phone) agitprop theater troupe offeredvery concrete recommendations for fellow
performers in the artand science of embodied ideology. Founded in 1929 by the
actor and director MaximVallentin (1904–1987), the RoteSprachrohr playeda
keyrole in turning agitprop intoamultimedia practice that included extensive
commentary on the proper class habitus.ForVallentin, agitprop meant direct in-
tervention into current political crises and critical engagement with the structur-
al problems of capitalist societies.It also meantto model the process of harden-
ing and strengtheninginposture,gesture, and tone considered so necessary to
proletarian mobilizations; this included the obligatory rituals of communist self-
critique,with several skits addressingresidues of petty-bourgeois attitudes in
working-class lives. Their journal, alsocalledDas rote Sprachrohr(1929–1933),
publishedsongsand scenes about labor struggles,political confrontations,
and family problems and offered detailed advice on the types of programs
most suited for factory settings, neighborhood events, and large rallies.
Whenamakeshift stagewas notavailable, the Rote Sprachrohr performed
on top of flatbed trucks, like construction workers on assignment.Their use of
musicalinstrumentsfamiliar from folk songsand marchingsongs–namely, ac-
cordion, mandolin, and snare drum–reflected the troupe’sdecision to conveya
militant messagewith popularappeal. Easilyrecognized by their dark blue uni-
sex overalls, known asKesselanzüge(boilersuits),male and femaleperformers
cultivated the confrontational tones andgesturesthat,accordingtoVallentin,
best conveyedthe perspective of classstruggle. Approvingly, acontemporary ob-
server of the Rote Sprachrohr noted“adistinct toughness,asharpawarenessin
their performance; their momentum resembled the blows ofahammer; theirre-
Fig. 13.7.DasroteSprachchor,Kuhle Wampe,DVD capture.
TakingaStand: The HabitusofAgitprop 251