Abstract
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 conflicting perspectives that offers a medium through which the contradictions of Weimar historical reality can be confronted.
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