,” Leo Baeck Institute Yearbook 41, no. 1 (1996): 263–64. 2. For general information on this, see Scott Spector, “Forget Assimilation: Introducing Subjectivity to German-Jewish History,” Jewish History 20, no. 3/4 (2006): 349–61. 3. Illustrirtes Wiener Extrablatt [IWE in subsequent citations] 353 (24 December 1901): 9. Hungary generally pursued a nationalist policy with respect to Volkssänger, making it diffi cult not only for Austrian artists to perform but also for those residing in the country that wanted to hold performances in German. See IWE 160 (12 June 1902): 8. 4. Carola Leitner and Kurt Hamtil, Ottakring: Wiens 16. Bezirk in alten Fotografi en (Vi- enna: Carl Ueberreuter, 2006), 7. 5. One of the most well-known spots in Ottakring was the “Stalehner,” which was turned from a tavern into a vaudeville venue over the course of the nineteenth century. See “Ab- schied vom alten Haus Stalehner,” Illustrirtes Wiener Extrablatt 53 (23 Februar 1907): 7. See also chapter 4. 6. Wolfgang Maderthaner and Lutz Musner, Die Anarchie der Vorstadt: Das andere Wien um 1900 (Frankfurt: Campus, 1999), 35, 118. 7. IWE 295 (26 January 1902): 33. 8. Karl Spacek (1850–1904) was already performing in the Prater in the 1860s and worked for various ensembles. In the 1880s, he founded his own company and became famous for his role as the “Bohemian.” In the last twenty years of his career, he took the stage at the Etablissement Mandl in the district of Hernals for performances on Sundays and holidays. His prominence is evident in his honorary membership in various Volkssänger associations (see IWE 161 [11 June 1904]: 5f.). 9. IWE 139 (22 May 1900): 9. 10. Karl Lechner (1870–1927) took over as director of the Budapest Orpheum Society in 1901, replacing his uncle Lautzky. 11. IWE (20 January 1906): 9. 12. Before the turn of the twentieth century, Ben Tieber presided for a time over the Col- osseum. Following his time there, he repeatedly brought lawsuits against the establish- ment’s owners. For example, see IWE 164 (17 June 1900): 24. 13. IWE 7 (8 January 1906): 5. Contractual agreements were generally not taken very seri- ously, and court proceedings were therefore relatively frequent. For example, see “Was ist ein Vertragsbruch?,” Das Variété 32 (14 June 1903): n.p. 14. IWE 130 (12 May 1903): 12. 15. IWE 38 (8 February 1903): 4. 16. Josef Koller, Das Wiener Volkssängertum in alter und neuer Zeit. Nacherzähltes und Selb- sterlebtes (Vienna: Gerlach and Wiedling, 1931), 145. This open access edition has been made available under a CC BY 4.0 license thanks to the support of Knowledge Unlatched.