Carl Schultze Theater

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The Carl-Schultze-Theater was a Hamburg theater.

history

Originally it was just a garden restaurant with a summer stage, which was called "Joachimsthal", it was in the Langenzeile (today Reeperbahn ) from St. Pauli directly on the border to the neighboring town of Altona . In 1858, Carl Schultze and a company leased the restaurant, expanded and improved it. Soon he was the sole owner, had a roof built over the venue, which was open to all weather conditions, and ran it under different names. ("St. Pauli Tivoli and Volksgarten", "St. Pauli Tivoli Theater" and from 1863 on "Carl Schultze's Summer Theater, formerly St. Pauli Tivoli Theater".) After a new building made winter performances possible, it reads from 1865 the official name "Carl Schultze's Theater".

"Lotte Mende from the Hamburg Low German Comedy in the Karl Schulze Theater"

During the first time as director of Carl Schultze (1860–1874), the Low German comedy and the Hamburger Volksstück flourished at his theater. Parodies of plays that were played in Hamburg theaters were particularly successful. Meyerbeer's opera Dinorah found its counterpart in Johann Peter Lyser's Linorah in 1860, or the pilgrimage to the oil mill . In Louis Schöbel Faust and Margaret was Gounod's opera Margaret parodies. Julius Stinde contributed a Wagner parody to the parodic genre under the pseudonym David Hersch : Lohengrün or Elsche von Veerlann . Schultze even appeared as an actor in Low German rolls and had in those pieces triumphant success as "Klas Melkmann" and when the horse servant "Deuwel" who defended the old order against fist, barbers, who advocates freedom of trade. Heinrich Kinder, Lotte Mende , Arnold Mansfeldt , Johanna Schatz , Louis Schindler, Louis Mende and others played with him. a.

The theater was particularly successful with Stinde's dialect play Hamburger Leiden , which was performed on guest tours all over Germany.

In 1885 the Low German ensemble of the Carl-Schultze-Theater disbanded. Karl Theodor Gaedertz wrote about it: “Now the Low German comedy has disappeared from the stage world! After their triumphs in Berlin, the small band of actors was held together by their leader for some time, and here and there they won new laurels; then the bond broke and the incomparable ensemble fell apart. With that, a strong hope for the friends and admirers of the Sass language disappeared. ” Lotte Mende went to the Residenztheater in Berlin, Heinrich Kinder was engaged at the Hamburg City Theater. Carl Schultze passed the management of his theater into other hands, and from then on high German operettas were performed there.

From 1885 the main focus was on operettas. From 1888 to 1900 the house was run by the opera tenor José Ferenczy . The theater was considered one of the best operetta stages until 1904 and had many successful performances until 1920. In 1931 the house was converted into a cinema and closed shortly afterwards.

Directors (selection)

literature

  • Paul Möhring : The other St. Pauli - cultural history of the Reeperbahn , Matari Verlag, Hamburg, oA (approx. 1960)
  • Max Steiner-Kaiser: On the history of the Carl-Schultze-Theater , in Bühnen-Almanach Hamburg and Altona 1926 , Leipzig, Verlag Max Beck, 1926
  • Karl Theodor Gaedertz: The Low German Comedy in the Nineteenth Century . 2., presumably edition Hamburg 1894. (= Das Niederdeutsche Schauspiel. On the cultural life of Hamburg. Volume 2, pp. 102–119). (Unchanged reprint Hamburg: Buske, 1988. ISBN 3-87118-854-9 )

Individual evidence

  1. ^ Ludwig Eisenberg : Large biographical lexicon of the German stage in the XIX. Century . Verlag von Paul List , Leipzig 1903, p. 428, ( Textarchiv - Internet Archive ).
  2. ^ Ludwig Eisenberg : Large biographical lexicon of the German stage in the XIX. Century . Verlag von Paul List , Leipzig 1903, p. 292, ( Textarchiv - Internet Archive ).


Coordinates: 53 ° 32 '59 "  N , 9 ° 57' 35.2"  E