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(Victor, 1998, p. 41). Thus, in the end, the same type of person
had thwarted the realization of his boyhood dreams of greatness,
the civil servant, and the bureaucrat—his father.
The ultimate structuralization of Hitler’s mature aesthetics
occurred as a result of his most devastating humiliation–the de-
feat of the German army during World War I. Adolf was a patri-
otic and enthusiastic soldier. Most of his earlier humiliation was
split off as he identified himself with the German army whom
he believed would ultimately triumph. He never considered the
possibility of loss. Theo. Dorpat (2003) argued that given Hitler’s
long exposure to battle (he was mobilized for four years and was
in fifty battles) he must have subsequently suffered from some
degree of posttraumatic stress disorder. In addition he was in-
jured twice; the second time he was gassed and for a time lost
his sight. While he was recovering he heard of the defeat; he
became consumed by rage and, according to his own account,
psychosis. He claimed to have had a revelation that he would
lead a resurgent and triumphant Germany to glory. This delu-
sion became the core of his claim to ultimate political power. An
important component of his political and personal agenda was
the forceful transformation of the cultural and aesthetic life of
the nation, and world. His artistic self, the repository of all his
hopes and dreams, became transformed from utter devastation
to a delusional obsession with the aesthetic groundwork of social
life. He realized that as he was nameless and penniless, the only
way to ensure the enactment of his fantasies was to control the
cultural apparatus (the German cultural establishment by politi-
cal means). He began his relentless pursuit of power.
The path to power was opened to Hitler through the aes-
thetics of political performance (Spotts, 2003)—this is what al-
lowed an ineffectual and uncertain failed artist to gradually
transform himself into the fire-breathing performance artist of
the Nuremberg rallies. With his slowly accumulating political au-
thority the possibility of realizing his creative dreams became
possible without the risks of engaging in the creative process.
The risky self-disorganization that accompanies true creativity
was bypassed as he systematically bent German cultural life to
his will. For example, as a young man Hitler saw himself as a
talented architect, fascinated by Opera, and devoted to the fan-
HITLER’S AESTHETICS 971
tasy that he would one day design and build immense new opera
houses for the people. He completed some serviceable sketches
but did not have the knowledge or skills to actually design a
building. As Führer he bypassed any creative risk. He would
sketch an opera house and hand over the sketch to a true archi-
tect to complete the work, to solve all the technical problems.
Hitler would then review the plans, criticize them, and then ei-
ther demand that the same architect revise then, or fire the ar-
chitect and assign someone else to complete the work. Typically
these buildings were derivative of classical designs (Roman and
Greek), yet simplified and expanded to immense size. This was
a pseudo-creative process in which fantasy could be converted to
reality by bypassing the heart of the creative process, the state
of self-disorganization that accompanies the effort to achieve
something honest and new.
But Hitler’s aesthetic ambitions far exceeded the personal
creative needs of most artists. In his search for confirmation of
his archaic grandiosity, Adolf identified with an elaborate fantasy
that he was the savior of the German community and “Aryan”
civilization. He believed that he had not been the only victim of
the Armistice—the nation itself had been shamed and betrayed,
and the social devastation and humiliation that followed the war
proved this. An important part of his program of rebirth would
be aesthetic; Hitler saw art as a means for spiritual regeneration,
cultural triumph, and revenge: “Art is the clearest and most im-
mediate reflection of the spiritual life of the people. It exercises
the greatest conscious and unconscious influence on the masses
of the people . . . in its thousand fold manifestations and influ-
ences it benefits the nation as a whole” (Spotts, 2003, p. 27).
Once Hitler’s dominance of the German state had been ac-
complished, the full elaboration and realization of the great art-
ist hero was possible. However, as we shall see later, the promo-
tion and maintenance of this “heroic” work required a vigilance
to the point of paranoia, a dictatorial level of social control, and
ultimately a great deal of violence. Nonetheless, Hitler saw this
ruthless barbarity as serving a higher purpose. In his biography
Hitler Ian Kershaw (1999) summarized the extreme distortion
that became Hitler’s pathological artistic self:
972 GEORGE HAGMAN
IN THE END
NOTE
1. This note was written by Carol Press, author of The Dancing Self: Creativity,
Modern Dance, Self Psychology, and Transformation Education (2002): Hitler also
manipulated German dance to serve his aesthetic and political end, most
especially through the work of choreographer Rudolph von Laban. In 1933
Laban, director of choreography at the Berlin State Opera purged all non-
Aryan children from participation. In 1934 Laban was appointed director of
dance throughout Germany to promote and reinforce the Nazi aesthetic and
leadership. Laban’s choreography paralleled Hitler’s architectural aesthetic—
massive, repetitive, conforming without decoration. Laban orchestrated
“movement choirs” consisting of large groups of untrained dancers, execut-
ing simple movements in unison, to feel part of a greater whole, part of a
unified community—moving architecture. In 1935 Laban began to choreo-
graph an immense movement choir of 1,200 people for the opening of the
1936 Olympic Games in Berlin; however, in this process Laban’s artistic ties
to modernism and expressionism became too evident, and he was forced
to resign. Laban left Germany for England, and influenced modern dance
internationally through his aesthetic concepts of space, time, and effort and
his system of notating dance, Labanotation. The opening of the 1936 Olym-
pic Games included a movement choir staged by the Nazis, using thousands
of children. Dances of mass conformity exemplified through movement
choirs glorified Hitler’s aesthetic and his need for massive political and so-
cial control (see Dorr, 2003; Manning & Benson, 2001).
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HITLER’S AESTHETICS 981
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