| Zusammenfassung: | Abstract Ich bin die fesche Lola, Der Liebling der Saison! Ich hab’ ein Pianola Zu Haus’ in mein’ Salon. Ich bin die fesche Lola Mich liebt ein jeder Mann Doch an mein Pianola Da laß ich keinen ran! Doch will mich wer begleiten Da unten aus dem Saal, Dem hau’ ich in die Seiten Und tret’ ihm aufs Pedal! While the presence of the audience is the essence of performance, articulating its impact is an elusive endeavor. Diegetic performances within film, such as those within The Blue Angel, pose further complications, as the performer is the object of both diegetic and nondiegetic gazes. Exploring the impact of a single subjectivity ignores the multiplicity of perspectives inherent in audience engagement; indeed, it is spectatorship’s multiplicity that empowers performance to respond to its cultural context. The Blue Angel not only offers a lens through which the contradictions of Weimar culture can be examined but also a new hermeneutic understanding of the capacity of the performer and of representation. As a filmic representation of the Weimar female cabarettist, Lola Lola suggests that the represented performing body is a heteroglossic one: it is the nexus of confl icting perspectives that offers a medium through which the contradictions of Weimar historical reality can be confronted.
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