Visualizing Disease and ‘Depravity’ in the Weimar Republic: The Film Roles and Dance Performances of Anita Berber and Otto Dix’s Bildnis der Tänzerin Anita Berber

Abstract

During Germany’s Weimar Republic (1918–33), women who did not conform to conventional expectations for “proper” female behaviour were met with suspicion and criticism. Due to their embrace of sexual liberation and economic independence, interwar New Women were often unfairly associated with prostitutes and cultural degeneration. Anita Berber, a drug-addicted nude dancer and actress in multiple Aufklärungsfilme, was regarded as the embodiment of debauched modern womanhood. However, her persona intrigued Neue Sachlichkeit artist, Otto Dix, who enjoyed offending bourgeois sensibilities. Dix captured her likeness in the painting Bildnis der Tänzerin Anita Berber (1925) but altered her features to make her look aged and sickly. Amid growing bourgeois fears about postwar societal decay, Dix utilized Berber’s painted body to engage Weimar discourses about the threat of the sexually liberated Neue Frau, the pervasiveness of the so-called depravity of metropolitan life, and the fear of the loosening grip of patriarchal social control.