Emmy Remolt-Jessen
Emmy Remolt-Jessen (born July 18, 1876 in Munich , † September 26, 1948 in Göppingen ) was a German theater actress and acting teacher. She was engaged as a court and state actress from 1899 to 1948 at the State Theater in Stuttgart and later trained prominent stage and film stars such as Maria Koppenhöfer, Ruth Kommerell and Kurt Jooss as a teacher.
Life
youth
Emmy Remolt was born in Munich on July 18, 1876. The family lived at Preysingstrasse 71, later at Preysingstrasse 24, where the “not wealthy” parents ran a “small business”. After the father's death in 1900, the mother continued the business alone. The Remolts frequented the house of the popular soubrette and folk actress Amalie Schönchen , who was then employed at the Munich Gärtnerplatztheater , so that Emmy Remolt came into contact with the theater at an early age. As a “popular theater child” she played Tell's son Walther in Schiller's “ Wilhelm Tell ”, the thirteen-year-old Olaf in Ibsen's “Die Stützen der Gesellschaft” and one of Medea's two sons in Grillparzer's “Medea” at the Munich Hofbühne . She then withdrew from stage life “until her health was strengthened to the point that she felt equal to the exertions of the artist's profession. First of all, she took part in amateur shows to get back in touch with the stage.
job
Beginnings
At the age of 22, Emmy Remolt began her acting training in 1898 with the Munich actor and director Jocza Savits (1847-1915), who made great contributions to the stage reform to revive the Shakespeare stage . At the beginning of 1899 he warmly recommended his protégé to the general manager of the Stuttgart court theater Joachim Gans zu Putlitz and emphasized that she had already mastered roles such as the hero in Grillparzer's "Des Meeres und der Liebe Wellen", the Leonore in Goethe's " Torquato Tasso " , Juliet in Shakespeare's “ Romeo and Juliet ”, Clärchen in Goethe's “ Egmont ” and the title roles in Goethe's “ Iphigenie auf Tauris ” and Schiller's “ Maria Stuart ”. The list of her repertoire, which she presented to the court theater in 1900, comprised almost 50 roles, which one can assume that they were rehearsed under the aegis of Jocza Savits. In addition to classics such as Goethe, Schiller and Shakespeare, her repertoire included a whole series of roles in contemporary plays as well as some comedy roles.
Baron Putlitz invited Emmy Remolt to a guest performance in Stuttgart. After two days of rehearsal, she appeared on March 20, 1899 in Schiller's " Jungfrau von Orleans " as a guest in the title role. After her convincing debut performance, she engaged Putlitz on September 1, 1899 for a period of five years. She was supposed to take over the subject of the “youthful heroine” and thus fill the gap that had recently arisen due to the departure of the “two best character actresses” Louise Dumont and Gertrud Eysoldt to Berlin.
Emmy Remolt's official title changed with the name of the theater from court actress (until 1918) to actress at the Landestheater (1919–1922) to state actress (from 1923). When the old court theater burned down in January 1902 , the plays were relocated to the Wilhelma theater and from October to the newly built interim theater until the new court theater could be inaugurated in 1912 .
Early days
At the court theater she had the “opportunity to show what she could do, and it soon turned out that she could do a lot. So within a few years she succeeded in gaining a dominant position in the ensemble of the Stuttgart court theater. ”She developed into one of the audience favorites and excelled in many roles as the first heroine until 1915 (see roles ).
The theater critic Paul Wittko (1866-1958) praised Emmy Remolt in 1912 as one of the few masterful actresses of naturalistic roles, which would only be surpassed by the famous Else Lehmann , an actress who was famous for her roles in plays by Gerhart Hauptmann and among other things Henrik Ibsen . He attested to her “the core solid basic health of her powerful earthy character” and her “full juiciness”, for example as Mena in Karl Schönherr's “Erde” or as Gina in Ibsen's “ Wildente ”. Wittko also applauded her brilliant interpretation of roles in comedies and classical plays.
As early as 1904 the theater critic Rudolf Krauss had emphasized the "versatility of her talent". According to him, her repertoire included “original folk types with a rough and realistic look”, “dashing and resolute girls by Arthur Schnitzler's grace”, classical and post-classical roles as well as “modern roles of a more serious nature”.
Fritz Baader (1881–1928), who like most theater critics had a bad opinion of the Stuttgart court theater, however, said in 1908 about Emmy Remolt: “But even the field of activity of the so-called» heroine «is very limited: Ms. Remolt can create earthy peasant girls, including Schnitzler's Viennese girls - queens fail and suddenly slip away into the parvenu. "
Late period
In 1915, Emmy Remolt was almost forty years old and outgrown the youthful character roles. Alexandrine Rossi (1861–1953), her fellow actor at the court theater by 14 years, described the problems of the “aging” actress at the transition between youthful and “mother roles” using the example of the famous Charlotte Wolter . The director of the Vienna Burgtheater had asked her to "move on to the subject of mothers". A month-long guest performance in Breslau should “now provide proof that, by virtue of her great art, she would do justice to any illusion. But only too soon she had to admit that her time was fulfilled - it was time to say goodbye to the artistic youth ”. Another problem for older actresses arose from the limited role repertoire in the subject of mothers and the elderly.
But roles that matched Emmy Remolt's age and that she could have performed brilliantly, were often denied her. Apparently she had made no secret of her disappointment with the theater critic Paul Wittko, who (probably without her assistance or knowledge) sent a polemical letter to the Stuttgarter Neue Tagblatt . It was published under the title “What is it?” With the signature “Dr. X ”is printed. In his introduction to the letter, the Tagblatt editor expressed his “amazement” that “a few of our most valued artists, namely the ladies Emmi Remolt and Grete Lorma, are given so little new tasks that the visitors to the novelties might think they are both No longer here at all, or sick or on leave for guest trips ”. In his letter Wittko expressed "his astonishment and astonishment", "that an artist of the importance of Mrs. Emmy Remolt-Jessen has recently found so little employment and is so conspicuously put back".
Emmy Remolt was well aware that a move to another stage seemed necessary for her further artistic advancement. She openly addressed her problem with the intendant Baron Putlitz, who also showed himself to be accommodating and helpful in this case and assured her that he would not stand in the way of an advantageous change. However, inquiries from other theaters and mediation efforts by agencies did not lead to a conclusion. In 1918 Emmy Remolt stayed in Berlin, where Carl Meinhard and Rudolf Bernauer , the directors of Meinhard-Bernauer'schen Bühnen, offered her a very tempting contract “in artistic and financial terms”. No contract was signed with the Berlin theaters, and so the chance was lost to step out of the provincial shadow on one of the stages that were in the national limelight.
Emmy Remolt stayed in Stuttgart until the end of her stage career, where she was employed from the 1920s in "aged subjects" as a "heavy heroine" or "hero mother", but also as a strange old woman, all roles in the first subject.
Social situation
After a low starting salary in the first year, Emmy Remolt's guaranteed annual salary rose continuously from 3,000 marks in 1901 to 10,000 marks in 1910–1914. After the inflation , her annual salary leveled off at around 10,000 Reichsmarks from 1924 onwards . The actress earned a multiple, sometimes multiple, of the average salary in Germany . From the gross salary, she not only had to provide for her living, but also pay taxes and contribute to the pension fund, purchase a modern cloakroom at her own expense (historical cloakrooms were provided) and pay for illness (partially), cures and holidays. While her husband was ill for several years, she received support from the court theater, but still had to make substantial grants herself. In addition, there were debts of her husband, which she had to pay off.
All in all, however, Emmy Remolt was able to lead a “befitting”, middle-class life compared to the average population. After her retirement in 1944, she received a pension from the pension fund, the amount of which is unknown.
Emmy Remolt as Frau Nagel in Rehfisch's “Who weeps for Ituckenack?”, 1926.
Emmy Remolt (fourth from right) as Die Heppin in the world premiere of Bernhard Blum's “Feurio”, 1928.
Emmy Remolt (first from left) in Molnár's “Olympia”, 1930.
Acting teacher
Emmy Remolt was, as she said, “part-time”, also working as an acting teacher. She trained the theater and film actresses Maria Koppenhöfer (from 1917) and Ruth Kommerell (until 1941), as well as Kurt Jooss (1920–1921), before he decided on a career as a dancer and choreographer. Her teaching also provided some compensation for the happiness she had been denied because she viewed her students as her children. She said of Maria Koppenhöfer without envy, without naming her: "Yes, my favorite child is on the best way to grow over my head - that will make my most beautiful wishes come true." Later she also worked as an acting teacher at the Staatliche University of Music active.
When it was bombed in 1944, it was moved from Stuttgart to Göppingen. She mourned the loss of her beloved Stuttgart and stated in her pension application to the director: "That the circumstances force me to give up my teaching is probably the greatest pain for me and I feel as if I have lost all raison d'etre." But if we should be able to resume university classes in the foreseeable future, that would be the greatest happiness for me. "
Private life
Apartments
The seven apartments that Emmy Remolt lived in in Stuttgart for a period of 45 years were in the city center of Stuttgart, not far from the theaters. In 1903 Emmy Remolt lived with her husband at Neckarstrasse 35, from 1902 to 1906 at Kernerstrasse 19 B. After her husband's death, she moved to Schubartstrasse 29 in 1906, where she stayed for 20 years. From 1926 until it was bombed out in 1944, she lived, also for almost two decades, at Sonnenbergstrasse 8. Her adopted home Stuttgart - and of course her work here - she loved very much, which in 1927 summed it up as follows: “28 years in Stuttgart! - There is no more to be said."
Kernerstrasse 19 B, 1904–1906.
Schubartstrasse 29, 1906–1926.
Sonnenbergstrasse 8, 1926-1944.
Former Villa Landerer, Göppingen, Jebenhäuser Strasse 30, 1944-1948.
marriage
On September 1, 1902, Emmy Remolt married the actor Hugo Jessen in her hometown Munich in the Lukaskirche , who had also been engaged at the court theater in Stuttgart since 1894. From then on she called herself Emmy Jessen, Emmy Remolt-Jessen, but mostly Emmy Remolt.
Already towards the end of 1902 Jessen suffered from the first symptoms of a mental illness. In spring 1903 he was placed under guardianship and admitted to the Bürgerhospital in Stuttgart. After his condition had improved, he spent the spring of 1904 convalescing with his parents in Itzehoe . Due to a serious relapse, Emmy Remolt brought him back to Stuttgart in mid-1905 and had him admitted to the Christophsbad sanatorium in Göppingen . His illness was diagnosed as incurable according to the then state of medicine. Jessen died on January 8, 1906 at the age of only 38 in the Christophsbad.
The marriage did not result in children, and Emmy Remolt later regretted that fate "cheated me out of my wife's greatest happiness - it did not allow me to become a mother". Without having planned it that way, she found a certain balance in her "part-time job" as an acting teacher, which allowed her to "send beautiful, happy children ... out into the world".
Last years
After her apartment in Stuttgart was no longer habitable after a bomb attack in 1944 and serious health problems (heart disease, phlebitis) made it impossible for her to continue working, the 68-year-old asked for her retirement.
She stayed in Sehringen near Badenweiler in August and September 1944 to relax in the house of Oskar Schlemmer's wife, where she was "cared for and cared for" by the actress Karin Schlemmer, a daughter of the Schlemmer. From October 13th she lived in Göppingen-Holzheim in Fräulein Feucht's house at Hofstrasse 11 (today replaced by a new building). On April 11, 1945, due to illness, she moved to the former Villa Landerer at Jebenhäuser Straße 30, which belonged to the Christophsbad Clinic (see apartments ).
She died at the age of 72 on September 26, 1948 in Göppingen and was buried two days later in the same grave in which her husband was buried in 1906 (the grave has since been cleared).
Bruno Frank
The Stuttgart-born writer Bruno Frank stayed in Stuttgart again and again during his studies and afterwards. Around 1914, the enthusiastic theater lover met the court actress Emmy Remolt during one of these stays. The almost eleven years younger writer and the widowed actress soon developed a friendship or a closer relationship. Both were united by a love of the theater and Emmy Remolt's hometown of Munich, where Bruno Frank had stayed since 1913 at the latest. From 1916 he lived near Munich, in Feldafing on Lake Starnberg , where Emmy Remolt visited him at least twice (1917 and 1918).
On the eve of Bismarck's 100th birthday on March 31, 1915, at the Bismarck celebration in the city of Stuttgart, Emmy Remolt recited a 20-verse dedication poem by Bruno Frank. The Stuttgarter Neue Tagblatt printed the Bismarck poem and reported: “The tragic lady of our court theater, Ms. Remolt, recited Bruno Frank's powerfully sounding and meaningful verses with powerful expression.” And: “These consecration strophes, which rustle with grace and dignity, are at Bismarck - Commemoration of the city of Stuttgart on Wednesday was once again brought to the lecture by the heroine of the court theater, Emmi Remolt, in an impressive manner. "
On November 5, 1916, Bruno Frank's first play, the comedy “ Die Treue Maid ” was premiered in Dresden and Leipzig. The text book bore the dedication: "Emmy Remolt, the woman and the actress". Shortly afterwards, the play was also performed in Munich, Hamburg, Frankfurt and at the Burgtheater in Vienna , but not at the Hoftheater in Stuttgart, so that Emmy Remolt was unable to appear in her friend's play.
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Performance of Bruno Frank's “Sturm im Wasserglas”, Staatstheater Stuttgart, 1930. Emmy Remolt as Mrs. Vogl, left: with the dog Toni, right: with the magistrate Pfaffenzeller. | |
His volume of short novels “Bigram. Neue Erzählungen ”, published by Bruno Frank in 1921, bears the dedication“ For Emmy Remolt ”. How long Emmy Remolt's friendship with Bruno Frank lasted is not known. In 1924 he married Liesl Massary and moved with her from Feldafing to Munich in 1926 . In 1930 he brought out his most successful play, the " Storm in a Water Glass ". Almost two months after its premiere, the comedy was also performed at the Stuttgart State Theater on December 19, 1930. Bruno Frank had let the director know that he saw "Ms. Remolt in the very important role of Ms. Vogl". She took on the glamorous role of the flower woman, in whom "her swelling humor and her hearty Münchnerism could live out". Like Bruno Frank, Emmy Remolt was a dog lover and had a lot of fun standing on stage with a "dog" (maybe even her own). The premiere photos show her with a fluffy terrier in her arms, apparently a first-class cast for the character dog that Bruno Frank had in mind.
Still photos
Emmy Remolt as Jo in Hermann Hejermann's "Hope", 1904.
Emmy Remolt as Magda in Hermann Sudermann's "Heimat", 1904.
Emmy Remolt as Esther in Grillparzer's "Esther", 1904.
Emmy Remolt as Mena in Karl Schönherr's “Erde”, 1912.
Emmy Remolt, around 1900.
Emmy Remolt, between 1902 and 1910.
Emmy Remolt, 1904.
Emmy Remolt as Weszkalnene in Sudermann's “Johannisfeuer”, 1928.
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| author | piece | role | year | source | |
|---|---|---|---|---|---|
| Bahr | Hermann | The concert | Marie | # Röcker 1946 | |
| Beer tree | Otto Julius | Stella and Antonie | Countess Antonie | # Krauss 1904 | |
| flower | Bernhard | Feurio! | The Heppin | 1928 UA | #Fuchs 1983 |
| Angel | George | Above the waters | Stine | # Krauss 1904 | |
| Frank | Bruno | Storm in a glass of water | Mrs. Vogl | 1930, 1931 | #E 18 III Bü 208 , #EL 221-11 No. 628 |
| Goethe | Johann Wolfgang von | Clavigo | Marie | # Röcker 1948 | |
| Goethe | Johann Wolfgang von | The natural daughter | Eugenie | #PT 1948 | |
| Goethe | Johann Wolfgang von | Egmont | Clarchen | # Krauss 1904 | |
| Goethe | Johann Wolfgang von | Iphigenia on Tauris | Iphigenia | #E 18 VI Bü 1270 | |
| Goethe | Johann Wolfgang von | Torquato Tasso | Leonore | #E 18 VI Bü 1270 | |
| Gorky | Maxim | Night shelter | Vasilissa | # Krauss 1904 | |
| Grillparzer | Franz | The waves of the sea and love | Hero | 1904 | #E 18 VI Bü 1270 , # Krauss 1904 |
| Grillparzer | Franz | Esther | Esther | # Krauss 1904 | |
| Grillparzer | Franz | Medea | Son of Medea (child role) |
# Krauss 1904 | |
| Grillparzer | Franz | Medea | Medea | # Röcker 1946 | |
| Captain | Gerhart | Rose Bernd | Rose Bernd | #PT 1948 | |
| Hebbel | Friedrich | Judith | Judith | # Krauss 1908 | |
| Hebbel | Friedrich | Herod and Mariamne | Mariamne | # Röcker 1946 | |
| Hebbel | Friedrich | Mary Magdalene | Clare | 1902 | #Levi 1902 |
| Hebbel | Friedrich | Gyges and his ring | Rhodope | #PT 1948 | |
| Hejermanns | Hermann | hope | Yo | # Krauss 1904 | |
| Ibsen | Henrik | The pillars of society | Lona Hessel | 1910 | IbsenStage |
| Ibsen | Henrik | The pillars of society | Olaf (child role) |
# Krauss 1904 | |
| Ibsen | Henrik | Ghosts | Regine Engstrand | 1901 | IbsenStage |
| Ibsen | Henrik | Ghosts | Helene Alving | # Röcker 1946 | |
| Ibsen | Henrik | The wild duck | Gina | 1910, 1911, 1912 | IbsenStage |
| Ibsen | Henrik | Hedda Gabler | Hedda Tesman | 1910, 1911, 1912 | IbsenStage |
| Ibsen | Henrik | Little Eyolf | Rita Allmers | 1911 | IbsenStage |
| Ibsen | Henrik | Nora | Nora | 1899 | IbsenStage |
| Ibsen | Henrik | Peer Gynt | Carrion | 1921, 1928, 1942 | IbsenStage |
| Ibsen | Henrik | Rosmersholm | Rebekah West | 1911, 1912, 1915 | IbsenStage |
| Ibsen | Henrik | When we dead awaken | Irene | 1911 | IbsenStage |
| Katsch | Hermann | co-worker | Marianne | 1901 UA | # Krauss 1904 |
| Lessing | Gotthold Ephraim | Emilia Galotti | Emilia Galotti | # Krauss 1904 | |
| Lessing | Gotthold Ephraim | Nathan the wise | Recha | # Krauss 1904 | |
| Maeterlinck | Maurice | Monna Vanna | Monna Vanna | 1906 | # Krauss 1904 |
| Molnár | Ferenc | Olympia | # Yearbook Landestheater 1928-1931 (1930) | ||
| Deer fish | Hans José | Who weeps for itchiness? | # Theater Almanac 1926 | ||
| Schiller | Friedrich | The robbers | Amalia | # Krauss 1904 | |
| Schiller | Friedrich | Virgin of orleans | Johanna | 1899 | # Krauss 1904 |
| Schiller | Friedrich | Maria Stuart | Maria Stuart | #PT 1948 | |
| Schiller | Friedrich | Wallenstein | Thekla | # Krauss 1904 | |
| Schiller | Friedrich | William Tell | Walther (child role) |
# Krauss 1904 | |
| Schnitzler | Arthur | Farewell souper | Annie | # Krauss 1904 | |
| Schnitzler | Arthur | flirtation | Mizzi hits | # Krauss 1904 | |
| Schnitzler | Arthur | literature | Margarethe | # Krauss 1904 | |
| Schönherr | Karl | earth | Mena | #Wittko 1912 | |
| Shakespeare | William | The Taming of the Shrew | Catherine | 1902 | # Krauss 1904 |
| Shakespeare | William | Romeo and Juliet | Julia | # Krauss 1904 | |
| Sudermann | Hermann | homeland | Magda | # Krauss 1904 | |
| Sudermann | Hermann | Midsummer bonfire | Crickets | # Krauss 1904 | |
| Chekhov | Anton | The cherry orchard | Lyubov Ranevskaya | #Kahn 1917 | |
| Tolstoy | Leo | Power of darkness | Akulina | # Krauss 1904 | |
Magazine articles
- Emmy Remolt-Jessen: Becoming and developing a stage figure. In: Carl Esser; Paul Wittko; Johannes Joseph Vincenz Cissarz (book design): Die neue Königl. Hof-Theater zu Stuttgart: for consecration and lasting memory. Stuttgart around 1912, pages 85–86.
- Emmy Remolt-Jessen: [28 years in Stuttgart! - there is nothing more to say.] In: Unknown magazine of November 22, 1927.
Honors
Grand Duchess Maria Pavlovna Emmy Remolt expressed her appreciation for her guest role as Monna Vanna in St. Petersburg in 1903. In 1911 the King of Württemberg awarded her the Golden Medal for Art and Science on the ribbon of the Order of Frederick . In 1918 she was awarded the King Ludwig Cross by the Bavarian King . She modestly refused a celebration on the occasion of her 25th stage anniversary. On September 1, 1939, she was able to thank the general manager of the State Theater for his congratulations on her 40th anniversary on the stage, bearing in mind "the difficult events that stir us all" because her anniversary coincided with the beginning of the Second World War.
reception
Emmy Remolt was one of the audience favorites of the Stuttgart theater, which, as a provincial theater, lagged behind the big stages in terms of reputation and had hardly any national appeal. Although she was also noticed nationwide in guest performances, in the long run it would have been necessary to move to one of the big stages, for example in Berlin, Munich or Vienna, in order to give her career the desired boost. Between 1915 and 1918 she tried hard to get an engagement at another theater, but even a concrete offer from Meinhard-Bernauer'schen Bühnen in Berlin did not lead to a conclusion in the end.
Emmy Remolt was mentioned again and again in numerous relevant magazines, almanacs and stage yearbooks, but she is neither recognized in specialist dictionaries, nor is there a monographic description of her artistic career. There is also no overview of the countless roles that she has played in her almost fifty years of stage life. After all, there is an overview of the 17 Ibsen performances in which Emmy Remolt was involved from 1899 to 1942 on the “IbsenStage” website.
Sometimes Emmy Remolt was honored in more detail in magazine articles:
- In 1902 L. Levi reported on a new production of Hebbel's “ Maria Magdalena ” at the Stuttgart court theater: “Miss. Emmy Remolt in the title role captured the spirit of the poet and created, with moving tragedy, that strange female figure who dies not out of fear of shame but out of fear of her father's woes. "
- The theater critic Rudolf Krauss dedicated an article to her in 1904 in which he extensively praised her five-year career.
- In 1912, the theater critic Paul Wittko dealt with the career and performance of Emmy Remolt (“our heroine”) in the article “Stuttgarter Bühnenkünstlerinnen”.
- In 1917, the theater critic Harry Kahn emphatically praised Emmy Remolt in her guest role as Ljubow Ranjewskaja in Chekhov's “ The Cherry Orchard ” in the Munich Kammerspiele in the important theater magazine “ Die Schaubühne ” :
- “So I just want to write you the name of that wonderful woman who - perhaps a little too little of the perfume of the big world, but surrounded by the aura of a big heart - was Lyubov Ranjewski: Emmy Remolt. Apparently Stuttgart is still not connected to the Reich German railway network; Because otherwise it can hardly be understood why an actress who combines the maternal emotional pathos of Lehmann with the feminine, noble grace of (older) Sorma , can even be held by the most art-conscious artistic director at the court theater of a medium-sized residential town. "
In his memoirs, the stage and film actor Rudolf Fernau outlined the ensemble members of the Stuttgart State Theater, where he was engaged from 1929 to 1945. He wrote about Emmy Remolt: "Finally, we should think of the elementary mother actress of Bavarian blood, Emmi Remolt, who had the merit of having enabled the young Maria Koppenhöfer as a teacher to take her first steps on the world-famous boards."
literature
General
- Carl Esser; Paul Wittko; Johannes Joseph Vincenz Cissarz (book design): Die neue Königl. Hof-Theater zu Stuttgart: for consecration and lasting memory. Stuttgart around 1912, pages 43, 96.
- Heinrich Ihme: Southwest German personalities: a guide to bibliographies and biographical compilations. 2. Küchel - Zyllnhart. Stuttgart 1988, page 706.
- Harry Kahn : [letter to the editor]. In: Die Schaubühne , 13th year, number 48, November 29, 1917, pages 525-526 (Emmy Remolt as Lyubow Ranjewskaja in Chekhov's “ The Cherry Orchard ”).
- Rudolf Krauss : Emmy Remolt. In: Bühne und Welt: magazine for theater, literature and music , 6th year, 1904, pages 732–736.
- Rudolf Krauss : The Stuttgart court theater from the oldest times to the present. Stuttgart 1908, page 307, 310, 312, online: .
- (PT): Emmy Remolt in memory. In: Stuttgarter Nachrichten , number 134, October 22, 1948 (message of death).
- HO Röcker: Emmy Remolt 70 years old. In: Stuttgarter Zeitung , number 70, July 20, 1946, page 2.
- HO Röcker: Emmy Remolt died and to the death of Emmy Remolt . In: Stuttgarter Zeitung , number 87 of September 29, 1948, page 2, and number 88, October 2, 1948, page 2.
- Paul Wittko: Why is it? In: Stuttgarter Neues Tagblatt , number 523, October 15, 1915, morning edition, page 2.
- Paul Wittko: Stuttgart stage artists. With eight portraits based on original photographs. In: Velhagen & Klasings Monatshefte , Volume 26, 1911/1912, Edition 3, Pages 401-407, here 404-405.
swell
- Fritz Baader: About the Stuttgart theater year. In: Die Schaubühne , 4th year, 1908. 2nd volume, pages 194–197.
- Rudolf Fernau : It started as a song: an actor's diary. Frankfurt am Main 1972, page 194.
- Bruno Frank : The faithful maid. Comedy in three acts. Berlin 1916.
- Karlheinz Fuchs (editor): Exhibition series Stuttgart in the Third Reich: The seizure of power. From the republican to the brown city. Stuttgart 1983, page 66.
- New theater almanac: theater-historical year and address book 1894–1906.
- Sascha Kirchner: The citizen as an artist. Bruno Frank (1887–1945) life and work. Düsseldorf: Grupello , 2009, page 90.
- L. Levi: Stuttgart Art. In: Südwestdeutsche Rundschau: bi-monthly publication for German art and art , 2nd year, 1902, pages 357–358.
- Frank Raberg : Maria Koppenhöfer, state actress, 1901–1948. In: Gerhard Taddey (editor); Rainer Brüning (editor): Life pictures from Baden-Württemberg XXII. Stuttgart 2007, pages 521-539, here: 524-526, 538.
- Alexandrine Rossi: An experience from the past. In: # Theater-Almanach 1926 , pages 100-103.
- Jocza Savits: Shakespeare and the Stage of Drama. Bonn 1917.
- Patricia Stöckemann: Something completely new has to be created: Kurt Jooss and the dance theater. Munich 2001, pages 23-24.
- Bruno Frank: Bismarck. In: Stuttgarter Neues Tagblatt , number 164, April 1, 1915, morning edition, pages 2, 5.
Theater yearbooks
The yearbooks contain portrait and stage photos of Emmy Remolt.
- Almanac of the Royal Court Theater Stuttgart. Stuttgart between 1902 and 1910, page [41].
- Theater-Almanach der Württ. Landestheater Stuttgart for the year 1926 , page 33, 104.
- Yearbook of the Württembergische Landestheater , 1928: Page 96, 1929: Page 34, 85, 127, 1930: 35, 71, 122, 1931: 46, 127.
- Yearbook of the Württemberg State Theater 1934 , page 72.
Archives
- Baden-Württemberg State Archives, Ludwigsburg State Archives
- E 18 VI Bü 1270, Emmy Remolt-Jessen personnel file, 1898–1944.
- F 215 Bü 82, Emmy Remolt passport files.
- F 215 Bü 464, Emmy Remolt passport files.
- E 18 VI Bü 146, Hugo Jessen, 1893–1904.
- E 18 III Bü 208, Bruno Frank's “Storm in a Water Glass”, 7 performance photos from December 19, 1930.
- EL 221-11 No. 628, Bruno Frank's “Storm in a Water Glass”, performance files, 1930–1932.
- Archive of the Christophsbad Clinic in Göppingen
- Files on Hugo Jessen and Emmy Remolt-Jessen (not freely accessible).
- Göppingen City Archives.
- Registration card and death register.
Web links
Individual evidence
- ↑ # E 18 VI Bü 1270 .
- ↑ # Krauss 1904 , # Wittko 1912 .
- ↑ #Savits 1917 .
- ↑ # E 18 VI Bü 1270 . - Classics and contemporaries: Goethe (6), Grillparzer, Hauptmann, Ibsen, Lessing, Schiller (11), Shakespeare (3), Schnitzler (2), Sudermann (3), Tolstoy. Comedies: Anzengruber (3), Calderón, Nestroy, Raimund, Sardou (numbers in brackets: number of different roles in plays by the author).
- ↑ #E 18 VI Bü 1270 , # Krauß 1904 , #Wittko 1912 .
- ↑ Address books of the city of Stuttgart 1899–1943.
- ↑ # Krauss 1904 , page 732.
- ↑ #Wittko 1912 .
- ↑ # Krauss 1904 .
- ↑ #Baader 1908 , page 196.
- ↑ #Rossi 1926 .
- ↑ #Tagblatt 1915.2 .
- ↑ # E 18 VI Bü 1270 .
- ↑ # E 18 VI Bü 1270 . - Photos by Emmy Remolt in old age roles: #Almanach 1926 , page 102, # Jahrbuch Landestheater 1928 , page 103, # Jahrbuch Landestheater 1929 , page 104, # Jahrbuch Landestheater 1930 , page 105, 106, # Jahrbuch Landestheater 1931 , page 107, # Landestheater yearbook 1934 , page 108.
- ↑ # E 18 VI Bü 1270 .
- ↑ #E 18 VI Bü 1270 , #E 18 VI Bü 146 .
- ↑ # Remolt-Jessen 1927 .
- ↑ # E 18 VI Bü 1270 .
- ↑ Address books of the city of Stuttgart 1899–1943.
- ↑ # Remolt-Jessen 1927 .
- ↑ # E 18 VI Bu 146 .
- ↑ # Remolt-Jessen 1927 .
- ↑ # E 18 VI Bü 1270 .
- ↑ # E 18 VI Bü 1270 .
- ↑ # Göppingen City Archives .
- ↑ Cause of death according to the death register: severe cardiac muscle damage, brain embolism with paralysis, poor circulation ( # City Archives Göppingen ).
- ↑ Information from the Göppingen cemetery administration.
- ↑ #Kirchner 2009 , page 90: "At that time [1918] he had a relationship with the Stuttgart actress Emmy Remolt."
- ↑ # E 18 VI 1270 .
- ↑ #Tagblatt 1915.1 .
- ↑ # Frank 1916.2 .
- ↑ #EL 221-11, No. 628 .
- ↑ # Röcker 1948 .
- ↑ #E 18 III Bü 208 . - In a newspaper article that she wrote in 1927, she is pictured together with her little fox terrier, whom she gently admonishes with a raised index finger ( # Remolt-Jessen 1927 ).
- ↑ Emmy Remolt on IbsenStage .
- ↑ # E 18 VI Bü 1270 .
- ↑ Emmy Remolt on IbsenStage .
- ↑ # Levi 1902
- ↑ # Krauss 1904 .
- ↑ #Wittko 1912 .
- ↑ #Kahn 1917 .
- ↑ #Fernau 1972 .
| personal data | |
|---|---|
| SURNAME | Remolt-Jessen, Emmy |
| ALTERNATIVE NAMES | Remolt, Emmy |
| BRIEF DESCRIPTION | German theater actress |
| DATE OF BIRTH | July 18, 1876 |
| PLACE OF BIRTH | Munich |
| DATE OF DEATH | September 26, 1948 |
| Place of death | Goeppingen |