Paul Morgan | |
|---|---|
 Morgan performing in Vienna (1909) | |
| Born | Georg Paul Morgenstern 1 October 1886 |
| Died | 10 December 1938 (aged 52) |
| Occupation | Film actor |
| Years active | 1910 - 1936 |
Paul Morgan (October 1, 1886 – December 10, 1938) was a Jewish Austrian actor and Kabarett performer. He died in Buchenwald concentration camp in 1938. [1]
Austria, officially the Republic of Austria, is a country in Central Europe comprising 9 federated states. Its capital, largest city and one of nine states is Vienna. Austria has an area of 83,879 km2 (32,386 sq mi), a population of nearly 9 million people and a nominal GDP of $477 billion. It is bordered by the Czech Republic and Germany to the north, Hungary and Slovakia to the east, Slovenia and Italy to the south, and Switzerland and Liechtenstein to the west. The terrain is highly mountainous, lying within the Alps; only 32% of the country is below 500 m (1,640 ft), and its highest point is 3,798 m (12,461 ft). The majority of the population speaks local Bavarian dialects as their native language, and German in its standard form is the country's official language. Other regional languages are Hungarian, Burgenland Croatian, and Slovene.
An actor is a person who portrays a character in a performance. The actor performs "in the flesh" in the traditional medium of the theatre or in modern media such as film, radio, and television. The analogous Greek term is ὑποκριτής (hupokritḗs), literally "one who answers". The actor's interpretation of their role—the art of acting—pertains to the role played, whether based on a real person or fictional character. Interpretation occurs even when the actor is "playing themselves", as in some forms of experimental performance art.
Kabarett is satirical revue, a form of cabaret which developed in France by Rodolphe Salis in 1881 as the cabaret artistique. It was named Le Chat Noir and was centered on political events and satire. It later inspired creation of Kabarett venues in Germany from 1901, with the creation of Berlin's Überbrettl venue and in Austria with the creation of the Jung-Wiener Theater zum lieben Augustin housed in the Theater an der Wien. By the Weimar era in the mid-1920s it was characterized by political satire and gallows humor. It shared the characteristic atmosphere of intimacy with the French cabaret from which it was imported, but the gallows humor was a distinct German aspect.
