All the manifestos for a ‘total work of art’ after Wagner were political programmes: political, however, in a sense directly antithetical to the modern idea of the political. The goal of the total work of art was the formation of the people as a homogeneous political body, as the other of the social and political division, conflict and uncertainty inherent in the whole movement of democratic revolution since the 18th century. In each case the union or synthesis of the arts (...) prefigures the reconciliation of the classes as the condition of the unity of the people. But who is this people that will realize itself in the total work? Is it the same people for the artists of the Bauhaus as it is for the leaders of the Third Reich? These are the questions I try to answer through an interrogation of the continuities and breaks in the re-workings of the Wagnerian concept of the Gesamtkunstwerk in the programmes of the Bauhaus and the policies of National Socialism. (shrink)