Fritz Klingenbeck

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Fritz Klingenbeck (born April 22, 1904 in Brno , Moravia , † October 19, 1990 in Vienna ) was an Austrian theater director, director, solo dancer, ballet master and author.

Life

Klingenbeck's ancestors were foresters for over 200 years, but his father Cornelius Klingenbeck was a laboratory assistant who worked with Marie, nee. Scholze was married. Klingenbeck himself worked for eight years as a commercial clerk and authorized signatory for a North Bohemian industrial group before he decided to follow his inclination for art. He attended painting schools in Dresden and Vienna and then studied dance in Émile Jaques-Dalcroze's educational institution for music and rhythm in Hellerau near Dresden and at the Rudolf von Labans Choreographic Institute in Berlin . From 1927 to 1929 he was Laban's personal assistant and solo dancer at his Kammertanzbühne in Berlin. Laban's fame had expanded through his work as a dance writer, and his search for a script that would make dance scientifically available resulted in " cinetography ". The use and teaching of this script, which was named " Labanotation " in the Anglo-American region and was first printed in the Universal Edition magazine Schrifttanz , was then prohibited by the National Socialists.

Klingenbeck, who, like Albrecht Knust, Gertrud Snell and Alfred Schlee, had a share in Laban's development of the notation, later claimed that it was he who in 1927 wrote “the egg of Columbus” for Rudolf Laban, the dance notation he longed for, the “ Kinetography ”, however, contradict both Laban's and Knust's representations.

Klingenbeck's engagements as a dancer and ballet master in Berlin, Prague and from 1929 to 1938 in Vienna followed, and several ballet choreographies were created, an activity that began in 1940 in the world premiere of his text for the shepherd's ballet Daphnis and Chloe with music by Karl Hudez (1904–1995) was to culminate by the ballet company of the Vienna Volksoper , a ballet that, despite several later performances, for example at the Bregenz Festival or in the Graz Opera, remained in the shadow of the 1912 Fokine Ballet of the same name to Maurice Ravel's music. Klingenbeck however also turned to the theater in general and studied acting direction at the Max Reinhardt Seminar in Vienna , where he taught gymnastics and dance until 1939 as “Laban's Viennese mouthpiece” from 1934 onwards.

Klingenbeck worked as a movement director at the Burgtheater , at the Theater in der Josefstadt , at the German Volkstheater , at the Scala in Vienna and at the Kammerspiele as well as at the Bayreuth Festival in the summer of 1930 and 1931 . During this time he also worked as a journalist for Berlin, Wroclaw and Vienna newspapers.

Although he was by no means completely ignored by the Nazi regime as a result of his participation in Rudolf von Laban's forbidden dance teaching in terms of cultural policy, he became director of the Gaubühne Niederdonau in Baden near Vienna after the annexation and the disappearance of the name "Austria" in 1939 , where he NS "Reichsdramaturg" Rainer Schlösser (1899-1945) talked too much. When he therefore struggled away from Baden, he was entrusted with the management of the “German City Theater Brno ” in 1942-44 , so that he could help ensure that cultural life was “Germanized and Nazified” there, as in the other stages of the Protectorate of Bohemia and Moravia .

From 1948 to 1955, after Kurt Kaiser, Klingenbeck directed the “Vorarlberger Landesbühne” (today Vorarlberger Landestheater ) in Bregenz , with which he played in almost 30 cities and towns in Vorarlberg. The theater owes its good reputation beyond Vorarlberg's borders to his work. In addition, from 1951 to 1952 he was in charge of the Bregenz Festival .

Then there were directorships in Klagenfurt from 1955 to 1957 and in Salzburg from 1957-1962, where the Landestheater gave “first-class opera and theater performances” : “At the opening of the season in September, they played under the new director Fritz Klingenbeck “Viennese blood” by Johann Strauss. ”But Klingenbeck also dared to go to the Salzburg State Theater in 1960, after the long Brecht boycott in Austria and especially after the scandal surrounding Bertolt Brecht's granting of Austrian citizenship on April 12, 1950 by the Salzburg governor and the related exclusion of Gottfried von Einems from the festival directorate to perform Brecht's Good People of Sezuan .

In 1961 he became the first director of the Theater an der Wien , which had been saved from demolition and revived and which he had to fill with guest performances.

Detached from the administrative apparatus of the city, the house becomes an Betriebsgesellschaft mbH. With extensive freedom of disposition, both managing directors are managed. There is no intention to create a separate ensemble for the theater. As a rental property, the house is mainly available for events during the Wiener Festwochen, for the summer program and for a third of the year for performances by the federal theaters. The extent of use by the "Theater der Jugend" is still being discussed. Prof. Klingenbeck sees his task initially in coordinating the already very large number of interested parties with their appointment requests. Applications from home and abroad are already being submitted to the management, including requests for the 1965 season. To date, the theater has been offered around 30 guest performances by well-known international ensembles.

Klingenbeck's contract was terminated in 1965 after he had declared that he would no longer be able to run the house under the desired conditions, without his own ensemble and repertoire.

One last management function, but no longer in an artistic sense, was held by Klingenbeck for nine years as administrative director or, in the last two years, as authorized signatory at the Vienna Theater in der Josefstadt .

Klingenbeck received the professional title of Professor from the Austrian Federal President and also a Max Reinhardt Medal from the State of Salzburg.

Theater directors

Publications

  • Technique and form . In: Schrifttanz 3,2 (1930), p. 21f.
  • Five years of the Reinhardt Seminar . In: Wiener Musik- und Theaterzeitung . II. Year 1934. Issue 8. Vienna / Berlin / New York, Bristol. 1934.
  • The dancer Rosalia Chladek. LJ Veen, F. Leo, Amsterdam, Vienna 1936
  • Immortal Waltz / The History of the German National Dance. Wilhelm Frick, Vienna 1940
  • Let flowers speak . Wilhelm Frick Verlag, Vienna, 1942.
  • The waltz book. Historical and enchanting from the Viennese waltz . Wilhelm Frick, Vienna 1952.
  • 5 years Landestheater Salzburg. 1957-1962 . Salzburg State Theater, Salzburg 1962
  • In new splendor: the Theater an der Wien. The life of a stage from 1801 to today . Bergland Verlag, Bergland Verlag, Graz-Vienna-Salzburg 1963
  • The Magic Flute. A great opera in 2 acts, by Emanuel Schikaneder. Music by Wolfgang Amadé Mozart . Koska, Vienna 1966.
  • Silent Night Holy Night. the Christmas carol of the world . Bergland Verlag, Graz-Vienna-Salzburg 1968
  • Max Reinhardt's theater in der Josefstadt. One of the most beautiful theaters in the world. Residenz Verlag, Salzburg 1973
  • Encounters with Rudolf von Laban . In: Josef Mayerhöfer (Ed.): Dance 20th Century in Vienna. Exhibition catalog, Vienna 1979
  • What should one write down and what not . In: Valerie Monthland Preston-Dunlop, Susanne Lahusen (Ed.): Schrifttanz: A View of German Dance in the Weimar Republic. Dance Books, 1990 ISBN 1-85273-016-1 , pp. 39ff.
  • Daphnis and Chloe. A shepherd's ballet. Music: Karl Hudez, Schott Music, Mainz and Universal Edition, Vienna 2001, world premiere Wiener Volksoper 1940

Web links

Individual evidence

  1. according to Andrea Harrandt: Klingenbeck_Fritz. In: Oesterreichisches Musiklexikon . Online edition, Vienna 2002 ff., ISBN 3-7001-3077-5 ; Print edition: Volume 2, Verlag der Österreichischen Akademie der Wissenschaften, Vienna 2003, ISBN 3-7001-3044-9 .; October 18 according to the Viennese historian Felix Czeike
  2. Stephen Taylor: Who's who in Austria . Sutter's International Red Series. The Central European Times Pub. Co. Ltd., Zurich 1978, ISBN 3-921220-18-1 , p. 234 ( excerpt from Google Books )
  3. Gunhild Oberzaucher-Schüller: Laban, Rudolf. In: Oesterreichisches Musiklexikon . Online edition, Vienna 2002 ff., ISBN 3-7001-3077-5 ; Print edition: Volume 3, Verlag der Österreichischen Akademie der Wissenschaften, Vienna 2004, ISBN 3-7001-3045-7 .
  4. Gunhild Oberzaucher-Schüller , Alfred Oberzaucher : Expression dance : a Central European movement of the first half of the 20th century. (Contributions to dance culture; Vol. 4). Florian Noetzel, Wilhelmshaven 1992, ISBN 3-7959-0609-1 , p. 5 ( excerpt from Google Books )
  5. Gunhild Oberzaucher-Schüller: Rudolf Laban (PDF; 282 kB). In: Ludwig Finscher (Hrsg.): The music in past and present ("MGG"). 2nd edition, personal section in 17 volumes. Bärenreiter, Kassel u. a., and Metzler, Stuttgart, Weimar 1998 ff. Vol. 10 (2003) p. 939
  6. ^ Fritz Klingenbeck: Encounters with Rudolf von Laban . In: Josef Mayerhöfer (Ed.): Dance 20th Century in Vienna. Exhibition catalog Vienna 1979
  7. Vera Maletić: Body - Space - Expression: The Development of Rudolf Laban's Movement and Dance Concepts (Approaches to Semiotics) . (Approaches to semiotics, vol. 75). De Gruyter, Berlin 1987, ISBN 3-11-010780-5 . Note 43 to Chapter III, pp. 130f. ( Excerpt from Google Books )
  8. Andrea Amort, Mimi Wunderer-Gosch: Austria dances: past and present . Böhlau, Vienna 2001, ISBN 3-205-99226-1 , p. 62 ( excerpt from Google Books )
  9. ^ Günter Einbrodt, Susanne Gföller, Peter Roessler: The forgotten years: on the 75th anniversary of the opening of the Max Reinhardt Seminar. Max Reinhardt Seminar, Vienna 2004, p. 66 ( excerpt from Google Books )
  10. Fritz Klingenbeck , Internationales Biographisches Archiv 47/1968 of November 11, 1968, in the Munzinger Archive ( beginning of article freely available)
  11. ^ Fritz Maria Rebhann: Das brown Glück zu Wien ( The lonely conscience. Contributions to the history of Austria 1938 to 1945 ; Vol. 7). Herold, Vienna 1973, p. 185 ( excerpt from Google Books )
  12. Thomas Eicher, Barbara Panse, Henning Rischbieter: Theater in the "Third Reich". Theater politics, program structure, Nazi drama. Kallmeyer, Seelze-Velber 2000, p. 273 ( excerpt from Google Books )
  13. Andrea Meuli: The Bregenz Festival. Residenz, Salzburg 1995, ISBN 3-7017-0950-5 , p. 169 ( excerpt from Google Books )
  14. Reinhard Rudolf Heinisch : Salzburg in the founding year of the officers' society ( Memento of the original from October 29, 2007 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. . In: Festschrift 50 Years of Officer's Society in Salzburg , Salzburg 2007 @1@ 2Template: Webachiv / IABot / www.ogs.oeog.at
  15. Kurt Palm: From Boycott to Recognition . Henschelverlag Art and Society, Berlin 1983, ISBN 3-85409-049-8 , p. 154 ( excerpt from Google Books )
  16. a b 1962: Web service of the City of Vienna: Vienna 1962, Theater an der Wien: September 13, 1962: The first year of performance in the Theater an der Wien - already 30 offers from abroad. Deputy Mayor Mandl today introduced the director of the Theater an der Wien, director Prof. Fritz Klingenbeck and senior magistrate Karl Janko.
  17. ^ The Stage ( Google snippet from one of the issues 292-315 ), Verlag Austria International, Vienna 1983, p. 16
  18. ^ Max Reinhardt Medal Salzburg Wiki
  19. Klingenbeck advocates the thesis that the waltz originated in a waltz song by the Heurigen singer Marx Augustin in 1679