In Nazi-occupied France, the remarkable Catalan cellist Pau Casals, exiled in Prades and retired from performing, dared to refuse the 1943 invitation from the Third Reich to play before the Führer in Berlin. Based on this actual event, Yolanda García Serrano and Juan Carlos Rubio wrote a highly effective communicative play in which the musician, a model of dignity and resistance in the face of barbarism, must confront the attempts of Johann Grass, a German officer, to change his mind. This work focuses on how the verbal, emotional, and ideological duel between Pau and Johann unfolds, highlighting how the character of the Nazi officer, in an unexpected final twist, ends up playing the role of deus ex machina.
“Un inesperado deus ex machina. Una lectura de Música para Hitler, de Yolanda García Serrano y Juan Carlos Rubio”
DI PASTENA, Enrico
Primo
2025-01-01
Abstract
In Nazi-occupied France, the remarkable Catalan cellist Pau Casals, exiled in Prades and retired from performing, dared to refuse the 1943 invitation from the Third Reich to play before the Führer in Berlin. Based on this actual event, Yolanda García Serrano and Juan Carlos Rubio wrote a highly effective communicative play in which the musician, a model of dignity and resistance in the face of barbarism, must confront the attempts of Johann Grass, a German officer, to change his mind. This work focuses on how the verbal, emotional, and ideological duel between Pau and Johann unfolds, highlighting how the character of the Nazi officer, in an unexpected final twist, ends up playing the role of deus ex machina.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
