Elisabeth stage
The Elisabethbühne was first a cellar theater in Salzburg's Elisabeth-Vorstadt and developed into Austria 's largest independent theater in the Petersbrunnhof in the Nonntal district . In the 2004/2005 season it was renamed the Schauspielhaus Salzburg .
History of the Elisabeth stage
The first association was only founded in February 1967. The founding team consists of Pastor Wesenauer, Georges Müller, Norbert Amanshauser, Gerda de Vries, Georg Bartik and Wolfgang Mayr. 1969–1971 the troupe joined forces with the director Gerhard Zemann . Raimund Kranzer is responsible for the commercial management.
In 1973, Georges Ourth from Luxembourg, actor and director at the Salzburg State Theater , took over the artistic direction.
The team includes Raimund Kranzer and Peter von Sabransky. The professionalization of the ensemble fell into the Ourth era. The Elisabethbühne becomes a training facility in order to cover one's own need for actors. The artistic development is not lacking, on the other hand there are still almost no subsidies. When designing the schedule, Ourth has access to a large pool of classic and modern pieces that are largely unplayed in Salzburg.
In 1976 the Federal Ministry for Education and the Arts awarded the performance " Romulus the Great " by Friedrich Dürrenmatt and in 1977/1978 the theater was integrated into the "small stage concept". Associated with this is federal funding, city and country drawing level.
From 1980 Arno Fischbacher (technical management) and Thomas Landl (finance) complement the management team.
In 1980 the Association of Friends of the Salzburg Elisabeth Stage was founded, which from then on provided ideal and financial support for the theater.
The Ourths model remains valid for 15 years: Acting students are immediately integrated into the program, initially in smaller tasks and then quickly promoted and staffed individually.
- Until 1980/1981 the theater performed four pieces a year.
- 1981: 25-year season “piece by piece theater”. The focus is on the Hamlet project.
- 1981/1982 opening of the studio with H. Müller's Hamlet machine.
- In 1982/1983 Renate Rustler Ourth took over the commercial management. In 1982/83 Renate Rustler-Ourth made his directorial debut: “The Tower” by P. Weiss.
Thanks to the reinforcement of the directing team, six pieces can now be produced per season.
The Elisabeth stage in the Renate Ourth era
The death of Georges Ourth in May 1988 was a deep turning point for the ensemble and the theater. Renate Rustler-Ourth is elected to the artistic direction. Arno Fischbacher changes to the position of cashier, Reinhold Tritscher takes over the technical management.
At the end of the 1987/1988 season, Harald Krassnitzer moved to the Schauspielhaus Graz . To qualify the ensemble, Rustler-Ourth is increasingly relying on training directors from the east.
- 1988/1989: first production by Robert Pienz: The Downfall ( Walter Jens )
- 1989 founding member of the umbrella organization Salzburg cultural sites
- 1990/1991 follow-up production of Yerma ( Lorca ) by Gytis Padegimas.
- 1991/1992 cooperation with the Moscow art school GITIS .
- 1992 Goodrichs The Diary of Anne Frank is invited to the Grand Théatre Luxembourg.
- 1992/1993 directed by Pyotr Fomenko, Tarelkin's Death or The Vampire of St. Petersburg ( Alexander Suchowo-Kobylin ).
- In 1993/1994 another collaboration with Pjotr Fomenko succeeds: Molière's misanthropist
- 1993/1994 World premiere Das Hausgeisterhaus in the music of Cosi Goehlert, by Peter Blaikner (I. Robin Telfer) The Théatre des Capucins gives a guest performance with Balzac's Le Faiseur
- 1994/1995 from the Moscow Theater Satyrikon with “The Pirate”, directed by Alexander Korschenkow. The takeover of the new theater in Petersbrunnhof is imminent.
The Elisabeth stage in Petersbrunnhof - opening phase
In May 1995 the new venue was opened with a children's musical by Peter Blaikner. In order to make the change of location understandable for the audience, the theater is temporarily called "Elisabethbühne im Petersbrunnhof" and later "Elisabethbühne, schauspielhaus salzburg". In the new house there are again two venues, the big house and the studio. 9-10 productions are offered annually. Children's theater has always played a special role.
In 1997 the theater experienced a major financial crisis. The rigid granting of subsidies had led to rushing into all too risky business: the hoped-for income from an art bond that was too expensive to produce (art bond) fell short of expectations, the theater's marketing measures were excessive and the self-directed gastronomy had to file for bankruptcy for lack of professionalism. The theater remains sitting on a mountain of debt, the grantor is not ready to pay off debt.
There is a change in the line. Renate Ourth becomes director with overall responsibility, Harald Fröhlich becomes administrative manager (treasurer). A five-year plan is negotiated with the grantors (city, state, federal government), within which the debts must be saved.
The following years left the theater little financial leeway. The chronic financial shortage is alleviated, however, by the partnership with the SKWB-Schoellerbank, the generous support of a patron and the funds of the Association of Friends of the Salzburg Elisabeth Stage.
In the summer of 1998 the Salzburg Festival premiered the text “Er nicht als Er” by Elfriede Jelinek , in a production by Jossi Wieler, in coproduction with the Schauspielhaus Hamburg at the EB Schauspielhaus Salzburg .
- 1999 The EB celebrates its 40th anniversary with the festival "Zeitspuren" and the 40-year season:
- 2002/2003 R. Ourth says goodbye to her theater with Maeterlinck's play Pelléas und Mélisande.