History of theater work in Schleswig-Holstein

The history of theater work in Schleswig-Holstein provides information about the intellectual management of contemporary historical circumstances in the northernmost federal state of Schleswig-Holstein with the means of the performing arts .

motto

In 1949 the theater bill for the performance of Goethe's " Urfaust " in Lübeck under the heading "The Comedy in the New Year" read:

“This planning arose from the obligatory realization that the stage should be what highly sensitive seismographs are for movement in the spiritual, and that all spiritual and spiritual development in the areas of great life should be announced primarily in the theater Has."

- Theater ticket for the Lübeck Comedy 1949

Temporal sequence

• 1430: Lübeck carnival game
• 1450: Flensburg Passion Play
• 1668: Opera in Schleswig-Gottorf
• 1764: Kiel Opera and Comedy House
• 1783: Altona theater
• 1823: Paapsches Theater Rendsburg

From carnival play to city theater: Lübeck

Theater performances have been going on in Lübeck for over 500 years. For a good 250 years, you have been coming to the centrally located Beckergrube , where the theater building with its three stages can still be found today between residential and commercial buildings .

Late medieval theater performances

Initially, the theater performances in Lübeck were still tied to civic or church institutions such as the late medieval merchant association of the " Zirkelgesellschaft " with their Lübeck Carnival Games or - since the Reformation - the school games of the St. Katharinen Latin School . People were still satisfied with amateur actors .

Touring stages

From the 17th century touring stages visited the city, first attested in writing in 1637. This was the first step towards free, independent theater. The troops mostly appeared on the market square, later also in suitable private houses.

In Schröder's house

In the middle of the 18th century, the particularly theater-loving carpenter Hermann Hinrich Schröder housed the troops in his house on Königstrasse at the corner of Wahmstrasse.

This custom became official in 1751 when Schröder received theater privileges from the city for performances in his house. As early as 1746 Lübeck experienced its first opera performance here, " Ipermestra ", performed by an Italian opera troupe under the direction of Pietro Mingotti, who had the necessary structural changes made to the Schröders house at his own expense for the interests of the opera.

This marked the beginning of the long series of new and reconstructed theaters, which repeatedly tried to adapt the rooms to the increasing comfort demands of the audience, to enable advances in stage technology and later to take safety issues into account.

In the Lüneburger Hof

In view of the success in his house, Hermann Hinrich Schröder took an important step in this development: While looking for new premises that would be better suited for the more elaborate opera performances in the long term, he came across the vacant “Lüneburger Hof” in the Beckergrube . In 1753 he opened a one-story box theater here .

This established the tradition of the Lübeck theater in the Beckergrube in the middle of the old town, which is still maintained today. After 25 years, Schröder sold the house to the brothers Hinrich and Johannes Ebbe, who continued it as "Ebbe's Theater" and gradually adapted it to the changing needs of the Lübeck bourgeoisie.

Standing theater with a permanent ensemble

Shortly before the turn of the century, in 1799, the changing touring stages were replaced for the first time by a standing theater with a permanent ensemble . Drama and opera performances were regularly offered here, until in 1857 the need for a contemporary, representative building was so great again that a complete company, the casino company, made up of members of the Senate and wealthy merchants, was managed A new theater was decided and started according to the plans of the railway construction director Benda. On March 3, 1857, the old theater closed its doors for good.

Lübeck theater directors 1799–1857:

• 1799–1810: Friedrich August Leopold Löwe
• 1810–1815: FAL Löwe / Carl Becker
• 1815-1818: HPF Hinze
• 1818–1821: HPF Hinze / Ludwig Huber
• 1821–1824: Count von Hahn-Neuhaus
• 1824-1827: H. Santo
• 1827–1831: Georg Friedrich Engel
• 1832–1834: M. Ulbrich / W. Gerstel
• 1834–1837: Carl Schütze
• 1837–1838: Carl Schütze / A. Drechmann
• 1838–1849: Friedrich Engel
• 1849-1850: J. Steiner / A. Brunner
• 1850–1857: Friedrich Engel

Casino theater

On March 3, 1858, a theater building designed from the ground up for this purpose was opened for the first time in Lübeck, which in addition to the stage also contained various social rooms. This new building was to last for almost 50 years. Here, for example, the Lübeck premieres of The Ring of the Nibelung (initially without Götterdämmerung ), The Mastersingers or Tristan und Isolde took place. The Wagner experiences described by Thomas Mann have to be imagined here in the casino theater, where a wide range of drama and opera performances could be seen in the repertoire system.

But the development continued: Complaints about the inconvenience of the auditorium increased. In this way, it was in keeping with the general mood that more recent findings on questions of fire safety, various spectacular theater fires since the end of the 19th century and finally tightened security laws prompted the Senate to close the old theater at Easter 1905.

Lübeck theater directors 1858–1908:

• 1858–1864: Friedrich Engel
• 1864–1868: Leopold Riel
• 1868–1871: Carl Gaudelius
• 1871–1873: Mrs. Gaudelius / Friedrich Engel
• 1873–1874: Bruno Langer
• 1874–1876: Peter Grevenberg
• 1876–1878: Paul Borsdorff
• 1878-1882: Richard Jesse
• 1882–1885: Walter Hasemann
• 1885–1886: Sigmund Lauterberg
• 1886–1898: Friedrich Erdmann-Jeßnitzer
• 1898–1900: Max Heinrich
• 1900–1905: Franz Gottscheid
• 1905–1908: Ludwig Piorkowsky

Construction site debate

This raised the question of the future of the theater in Lübeck anew. It was quickly agreed to aim for a new building and not a renovation of the old theater. But where should the new stage be built? Against the background of fire protection arguments, many favored a free-standing theater, as can be found in most German cities. The construction site debate lasted over nine months. The theater question threatened to turn into a farce until Senator Emil Possehl finally cut the Gordian knot and brought about the decision with an ultimatum-bound offer of a generous donation of land at the end of 1905: The building was built on the traditional theater area in the Beckergrube.

Dülferscher new theater building

A competition among the most important theater architects of the time decided on the award of the project, which was characterized in the tender as follows: “The theater should be used for the performance of operas and plays . The stage arrangement has to be designed in such a way that the house can be used for both Wagner 's opera and the conversation piece . ”The choice fell in favor of a self-contained Art Nouveau design by Professor Martin Dülfer .

On October 1, 1908, the new theater opened its doors and amazed, delighted and alienated the audience with its rich, unusual Art Nouveau decor - especially in the large house with its ceiling characterized by sea ornaments. The orchestra of the Verein der Musikfreunde, today's Philharmonic Orchestra , was already deployed for the opening ceremony, and from then on played opera performances in the new building in addition to its symphony concerts .

Other venues

While in the first 13 years the Great House still had to accommodate all opera and drama performances, in 1921 the theater temporarily won the “Kammerspiele am Fünfhausen” as a stage, especially for contemporary drama, which was then rededicated in 1925 to the “Kammerspiele”. Marble Hall ”were replaced. The former dining room later turned into a studio stage, and since this season has gained a new profile as the “Young Studio”.

100th anniversary

With the new Dülfer theater building in 1908, Lübeck gained a place where Lübeck's theater life is concentrated to this day. In between there were times of prosperity and a shortage of funds, two world wars, which fortunately the theater survived unscathed, various renovations and finally a comprehensive renovation between 1993 and 1996, which brought the old Art Nouveau splendor to new splendor, improved the standard of the house in terms of technology and safety who fell victim to the third branch of the theater, ballet .

In the 2008/2009 season the Theater Lübeck celebrated its 100th anniversary and remembered the diverse history of the house in numerous events, gave insights into the theater work and presented itself once again as the cultural powerhouse of the Hanseatic city of Lübeck.

List of directors and intendants

The directors (until 1923) and artistic directors (from 1924) of the new Lübeck theater were presented by Günter Zschacke in an article series on the 100th anniversary of the theater in the Lübeck city newspaper:

1. 1908–1911: Georg Kurtscholz ( the first director )
2. 1911–1918: Stanislaus Fuchs ( connoisseur of the scene )
3. 1918–1923: Paul von Bongardt ( The Opera Lover )
4. 1923–1925: Georg Hartmann ( the first director )
5. 1925–1929: Thur Himmighoffen ( Thomas Mann in the hometown )
6. 1929–1932: Otto Liebscher ( time of crises )
7. 1932–1934: Edgar Groß ( New Zeitgeist )
8. 1934–1943: Robert Bürkner ( celebration of the nation )
9. 1943–1944: Otto Kasten ( two bosses )
10. 1945–1947: Friedrich Siems (ditto)
11. 1948–1951: Hans Schüler ( art needs money )
12. 1951–1958: Christian Mettin ( more public )
13. 1959 (interim): Christoph von Dohnányi (ditto)
14. 1959–1964: Arno Wüstenhöfer ( party dispute )
15. 1964–1968: Walter Heidrich ( fetched and fired )
16. 1968–1979: Karl Vibach ( musical specialist )
17. 1979–1991: Hans Thoenies ( Hans im Glück )
18. 1991–2000: Dietrich von Oertzen ( The Renovator )
19. 2000–2007: Marc Adam ( Adieu Intendant )

Outstanding directors

In his book Lübeck and his theater. The story of a long love from 1996 was highlighted by Wolfgang Chechne three directors from Lübeck, namely:

• Arno Wüstenhöfer (p. 151 ff.)
• Karl Vibach (p. 153 ff.)
• Hans Thoenies (p. 155 ff.)

And under the heading Four decades, four directors - the last of their kind in Lübeck? Klaus Brenneke presented in the anniversary year 2008 in issue 14 of the Lübeckische Blätter with special accents:

• Karl Vibach as "sanguine thoroughbred" (p. 228)
• Hans Thoenies as a "sociable Rhinelander" (p. 228)
• Dietrich von Oertzen as "brittle Prussia" (p. 228 ff.)
• Marc Adam as a "charming Alsatian" (p. 230)

Directory

The history of the 17 directors at the Lübeck Theater (excluding the acting directors Siems and von Dohnányi) came to an end after Marc Adam's tenure (2000–2007). A three-man board followed with Brogli-Sacher (until 2013), the appointment of the acting director Pit Holzwarth , who emerged from the Bremen Shakespeare Company , and above all with Christian Schwandt as managing director. With this, those responsible, headed by the then Senator for Culture Annette Borns, had successfully begun to reduce the deficit of around a quarter of a million euros left by Marc Adam and to set artistic accents above all with the Wagner-Mann project, which the “Target Agreement 2008 bis 2012 “between theater and city filled with content. In addition to Schwandt and Holzwarth, Katharina Kost-Tolmein and Stefan Vladar are now active in the theater management. Schwandt and Kost-Tolmein will resign at the end of the 2019/20 season.

From passion play to city theater: Flensburg

Medieval theater play

The theater history of Flensburg can be proven to go back to the year 1450. In St. Marien , citizens performed a passion play under the guidance of clergymen . With the founding of the Latin school in 1566, school dramas were performed based on the example of the Roman authors Plautus and Terence . The performance of a play by Tobias is documented for 1582 . From 1598 onwards, the Latin students also played their pieces in German . In 1622 the comedy Abraham by Johannes Moth in the Low German language was performed in Duburg Castle .

Guest performances in the town hall

After 1650, when German theater companies based on the model of the English comedians were formed throughout the Roman-German Empire , some of them made guest appearances in Flensburg with so-called main and state events . The traveling troops used the large hall of the old town hall built in 1445 for their performances . Up until the middle of the 18th century, societies made regular guest appearances in the Fördestadt.

With the rise of Pietism , theater bans increased. The Danish King Christian VI issued one. for the years from 1738 to 1749. The reason: The “young people” would “gradually get their money out of their pockets”. He accused the comedians of "secretly leading a dissolute life".

With the guest performance of the Schleswig Court Acting Society in 1787, a theater tradition that has not been demolished until today began for the Flensburgers.

First theater building

In 1795 the first civil theater in Schleswig-Holstein (apart from the Altonaer Schauspielhaus , which had opened its doors in 1783) opened its doors. A theater building had been built for 18 577 marks, which had a semicircle with standing parquet, parquet and a tier with 13 boxes and offered space for 800 spectators. At the entrance the saying could be read: “Come in, there are gods here too.” The first play to be seen was the comedy Die Mündel by the successful author August Wilhelm Iffland at the time. The theater developed into the cultural center of the city.

Theatrical company

In order not to have to rely solely on a short winter visit to the Schleswig court theater , in 1798 lawyer Ludwig August Gülich (1773–1838) as well as businessman and hobby poet Andreas Peter Andresen founded a “Theatrical Society” consisting of 21 men, six women, three children and united various assistants as an amateur theater troupe. The articles of association written by Gülich regulated the assignment of roles, forbade kisses on the mouth of non-relatives and threatened fines if actors were absent from rehearsals. Despite all the zeal, the troop failed after only one and a half years due to lack of time due to professional demands and insufficient financial resources.

National Theater

As a new idea the engagement of a permanent acting troupe and the establishment of a " national theater " were considered. The magistrate agreed, hoping such an endeavor could keep people out of the pub and dance floor .

With the arrival of the royal concession, gaming began in December 1799. The Kloß- und Hansingsche Schauspielgesellschaft again performed a play by Iffland ( Old and New Times ), but after 77 performances the company proved to be impracticable. Without Nation no National Theater was possible, as already Lessing 30 years ago in Hamburg after the failure of Entreprise had to be stated by 1767/1769. After only five months in April 1800, the government in Copenhagen banned the Schleswig court theater company from operating in parallel during the Flensburg season.

Schleswig Court Theater Society

The Schleswig Court Theater Society regularly provided entertainment and intellectual stimulation in Flensburg in the politically changeable following decades. Until 1807 the people of Schleswig showed 36 performances here in front of 12,000 to 14,000 spectators during their eight-week annual season.

In the autumn of 1822, the newly established Court Acting Society under director Huber offered 46 performances, in addition to farce and comedy, mostly challenging drama and opera in the sense of enlightening instruction.

In November 1828, Huber's successor Kossel brought with “Quatern! Burenspeel ”a first Low German theater performance on stage, which was followed by others in Flensburg in the years to come.

In the first half of the 19th century, Danish-language performances, especially by JL Heiberg and HC Andersen, were included in the program - a balancing act in view of the limited knowledge and appreciation of Danish in the pre-national Flensburg bourgeoisie throughout the state .

Tivoli three times

In the big street

The court actor and innkeeper Friedrich Hohl had been running "Hohls Halle" at Norderstrasse 6 since 1844. In 1845, Hohl moved to "Raschs Hotel" at Grosse Strasse 56 on Nordermarkt . In May 1847 he applied for and received the concession for a summer restaurant based on the model of the Tivoli in Copenhagen in the garden of the house at Grosse Strasse 36.

Together with his wife Auguste, Hohl arranged theatrical performances, comedies, gossips and classics by Schiller , Kleist and Grillparzer , in “Hohls Halle” in winter and in “Tivoli” in summer. In addition, he wanted to entertain his visitors with board games, a museum with 120 figures from mythology , bolt shooting, a lending library with around 500 titles and an oriental-lit winter garden .

Versatile, he also composed two pieces of music. The company ended in the national confusion after the three-year war (1848–1850 / 51). As an actor of the Schleswig court society, Hohl was politically offensive, lost his restaurant license in 1851 and left Flensburg.

In the Friesische Strasse

The name tradition of the "Tivoli" was revived four years later. On August 6, 1854, the engraver Nicolaus Andresen acquired the extensive Schmidt'schen Garten on Friesische Strasse between Kleiner Exe and Ochsenmarkt. Here he planned an ensemble of buildings with a bowling alley , greenhouse , stables, wash house and apartments as well as a theater with a covered audience area for 600–700 people - a new Tivoli. A two-story house (Friesische Straße 97) and an open stage to the east were quickly built here.

The playgroup around director Keßler began on June 1, 1856 in the "Tivoli" with their summer performances. In 1863 Andresen sold the property to JC Börnsen, who continued it as "Börnsens Tivoli" before it was thoroughly renovated in 1871 and lived on under theater director CHJ Becker as "Beckers Tivoli".

In the upper Südergraben

In the meantime, a competition had been founded: In 1864, “Börnsens Tivoli” was needed by the army as a magazine , whereupon there was briefly a performance vacancy. This fact favored the opening of a new summer theater on June 5, 1864 in the upper Südergraben, named after the owner "Nölcks Tivoli". From April 1865, a large auditorium was added to the local theater, for whose stage program until 1871 the theater director Witt was responsible, who was in charge of the city theater during the winter season 1864/65.

particularities

Prominent guests

To the delight of entertainment seekers from Flensburg, the “old Tivoli” under Becker (until 1872), Nölck's “new Tivoli” (called “Flensburg Tivoli” from 1873 to 1913), the city theater and numerous amateur groups competed for favor in almost 300 Flensburg associations of the audience. Numerous stars and starlets at the time found their way to Flensburg, including:

• 1865: the violinist and court soloist Leopold von Auer
• 1866: the opera singer and actress Marie Seebach
• 1870: the magician Ernst Basch
• 1874: the writer and actress Helene von Dönniges , because of whom the socialist Ferdinand Lassalle was killed in a duel in 1864.
• 1876: the singer and actress Felicita von Vestvali
• 1877: the actress Lotte Mende
• 1880: the magician Samuel Bellachini and the armless violinist and art shooter Carl Herrmann Unthan .

In addition to these external seasonal guests, the actors' companies around Carl HJ Becker and Albert Keßler determined what happened on the stage in those decades. Often they played all year round: the winter season in the city theater went directly into the summer theater in Tivoli.

Concession and control

After the political upheavals of 1864/67, even in Prussian times and in the German Empire, the official license was a prerequisite for gaming operations . On the one hand, it allowed the authorities to maintain quality standards. In 1879, Drama Director Gewecke was refused a new license “because of incompetence”. On the other hand, this procedure made it possible to control the activities on the stage. In Flensburg, according to the "Police Ordinance of 1885", plays and song texts had to be submitted twice and any changes had to be approved in advance. Deviations in word or action from the police-authorized copy were prohibited.

German premiere of "Nora"

A special theater event took place on February 6, 1880 in Flensburg with the German premiere of Henrik Ibsen's later world-famous married drama " Nora ". City theater director Stanislaus von Glotz received permission for this directly from the author, who attacks the social image of women in his play and calls on the latter to break out of the “doll's house”.

The adaptation from Danish by Wilhelm Lange served as a template for the Flensburg performance. The “resounding success” prompted von Glotz to give four more performances in Flensburg on February 8, 13, 16 and 27. Since von Glotz was also the director of the Schleswig City Theater , he also showed “Nora” there on February 18, 1880 - but only ten days after the first performance in Flensburg.

Ibsen became a frequently played author in the Fördestadt in the following years. In March 1893, director E. von Bastineller performed his then very controversial drama “ Ghosts ” in the “Colosseum” .

And in March 1908 the “Rehoff-Ensemble” showed the Ibsen pieces “ The Woman from the Sea ” and “ Rosmersholm ” and in 1909 “Nora” and “ Baumeister Solness ”.

Demolition of the theater

After the fire in the Vienna Ring Theater at the beginning of December 1881, all theater buildings in Germany were checked for fire safety. The 85-year-old house, a 30-meter-long and 15-meter-wide wood and stone building, could not meet the criteria. Therefore, the theater and the old town hall were torn down in 1883.

Interim and guest performances

After the theater was demolished, “Nölcks Tivoli” took on the interim function of a city theater. Actors from various stages formed a "Tivoli Theater Company" and continued to perform plays year after year and season after season under the direction of a technical director. In addition, there was the so-called “monthly opera” in April.

The large Flensburg restaurants “Sanssouci”, “Bellevue” and “Colosseum” also regularly had stage plays by foreign ensembles in their program. In addition, there were numerous amateurs who were enthusiastic about games and who, as "amateurs", helped to shape some of the club's fun.

And again some star guests found their way to Flensburg in those years:

• 1884–1886, 1888, 1891: Opera tenor Heinrich "Hein" Bötel , formerly a cab driver
• 1886/1887: Actor and author Karl Sontag
• 1890–1892: singer and theater director Bernhard Pollini
• 1890: Actress Klara Ziegler
• 1890: Baritone and theater director Georg Wilhelm Brandes
• 1890: Wagner tenor Heinrich Gudehus
• 1890: Character actor and director Friedrich Haase
• 1890: actor, baritone and film pioneer Franz Porten
• 1891: Soprano and prima donna Franceschina Prevosti (1866–1938)
• 1891: Luther writer Hans Herrig
• 1891: Character actor Robert Nhil
• 1892/1893: conductor, composer and painter Theodor Biester (1865–1945)
• 1892: tenor and theater director Wilhelm Birrenkoven
• 1896: Power artist, actor and professional wrestler Emil Naucke

From 1891 onwards, the Low German Hamburg ensemble, under the direction of Albert van Gogh, came to Flensburg for three days once a year and celebrated great success here as in the whole of northern Germany.

In general, guest performances by traveling companies shaped the theater scene up to the end of the 19th century. There were some high points, such as B. the guest appearance of the composer Pietro Mascagni , who filled the singing hall in 1899 .

New building of the theater

A new building was planned since 1882, but it could not be opened until 1894. According to the plans of the city councilor Otto Fielitz , a building was erected at a construction cost of 35,500 marks whose style was based on Italian Renaissance buildings and which at the same time took up north German building traditions with the use of bricks. 850 places were available.

First directors

Emil Fritzsche was the first director to lease the theater, which is still used today, for 3,000 Marks. He had also written a festival in verse in which it was u. a. read: "Oh, may an intimate bond arise between us at this ceremony, which will bring news to your beautiful country, what a 'wonderful' work was created here forever." Beethoven's The Consecration of the House followed on from the well-intentioned verses . Schiller's Wilhelm Tell was the first piece with which the ensemble of 27 actors presented itself.

Fritzsche, who stayed until 1902, was followed by:

• Harry Oscar (1902–1912) and
• Ernst Bornstedt (1912-1934).

Bornstedt in particular had great success in his era.

Grenzlandtheater

The " seizure of power " by Adolf Hitler in 1933 brought a strong ideologization of art , especially of theater. In Flensburg, Bornstedt was retired, and the then so-called " Grenzlandtheater " was run by two staunch party members until 1945, initially by

• Hermann Nissen (1934–1937), then from
• Rudolf Ziegler (1937–1944).

The “ total war ” ended on September 1, 1944 for the theater in Flensburg too.

City theater again

Only on October 24, 1946 did the curtain rise again. The multi-divisional house was headed as artistic director until 1974:

• Walter Eckhardt (1945–1947)
• Fritz Rohrbeck (1948/1949)
• Rolf Prasch (1949–1951)
• Heinrich Steiner (1951–1959)
• Benno Hattesen (1959–1974).

Financial problems and transition

In terms of length and success, Benno Hattesen's time can be compared with that of Ernst Bornstedt. Increasingly, however, he had to struggle with financial problems, which ultimately led to the fact that the formerly independent theaters Flensburg, Rendsburg and Schleswig , including the Nordmark Symphony Orchestra, became the Schleswig-Holstein State Theater and Symphony Orchestra .

From the court of muses to the city theater: Schleswig

Gottorf Castle

Duke Friedrich III. is to be regarded as the actual founder of the " Cimbrian seat of the muse ". The reason for this artistic boom was the Thirty Years War , which Schleswig halfway spared and therefore attracted many artists.

music

Friedrich's son, Duke Christian Albrecht , who was open to art and music , founded a court orchestra at Gottorf and appointed a court conductor shortly after he took office in 1659 . As a result, in the years from 1668 onwards, the first opera performances in the Italian style took place in the Hirschsaal.

After the Battle of Fehrbellin in 1675, Christian Albrecht, who had been on the "wrong" - the Swedish - side in the military conflicts between Denmark, Sweden, Brandenburg and France, was renounced by his brother-in-law, King Christian V, in the "Rendsburg Recess" forced to regain sovereignty in the Duchy of Schleswig and went into exile in Hamburg for four years .

He took his conductor Johann Theile with him - and in 1678 the new Hamburg Music Theater was opened on Gänsemarkt with an opera composed by him . The still young tradition of the Gottorf baroque opera was thus continued in Hamburg.

Johann Sigmund Cousser that for 1694 by Duke Christian Albrecht an appearance privilege for four years Kieler envelope had received, worked in Hamburg from 1693 to 1696 as a composer and conductor, and recommended to the Duke for the requested privilege with a dedicated to him Singspiel .

The “coup d'état” by the Danish king proved to be an asset for the theater history of Hamburg and Schleswig-Holstein, because after his return to Gottorf and the restitution to his rights, opera performances were resumed there too, and Christian Albrecht was committed to guest performances by Hamburg Opera also in Kiel .

The Gottorf musical life was therefore of decisive influence for the Hamburg opera. Numerous courtly festivities with fireworks, theatrical performances and elevators illustrate the up-and-coming cultural life of Schleswig-Holstein in the 17th and 18th centuries.

theatre

“If the love for music and musical performances, as well as for the theater life in Schleswig, has had a particularly receptive ground to this day, this tendency was also awakened to a large extent by the Gottorf dukes. These have always maintained their own court orchestra, which was maintained by the music-loving Duke Christian Albrecht and headed by artists such as the ... musician Theile, William Brade , Aug. Pfleger, Joh. Ph. Förtsch and Georg Austria . On high feast days and special celebrations, the court chapel in the cathedral church took part in giving the services a special consecration. From time to time a wandering group of actors appeared in the ballroom on Gottorf. We are named as their directors, including Carl A. Paulsen and later also Velthen , both valued and talented mimes who showed the theater of that time the direction and the way to further develop it. In addition, the lighter- dressed disciples of Thalien presented their skills at the town hall . Puppeteers , line pilots (ie tightrope walkers ) and similar ' histrions ', whose names faded away when they left the stage. "

- Heinrich Philippsen : Brief History of the City of Schleswig ... , 1926, p. 75 f.

Ballhaus

In 1750, the ballroom to the west of Gottorf Castle was converted into a theater and remained so until 1839. It offered 295 spectators.

Schleswig was of particular importance in the most important epoch of German theater history . In 1781, Gotha , Mannheim and Schleswig were the only cities in Germany that had a court theater with its own ensemble.

• The royal governor Carl von Hessen named the first Gottorf court theater "Court Acting Society". It existed until 1783.
• 1787–1807 the second court theater company followed. Conversely, both now benefited from the Hamburg acting style , thanks to artistic director Abel Seyler . The local performances were exemplary and shaped the style of the entire theater life in northern Germany.
• The third court theater company ("Landgräfliches Hoftheater") under C. Schleemüller 1833–1837 showed an extensive turning away from spoken theater to opera .

Apart from the fact that the old ballroom in front of Gottorf had become dilapidated and needed extensive renovation, the house was also very unfavorable for the citizens of Schleswig. The old town was a long way from the castle, and in bad weather the path over the dams was almost unusable.

Since Schleemüller had bought the ballroom, Landgrave Friedrich was no longer interested in the construction and therefore had no objections when the townspeople planned a new theater in April 1837. The entrepreneurs of this project were the confectioner Johann Cantieny, a native Swiss, and the painter Hammerich.

Theater im Stadtweg

Behind the house at Stadtweg No. 37, a former wagon shed was converted into an auditorium and a new stage was built. The auditorium held 500 to 600 people and is said to have had good acoustics.

"Despite narrow corridors and stairs and the tightly fenced orchestra room in front of the stage, the plentifully intrusive prompter box in the foreground of the latter and the curtain with the clumsy portière painting, everything seemed coordinated and cozy."

The new house had been built according to the building regulations, and even the building inspector Meyer could not find any defects. The Schleswig City Theater was inaugurated by Ludwig Huber in November 1839 with Mozart's opera “ Figaros Hochzeit ”. The entrance fees did not differ significantly from those of the Gottorfer Ballhaus.

Outside the actual season in winter and spring, the house was used as a dance and concert hall. Ballets were danced on stage, mimes and equilibrists performed their tricks and showmen set up their dioramas .

On April 18, 1843 HL Schäffer came to Schleswig as an independent director of a new company. Schäffer ran the Schleswig City Theater in conjunction with the theater-obsessed Count Hahn-Neuhaus until he was relieved of his office for political reasons in 1846. In 1850 he led the Schleswig stage again for a short time.

From 1852 to 1862 - due to the political and armed conflict over the Schleswig-Holstein question , no regular performances could take place since 1848 - Schleswig was played by the Flensburg Theater under the local director Albert Keßler . Danish acting companies only visited the Schleswig City Theater in 1857 and 1863.

After the German-Danish War (1864), it was not until 1873 that an independent Schleswig City Theater was established again under the direction of director L. Schindler.

At this time there were already major problems in the theater building:

“The house must have been in a sad state. It was used in 1875 as a 'Tivoli', i.e. as an entertainment establishment, and the rear wall was removed to incorporate the garden into the restaurant. In winter the wall was closed with boards, but they could not contain the cold in the house enough. "

The famous guest actress Marie Seebach from the Thalia Theater in Hamburg even suffered a severe cold there in 1875 because of "barren temperature conditions".

In 1879 the city theaters of Flensburg and Schleswig merged to form an association theater under Stanislaus von Glotz.

List of directors of the Schleswig City Theater 1839–1850:

• 1839: Ludwig Huber
• 1842–1846: HL Schäffer (at times with Count Hahn-Neuhaus)
• 1846: Ludwig Wollrabe
• 1847: E. Engelhardt and Count Hahn-Neuhaus
• 1848–1849: E. Engelhardt
• 1850: HL Schäffer

List of (foreign) directors 1852–1872:

• 1852–1862: Albert Keßler, City Theater Flensburg
• 1861–1866: Leopold Friedrich Witt , Kiel- Flensburg Theater
• 1865–1866: Th. Ruhle, City Theater Flensburg
• 1868–1869: Carl Becker, Schleswig-Flensburg Theater
• 1872–1879: M. Steinitz, Schleswig- Schwerin- Mecklenburg summer theater

List of the directors of the Schleswig City Theater 1873–1882:

• 1873-1875: L. Schindler
• 1876–1879: F. Willers
• 1877: C. Wegeler
• 1878: Wilhelm Carl
• 1879: Stanislaus von Glotz, Schleswig- Flensburg Theater
• 1880–1882: A. Hirschfeld, Schleswig-Flensburger Theater

Interlude "Bellevue"

The catastrophic fire in Vienna's Ringtheater in 1881 shocked all theater operators around the world and led to the closure of many theater buildings, including in Schleswig in the following year. From 1882 to 1892 the Schleswig Theater - like many theaters in the world - was closed due to the fire in the ring theater.

In the following ten years, the Hotel “Bellevue” took on the theatrical guest performances.

In addition, Schleswig entered various "theater series" until 1892.

List of theater directors 1882–1892:

• 1882: Emil Balk, Schleswig-Flensburg, Hadersleben Theater
• 1884: Th. Classens, United Summer Theater Schleswig- Itzehoe
• 1885–1886: Gustav Weidt, United Theater Schleswig- Eckernförde
• 1886–1889: Fritz Baars, United City Theater Schleswig-Hadersleben
• 1888: Ludwig Muff (owner W. Schütt), United City Theater Schleswig-Rendsburg
• 1889-1893: FB v. Bastineller, United City Theater Schleswig-Itzehoe
• 1890: W. Grosser (owner Feddersen), United City Theater Schleswig-Rendsburg
• 1890–1892: Eduard Härting (owner Fr. Laarsen), United City Theater Schleswig- Uelzen
• 1892: W. Grosser (owner Feddersen), United City Theater Schleswig-Rendsburg

Theater im Lollfuß

City theater as a private company

After the Schleswig Theater was closed in 1882, it took the city fathers a while, giving in to pressure from theater fans, to start working on a new building. As a garrison and authority town, “leisure activities” were important. On December 29, 1888, it was unanimously decided to take charge of building a municipal theater.

In April 1890, the innkeeper Carl Nissen offered himself to the city as a builder for a "society house" in Lollfuß 51. He was granted a loan of 120,000 marks for this purpose, which from then on was a mortgage on his property. "Schleswig received the long-lost theater again, but despite the notable subsidy from the city treasury, it was not able to last."

The opening performance took place on September 30, 1892. The play “Der Hüttenbesitzer” - a play in four acts by Georges Ohnet was played . The new theater had 800 seats. The then current fire protection regulations only permitted smoking in the foyer . In addition, the theater had an " iron curtain " as fire protection.

From 1892 to 1903, the new city theater played independently. After this decade of independence, Schleswig joined the “Subsidized City Theater Association Schleswig- Wismar- Rendsburg” under the director Hans Polte in 1904 , and from 1912 it joined the “Schleswig-Holstein Association Theater for Popular Education” founded by Husum and Rendsburg, that of Friedrich Herold and was run under the name "Nordmark Association Theater" until 1924.

In 1910 the theater was forced to sell to the Flensburg export brewery . The mortgage owed to the city was paid off, and since then the city has not had any capital in the theater building.

In January 1914, a cinematographers' theater was set up in Lollfuß 51 (City Theater) , with 334 seats on the ground floor.

List of the owners of the "Stadttheater" Schleswig 1892–1924:

• 1892–1907: Carl Nissen
• 1907–1910: Bruno Schäffer
• 1910–1922: Flensburg export brewery
• 1922–1924: City of Schleswig

List of directors of the Schleswig City Theater 1892–1924:

• 1892–1895: Willy Peters
• 1896: CR Hahn-Decker
• 1897: B. Decker
• 1898–1900: Carl Pötter
• 1900-1902: L. Friedr. White
• 1903: H. Schebarth
• 1904–1910: Hans Polte
• 1910–1911: Ida Verw. Polte
• 1912–1924: Albert and Friedrich Herold, Nordmark Association Theater

City theater as a municipal facility

The theater building, which was for sale in March 1922, was acquired by the city of Schleswig for 680,000 marks. "Subsidies from the Reich , the state and the province made it easier to obtain the purchase price, as well as the later expansion of the stage, so that the level of the theater building's production costs did not result in any extraordinary burden on the city budget."

In April 1924 it was decided to found the Nordmark-Landestheater for Schleswig and Husum with its seat in Schleswig. The stage was completely rebuilt in 1924 and the stage was rebuilt. On November 2, 1924, the theater was reopened after the major stage renovation. The play " Egmont " - a tragedy by Wolfgang v. Goethe with the music of Ludwig v. Beethoven performed.

After the stage was given a modern technical facility in 1924 and the auditorium was rebuilt in 1937, the house was run under changing directors until 1944/45, most recently by Gertrud Hoffmann on his behalf.

Drury Lane and Renaissance Theaters

After the Second World War , the British Army requisitioned the Schleswig City Theater and renamed it "Drury Lane Theater Schleswig" - in reference to the oldest theater in London still in use . The Drury Lane , named after a British statesman of the 16th century, is also the place where the "Muffin Man" lives, a known in English-speaking character from a children's song.

On the German side, theater was first played in the “Apollo Theater” in the Großer Baumhof (including by the war widow Fiete Krugel-Hartig ), then the actors returned - after being returned by the English - to the old house during the “Renaissance” Theaters ”under the direction of Kay Nicolai, which had to file for bankruptcy in March 1949.

The "room theater" formed out of the emergency at the time was located in the so-called " German Bridge " in the house at Stadtweg 26.

Venue of the Nordmark State Theater

On September 1, 1950, the theater in Lollfuß was reopened as the Schleswig venue of the " Nordmark-Landestheater " under the new director Horst Gnekow with Shakespeare's " Storm ".

After it was completely rebuilt in the summer of 1955 (which was actually equivalent to a new building), the house held 620 people. The season lasted from August 16 to April 30. Before 1970, the Nordmark-Landestheater had more than 1,600 subscribers in over 15 guest venues.

Nevertheless, unfavorable developments arose over time. Theo Christiansen wrote about it:

“After the Second World War, the number of visitors in the country rose steadily and reached its highest level in 1961. After that, it fell steadily. ... The resettlement, the motorization, the increasingly prevalent television and the increasing intellectual indolence of the affluent citizens are some of the reasons for the falling attendance. "

Negotiations were therefore initiated to take account of the changed social conditions in which the former Schleswig director Vibach was also involved. They culminated on June 26, 1973 in the establishment of the " Schleswig-Holstein State Theater and Symphony Orchestra GmbH ". The core members were Flensburg, Schleswig and Rendsburg. Because Schleswig - financially speaking - had the least need to enter into this merger, it was given the Generalintendanz on request, and Horst Mesalla was commissioned to manage it.

The theater building in Lollfuß no longer exists today. It was only closed in 2011 due to dilapidation and finally demolished in 2014/2015. A new building has not yet been realized. The general management was moved to Rendsburg.

Interlude "Slesvighus"

In the meantime, until a new theater is built, the venue for the State Theater is the meeting house of the Danish minority in Schleswig, the "Slesvighus".

Construction of a new venue

The state of Schleswig-Holstein initially wanted to subsidize the construction of a new venue for the state theater in Schleswig with 2.5 million euros after the total costs had been estimated at 9.5 million euros. The city agreed to support the project with 5 million euros. Further funds should come from a federal infrastructure program. “The construction project, which also provides for an orchestra pit, is thus secured”, reported the Schleswig News on February 28, 2017. In the new building, according to the plan, three sections will be able to be experienced again with ballet , opera and drama .

The estimated costs for the new building have now risen to 12 million euros. The state has increased its commitments to 5.5 million euros and the city will also give more. The new “ sample theater ” is no longer to be built on the Hesterberg , but in the “ Auf der Freiheit ” district . The council meeting of the city of Schleswig decided on February 11, 2019. In August 2019, the city, district and state recorded their participation in the construction costs in an agreement. The so-called Letter of Intent was signed by Minister of Culture Karin Prien (CDU), District Administrator Wolfgang Buschmann and Schleswig's Mayor Arthur Christiansen (both non-party).

From envelope to opera house: Kiel

Traveling drama troops at the Kiel envelope

Theater has been played in Kiel since the 17th century, during the Kiel Umschlag from January 6th to February 2nd. Then there were many people in the city and there was enough audience for a theater. Around 1600, Kiel had only 3000 inhabitants, 200 years later there were only 7000. Permanent theater was therefore not worthwhile. It was traveling actors, mostly jugglers and buffoons, who visited Kiel and other cities. They came from all over Germany, often also from England, Holland and Denmark.

The first larger German group appeared in 1671 for the envelope from Hamburg at the invitation of Duke Christian Albrechts , the founder of Kiel University . At the instigation of his widow, who resided in Kiel Castle , the Hamburg Opera was a guest in 1696 and 1697 . The interest of members of the court and the higher classes must have been great, because the daily income in both years was twice as high as in Hamburg.

The simple audience, on the other hand, showed less interest. The famous Friederike Caroline Neuber , "die Neuberin", was in Kiel for the first time at the envelope of 1736, then 1738 and 1739, who tried to renew the German theater based on the French model and to stage dramas in high German instead of the usual " Hanstwurstiaden " ". In 1736 she had to stay in Kiel for ten weeks because of her great success.

Guest performances by the Schleswig court theater

Towards the end of the 18th century, the traveling troops in Kiel came to an end. The art enthusiast Landgrave Karl von Hessen-Kassel , appointed governor of the duchies of Schleswig and Holstein in 1768, founded the Schleswig court theater , which only gave performances in Schleswig and Kiel.

When the court theater was in Kiel it played every day, in Schleswig it only played three times a week. There were brilliant plays by Lessing , Shakespeare and Schiller , among others , that could not be seen better in any other city, reported travelers. The restless Napoleonic times marked the end of the court theater, traveling ensembles appeared again in Kiel.

Town hall and ballroom as venues

The theater performances in the 17th and first half of the 18th century took place in the old town hall on Markt in the hallway on the first floor and in the dance hall opposite on the corner of Markt and Dänische Strasse. In 1671 the Duke also made the ballroom in Schuhmacherstraße available. This was a building for hitting the ball, which, based on the French model, was an academic physical exercise in the Baroque era. The building stood on Schuhmacherstraße, roughly on the site of today's Karstadt department store.

Reconstruction of the ballroom

In 1764 Brigitta Hagedorn, the owner at the time, was able to convert the ballroom into an “opera and comedy house”. Kiel now had its first real theater with a stage and auditorium. Over time, the building became more and more dilapidated. The seating was primitive, the building decrepit, drafty and fire-prone. In 1840, concerned citizens asked whether they could still enter the house safely.

The first Kiel city theater from 1841

A new building was urgently needed. The painter Schunk and the businessman Muhl bought the dilapidated Ballhaus in 1840 with the help of a stock corporation, tore it down and erected a new building. On December 5, 1841, the new stage was opened with Scribe's comedy “ Das Glas Wasser ”.

The new city theater with 600 seats was not a city theater, but a private company. The owners of the building leased the theater to a director who ran it on his own account. What was new was that there was now a permanent ensemble in Kiel.

In addition to the city theater, there were other private theaters, "Wriedts Etablissement", the Maedicke stage and the Tivoli as an open-air stage between Reventlouallee and Schwanenweg. In 1898, the Tivoli in Holtenauer Straße, which had been a summer theater for eight years, was opened as a Schiller Theater (now a theater) with a year-round season and, as a real folk theater, soon enjoyed greater public favor than the theater in Schuhmacherstraße. Although all of these theaters specialized in different genres, they were in competition with one another.

The city theater was the demanding stage with operas , operettas and plays . But the theater constantly had to struggle with financial problems. Kiel was neither a residence nor a cultural center, nor a commercial or economic center. The Kiel audience could therefore hardly be described as excessively art-loving or art-understanding. Schiller's “ Jungfrau von Orleans ” was only performed twice in two seasons. Other classics had to be removed from the program after the first, rarely attended performance.

In addition, the running costs for the theater with opera and drama on the program were higher than the income. Despite municipal subsidies , which were many times lower than in other cities, and later imperial support, one theater director after another failed economically in Kiel.

In the six and a half decades of Kiel's first city theater, there were a total of eleven directorates:

• Karl von Hahn (1841–1843)
• Muhl and Schunk (1843-1857)
• Leopold Friedrich Witt (1857–1872)
• Theodor and Mathilde Ulrichs (1872–1876)
• Richard Jesse (1876-1878)
• Carl Heinrich Hoffmann (1878-1896)
• Sascha Hänseler (1896-1897)
• Ernst Albert (1897–1898)
• Oskar Beling (1898–1901)
• Carl Häusler (1901–1903)
• Arthur Illing (1903-1907)

Peter Dannenberg wrote: “The old city theater must have been a nightmare for its directors. As soon as they are in office, they apply again - deterred by the insufficient support from the public sector, deterred by the old walls, where everything in front of and behind the curtain has become too narrow and shabby. "

The Theater an der Schuhmacherstraße gave its last performance on April 21, 1907 with the performance of Johann Strauss's “ Fledermaus ”, as the new building on the Kleiner Kiel was inaugurated on October 1 .

The theater on Holtenauer Strasse was also in need of renovation. For reasons of fire protection, it had to give way to a new building. It received 600 seats and was opened on May 23, 1907 with the “ Begelstudenten ” and incorporated as a “Small Theater” into the new city theater.

The two new theaters from 1907

The city now had two new, sophisticated theaters with 1,600 seats for around 178,000 residents. In 1907 the days of private theater were over. The theater was taken over by the city as a municipal non-profit company. Behind this was the view that the theater should not only be accessible to certain social classes, but that it was an obligation of the general public to promote theater for the general public.

In the small theater, later called the playhouse, the operetta and light entertainment dominated, then also the demanding spoken theater, while at the city theater, in addition to opera and classical drama , modern drama also came into its own. The Kiel directors tried to bring plays with the new themes of the time such as war, mass society, big cities, alienation and social misery to the stage. But with the conservative Kiel audience and the limited financial resources, there were narrow limits. “There was only a flicker of the modern in Kiel” (Peter Wulf).

In this context, there was a theatrical scandal . In the 1922/23 season Curt Elwenspoek took over the management of the Kieler Bühnen, his dramaturge was Carl Zuckmayer . Modern theater was now consistently performed with pieces by Brecht , Barlach and Büchner . Zuckmayer's frivolous adaptation of the already quite open-hearted Roman comedy “ Eunuchus ” by Terence then caused a scandal when at the end a young actress was shown naked on the stage “only with a veil around her hips, her breasts were made up orange and around her navel a sun with blue rays ”(Carl Zuckmayer). When asked where she comes from, she replied: “From Lesbos”. After the dress rehearsal for invited guests, the performance was banned and the term of office of artistic director and dramaturge ended.

In 1933 the modern and experimental theater was over. Only artists who were members of the Reich Chamber of Culture were allowed to perform, and the program had to correspond to the National Socialist zeitgeist. The performances in opera and drama were therefore conventional, classic.

Directorates and (general) directorships from 1907 to 1945:

• 1907–1911: Franz Gottscheid and Anton Otto
• 1912-1919: Carl Alving
• 1919–1922: Max Alberty
• 1922–1923: Curt Elwenspoek
• 1923–1924: Hans Brockmann
• 1932–1935: Ernst Martin
• 1935–1941: Hans Schulz-Dornburg
• 1941–1945: Wolfram Humperdinck

Comedy on the east bank

It is significant that in the last season before the war-related closure of all German theaters at the end of the 1944 season, a third venue was opened in Kiel with the “Komödie am Ostufer”. The more the civilian population suffered from the Allied air raids and the more gloomy the prospects for “ final victory ” became, the more the theaters were ordered to provide distracting entertainment. "Not too heavy fare" was the instruction to those responsible for the game plans. To the annoyance of the ideologues, however, it could not be denied that party-conforming tendencies (by Hanns Johst , Eberhard Wolfgang Möller , Walter Erich Schäfer , Curt Langenbeck, etc.) did not reach the audience almost across the board.

Destruction and rebuilding

During the war, the theater building was hit by bombs several times , so that during the 1941/42 season the performances took place in the theater on Holtenauer Strasse. On December 13th, incendiary bombs damaged the Theater am Kleiner Kiel so badly that it burned out completely. The house was not completely destroyed until 1944 when it was hit by an air mine. The theater business was relocated to Holtenauer Strasse until the last performance was held here on June 30, 1944. Because by order of Goebbels all materials and people were to be used in the proclaimed "total war". Since October 1, 1944, the stages in Germany have been empty.

Resumption of play in the "New City Theater"

Just a few months after the end of the war, in October 1945, the theater was resumed as the "New City Theater" in the less destroyed theater on Holtenauer Strasse. In addition, until 1948 there were also performances in the Theater am Wilhelmplatz and in the hall of the trade union building . Contemporary dramas by French, English and American authors were on the program alongside older entertainment pieces. Carl Zuckmayer's “ Des Teufels General ” was a great success in the 1947/48 season.

The theater in the first post-war years had to struggle with two major problems, the enormous crowd and the financial situation. To cover the city's expenses In the official announcement of December 19, 1945, the official announcement of December 19, 1945 said: “Since heating material can no longer be made available to the New City Theater, the theater must be visited from Monday December 17 to keep the theater going A pound of wood or peat per admission ticket can be made dependent. ”Nevertheless, there were long queues in front of the box offices, because after the years of the Nazi dictatorship people wanted to get to know new things, they also longed for entertainment, after a few carefree hours in the gray everyday life of the rubble , hunger, lack of housing. And what could you buy for the worthless money? By June 1948, 93.5% of the seats in the “New City Theater” had been sold on a monthly average.

The currency reform of June 1948 then meant a sharp drop in visitors. The theater only sold 66% of its tickets from September to November. Money was scarce and people used it for everyday life and the first necessary purchases after the war.

Reconstruction of the theater building on Kleiner Kiel

In 1950, the council passed the resolution to rebuild the theater building on Kleiner Kiel. At the Kieler Woche on June 21, 1953, it was reopened with the “ Fidelio ”, as in 1907.

A mezzanine floor was added to the originally four-storey brick building with its mansard roofs under gently sloping hip roofs. The original building lost part of its effect. But the opportunity was used to architecturally coordinate the town hall and theater buildings, because the towers of the two buildings were not really compatible. The Art Nouveau decor of the facade was retained, and the entrance area to the Kleiner Kiel remained largely unchanged. Auditorium and stage were redesigned.

“In Kiel, in front of the town hall, is the city theater, it has been preserved. A real municipal theater in a provincial town, as a building and also as an institution. ”This is the verdict of Bernhard Minetti , who was born in Kiel, was an actor here in the 1920s and acting director in Kiel after the Second World War. After differences of opinion with the culture committee, he resigned his office and went to the Hamburger Schauspielhaus .

Refurbishment and renaming to the opera house

In 1970/71, an operating building with a facade made of black mirror glass was built in the northwest. From 2000 to 2003, the theater building was extensively renovated inside and out. The former city theater has been called the Opera House since 1971 and has been a cultural monument of special importance in the monument book since 1990 .

Directors

Kiel (general) manager since 1945:

• 1945–1950: Paul Belker ( Minetti , Borsche )
• 1950–1955: Alfred Noller
• 1955–1960: Rudolf Meyer
• 1960–1963: Hans-Georg Rudolph
• 1963–1976: Joachim Klaiber ( Ronnefeld , Zender , Tennstedt )
• 1976–1978: Claus H. Henneberg
• 1978–1985: Horst Fechner
• 1985–1990: Volkmar Clauß
• 1990–1995: Peter Dannenberg
• 1995: Management team Harms, Büchel , Bohn
• 1996–2003: Kirsten Harms (Raymund Richter)
• 2003–2006: Anette Berg, Daniel Karasek
• since 2006: Daniel Karasek

Theater Kiel

If one understands by province that there is only imitated what has been newly developed in other places, then the " Theater Kiel " has not been provincial since 1907. There were again personalities who “gave creative impulses that had an effect on the theater outside from Kiel” (Peter Dannenberg). Numerous well-known and later famous actors, singers, directors and conductors stood on the stages in Kiel that became a springboard to success for them: Carl Zuckmayer, Gustaf Gründgens , Ernst Busch , Hans Söhnker , Dieter Borsche , Bernhard Minetti, Brigitte Mira .

The "Theater Kiel" is still popular with the public today. 72.54% of the seats were sold to around 196,000 visitors in the 2004/2005 season. In the 2005/2006 season the number of visitors even rose to 207,000. However, like other municipalities, the city has to pay subsidies for its theaters. In 2004/2005 the total public subsidy amounted to 28.7 million euros. In order to strengthen the theater's own decision-making ability in organizational and financial terms, the theater was converted into an institution under public law on January 1, 2007 .

Theater of the Enlightenment: Altona

Until April 1, 1938, the day Altona was incorporated into Hamburg , the Altona City Theater was part of the Schleswig-Holstein theater landscape. At that time (1933), Altona was the largest city in Schleswig-Holstein with 241,970 inhabitants.

Historical significance of Altona

After the Holstein-Pinneberg line in Schauenburg died out , Altona had belonged to the royal portion of the Duchy of Holstein since 1640 . The magistrate of the city of Altona was led by an upper president appointed by the Danish king . With around 24,000 inhabitants, Altona was the second largest city in the Danish state after Copenhagen in 1803 . Altona was part of the Roman-German Empire until 1806 and of the German Confederation from 1815 , but was under Danish administration until 1864 with all the resulting adjustments.

In the second half of the 18th century, when the first thoughts about building a city theater arose, Altona was a center of the Enlightenment in northern Germany , personified in the social reform city physicist and poor doctor Johann Friedrich Struensee (who went to Copenhagen in 1769 as the king's personal physician, there Assumed government responsibility and was executed in 1772).

Altona saw itself as an “open city”: Politically or religiously persecuted people as well as people who were not tolerated elsewhere for economic reasons were accepted here. They enjoyed the intellectual and economic freedoms that “Hamburg's beautiful sister” offered them and, for their part, made many contributions to the city's development. The street names Kleine and Große Freiheit ( belonging to St. Pauli since 1938 ) also illustrate the climate of tolerance in Altona on the city map.

The beginning of the city's theater work was also characterized by tolerance and enlightenment.

All too close

The proximity to Hamburg posed a certain problem for the development of theater life in Altona: When the Altona theater was independent, it was mostly overshadowed by the more renowned Hamburg theaters; in times when the management was one of two people, Altona was easily in danger of becoming a secondary theater and to become dependent.

Playhouse on the Palmaille

In the early years of the first theater on the Palmaille , which opened in 1783 , Altona was still able to keep up. With 1200 seats and more comfortable furnishings than the Ackermann Theater in Hamburg, the building was also a popular venue for artistically qualified traveling stages .

After the end of the National Theater experiment in 1800 (the city theater was temporarily called "Deutsches Theater") and the spectacular theater fire in 1806 (which led to safety tests and new fire protection regulations in all German theaters), the previous level could not be maintained. Joint management of the city theaters in Hamburg and Altona was considered for the first time in 1859, but it was not realized until 1876 in the new building on Königstrasse.

The theater on the Palmaille was now out of date and closed in 1869.

New city theater

Bernhard Pollini (1876–1897), who had headed the Hamburg City Theater on Dammtorstrasse since 1873, became the first and long-standing director of the new Altona City Theater . Altona did not have its own ensemble, nor did it receive a regular municipal grant.

Altona was staged with five performances a week - including an opera - from Hamburg. Pollini opened on September 20, 1876 with Goethe's “Egmont” and music by Beethoven . His repertoire in the next few years was quite demanding - from the great opera ( Verdi , Mozart , Wagner , Meyerbeer ) to an intensive cultivation of classics in the acting area to contemporary drama. And the present looked like this:

At the end of the 19th century Altona was a poor city and completely overpopulated. Craftsmen lived there, white-collar workers and workers. Anyone who had a job at all could be happy - Altona had the most unemployed people in Germany at the time. In those years cholera raged in neighboring Hamburg .

Hard times and consolidation

The theater marriage with Hamburg lasted until 1919. Then difficult times came and the municipal subsidy payments that had been started in 1904 were temporarily discontinued. It was no longer possible to sign up for an own ensemble. The magnitude of the runaway inflation was grotesque.

In the later 1920s, the theater business consolidated again. Under the direction of Friedrich Otto Fischer (1923–1933), Altona was able to build on the good times of the Pollini era. The ensemble was renewed, two visitor organizations - the Freie Volksbühne and the Altonaer Theatergemeinde - became the sponsors of the non-profit Theaterbetriebsgesellschaft Altona mbH, the program regained its profile and opened up to the contemporary.

An indication of the reputation of the Altona Theater during this time was not least the number of guest directing works by the Berlin general manager Leopold Jessner - alongside Max Reinhardt and Jürgen Fehling one of the greatest theater directors and directors in the first third of the 20th century - with works by Shakespeare , Goethe , Hebbel , Ibsen , Gerhart Hauptmann and others).

Big names

Big names in German theater history appear in the annals of the Altona Theater, partly as guests ( Adele Sandrock , Agnes Straub , Albert Bassermann , Fritz Kortner ; previously Franziska Ellmenreich and Adalbert Matkowsky ), but partly as members of the ensemble whose careers began here ( Paul Wegener , Gustav Knuth , Hans Schalla ).

Second stage

In 1905, Altona received a second stage with the Schiller Theater in the former Circus Busch on the New Horse Market , which with a wide range of repertoire - in addition to the classics, newer productions, many comedies and Low German plays - but rarely rehearsed productions, always just missed bankruptcy. The opening premiere of “ Wilhelm Tell ” - in the Schiller anniversary year - was commented by a critic as “a gruesome, beautiful performance, unworthy from the very first scene”.

In March 1911 Max Reinhardt made a guest appearance there with the ensemble of the Deutsches Theater Berlin and his adaptation of " King Oedipus " by Sophocles.

Schiller Opera

After a temporary shutdown and renovation, this house was reopened in 1932 as a Schiller Opera (with Weber's “ Freischütz ”) and was dedicated entirely to folk music theater, including operettas . But not only: Two “Modern Opera Evenings” with Bert Brecht , Kurt Weill , Ernst Krenek and Paul Hindemith presented a lot of authors who were not allowed to be played a little later.

Political turmoil

In 1932/33 the Schiller Opera was directly drawn into the political turmoil and street fights between red and brown . A cabaret guest performance by the (left) “Hamburg Actors' Collective” was attacked by the Navy SA in January 1933 . There was a battle in the hall and the “collective” was banned. Immediately before the " seizure of power " there was a communist night performance in the house, for which the Red Navy provided the extras, the next day the SA appeared in front of the theater and requested a guest performance for the Goebbels play "The Wanderer" - this time the extras came from the ranks of the SA.

closure

The performance of the Schiller Opera ended as early as 1939 when the war began , long before all theaters were ordered to close in 1944 because the building did not have adequate air raid protection.

today

Today the Altonaer Theater is a private Hamburg theater that brings literature to the stage, including classics, international bestsellers and young German literature.

The building of the former Schiller Opera, this former circus building unique in Germany, is a listed building and is empty. It is deteriorating more and more, waiting to be used properly.

Theater of the early days: Rendsburg

Guest appearances from touring stages

The first appearance of a Dutch touring stage in Rendsburg is documented for the middle of the 17th century. As a result, troops traveling repeatedly came to the city for mostly short periods of play, which, like Kiel, Schleswig and Flensburg, did not belong to the permanent tour stops.

Paap's theater

But as early as 1822 a Rendsburg merchant received the privilege of ten years from Gottorf governor Carl von Hessen to build a theater in Rendsburg, which was then built in 1823 on Eisenbahnstrasse. He ran it as a purely commercial enterprise: the games played were mostly rascals and comedies that also related to current political events, for example after the wars of 1864 and 1866 . In the course of the Schleswig-Holstein uprising there was an extra performance “for the best of the wounded”, which was performed “by officers of the garrison and some ladies”.

In 1873 the building was demolished. It took - although the planning had been going on since 1890 - almost 30 years until the town hall could be built and opened as a combined theater, assembly and ballroom building in 1901.

Plans for a town hall

Around 1890, the Rendsburg city ​​councils pursued the idea of ​​building a theater that was part of an up-and-coming city. Previously made guest appearances traveling theater groups after termination of Paapschen theater in the iron street in the hall of the Tonhalle . The construction should be financed from the distributed surpluses of the savings and loan fund . In March 1893, the Sparkasse administration gave the funding commitment. From 1893, 25 percent of the annual net surplus was to be transferred to the city annually, up to a total of 150,000 gold marks.

The magistrate was busy for the next few years to collect the necessary capital. A commission found out about the theater under construction in Ystad (Sweden). A plan by the architect was even bought up. Other cities with theaters of similar size were asked for information. In doing so, the people of Rendsburg came to the conclusion that they not only needed a theater, but also a hall for festive balls, conferences and exhibitions. Therefore, from 1898 onwards, the project was no longer called the city theater, but the city hall. On July 22nd, 1898 it was finally decided to build the town hall where the theater is today.

Construction and inauguration

Since the estimated construction costs had to be exceeded, the construction was postponed until it could finally be fully financed. Construction began according to the designs of the Altona architect Albert Winkler . 43 well shafts were led down to the solid ground and filled with concrete. The foundation walls were embedded between them. The foundation stone was laid in November 1900, the topping-out ceremony on June 2, 1901, and the building was inaugurated on November 14, 1901. With its historicizing Renaissance style mixed with building elements from the Wilhelminian era , the building was a beautiful eye-catcher in the center of the city. A lot of ornaments were later removed, so that the building got its present-day clear, more classical look.

Private theater entrepreneurs

The plans to found an efficient municipal theater failed. Schleswig refused, negotiations with the Hamburg city theater had failed, and Neumünster preferred to accept agreements with Lübeck . The private theater entrepreneur Leopold Friedrich Weiß was bound for the winter season 1901/02 and the following year before he went to Bad Landeck .

His successor was theater director Hans Polte. He performed Lohengrin , Tannhäuser , the Flying Dutchman , Don Giovanni and the Magic Flute , with the music corps of the Duke of Holstein infantry regiment acting as the opera orchestra. He even included contemporary works on the program. a. Gerhart Hauptmann's beaver fur (1904) as well as Maxim Gorki's night asylum (1904) and Sudermann's honor (1904).

Seat of the Schleswig-Holstein State Theater

Only after more than 40 years did the plans to found a municipal theater become a reality. In 1949 the Schleswig-Holstein state theater was founded. In the 1950s the theater in Rendsburg was rebuilt. Rising seats were installed so that multi-purpose use was no longer possible.

Seat of the Schleswig-Holstein State Theater

On June 3, 1974, the contract was signed, which laid the foundation stone for today's Schleswig-Holsteinische Landestheater und Sinfonieorchester GmbH . Partners were a total of 20 cities and districts. Locations were and still are in Flensburg, Schleswig and Rendsburg. The music theater including the orchestra is based in Flensburg, the theater was assigned to Schleswig and Rendsburg, and the administrative center was located in Schleswig. Horst Mesalla became the general director and sole authorized signatory. After the city theater in Schleswig was demolished in 2014/2015, the administration of the state theater was relocated to Rensburg.

Remodeling and renovations

In the years 1984/1985 the theater hall with foyer and cloakrooms were redesigned according to the plans of the building authority of the city of Rendsburg and from 1998 to 2000 a. a. the entire technology in the stage building was renewed. At the end of the 1970s, a studio stage was set up in the former theater workshop - the Kammerspiele .

Theater associations

Plans, suggestions and - mostly short-lived - experiments on theater mergers, always with the declared aim of saving money, run like a red thread through the history of Schleswig-Holstein's theater.

As early as 1879, a Flensburg-Schleswig association theater was established for a few years.

The Flensburg district administrator, routinely asked in 1899 whether he would support the further granting of an imperial “subsidy” for the theater, confirmed this, but at the same time recommended that the “best solution for Flensburg to unite with Schleswig in the future”.

A year later, the Schleswig-Holstein regional president inquired in writing that the cities of Schleswig, Rendsburg, Husum and Neumünster were willing to form a “theater district”. The same endeavors were made in Elmshorn , Glückstadt , Itzehoe , Uetersen , Wilster and Barmstedt , but the approaches failed at an early stage.

In 1901 the goal of the Rendsburg city fathers to found a high-performance city theater failed. Schleswig refused, negotiations with the Hamburg city theater had failed, and Neumünster preferred to accept agreements with Lübeck.

A number of other "theater series" or fusions were granted different short lifespans:

• the Wismar-Schleswig-Rendsburg association (1903 ff.)
• the Schleswig-Holsteinischer Verbandstheater Husum-Rendsburg-Schleswig (“best-established, most distinguished traveling theater in the province”), founded in 1911 and existing until at least 1921
• a United City Theater Itzehoe-Heide (1917)
• the Schleswig-Holstein State Theater, which after all, with Kiel, Altona, Flensburg and Schleswig, belonged to four traditional theater cities and a number of other communities (1923–1925)
• a Landestheater Nordfriesland in Westerland 1946–1948
• a Städtebundtheater-GmbH based in Rendsburg 1947/48
• a non-profit theater company in Kiel 1947.

In addition, there was hardly a two-party alliance whose realization was not at least played in thought: Flensburg with Rendsburg or Schleswig, Itzehoe with Rendsburg, Heide or Schleswig and - again and again - Kiel with Lübeck and Schleswig with Rendsburg.

The immediate forerunners of the “large” state theater were the two smaller “ state theaters ” in Schleswig (since 1924) and Rendsburg (since 1949). For a short time (1945–1947) there was also a Lübeck state theater.

State theaters

“Schleswig-Holstein's 'cold corner', like the flat colonial land once did, has two musical mission stations between Flensburg and Kiel: Schleswig and Rendsburg. Both cities are the seat of 'state theaters'. This is understood to mean theaters that give more than half of all performances outside of their location. You have to 'play on' at least ten detour locations. "

- Johannes Jacobi : Vorpost der Theaterkultur , 1956

Nordmark State Theater in Schleswig

The Nordmark-Landestheater, based in Schleswig, existed from 1924 to 1974 and then merged into the " Schleswig-Holsteinische Landestheater und Sinfonieorchester GmbH ".

First foundation in 1924

In April 1924, the Schleswig-Husum theater association was formed and thus the Nordmark-Landestheater (NLT). The first director was Bruno Bacher, who opened the season on November 2, 1924 with Goethe's “ Egmont ”.

Right from the start, the NLT was geared towards “responsible cultural work in the border region” and maintained an extensive detour from Glückstadt in the southwest to Aabenraa and Tønder across the border from 1920 .

The guest performances in North Schleswig led to protests by the City of Flensburg's magistrate, who claimed this display for his city theater. In October 1927, the two theaters then reached a formal agreement on a territorial delimitation. After that, Eckernförde , Glücksburg , Leck , Niebüll and Süderbrarup belonged to the Flensburg play area, all other cities to the NLT. Only Rendsburg and Westerland should be able to be used by both theaters. North Schleswig basically remained in Flensburg's sphere of influence, but the NLT was entitled to play there “every now and then”.

The regular playing time lasted only 7 ½ months. In order to provide the ensemble with a livelihood for the rest of the time, efforts were made to become a spa theater in the summer months. In November 1924, the Zweckverband wrote to 14 spa administrations in Germany - from the North Sea islands to Swinoujscie and Bad Wildungen - asking whether they were “inclined” to take over the ensemble for three to four months in the coming season. With Helgoland it came to a conclusion for 1925.

During the 1932/33 season, the Zweckverband “dormant”. In winter, the Kiel theater performed regularly four days a month. From 1933 to 1944 the theater was run as a municipal directorship.

List of directors of the (first) Nordmark-Landestheater from 1924 to 1945:

• 1924–1926: Bruno Bacher
• 1926–1927: Franz Ludwig
• 1927–1929: Max Zurek
• 1929–1930: Director Hell
• 1930–1932: Hermann Schaffner
• 1933–1936: Bruno Schönfeld
• 1936–1937: Paul Kolkwitz
• 1937–1939: Jost Dahmen
• 1939–1944: Rudolf Hartig
• 1939–1945: Gertrud Hoffmann (Deputy Director)

post war period

After the end of the war, the general theater boom also had an impact in Schleswig: various private theaters were established (operetta theater, room theater in der Brücke, Renaissance theater), but none of them could last long. The theaters in Rendsburg and Westerland remained, but Schleswig could not make up its mind to join a special-purpose association to support the stage in Rendsburg. You wanted to keep your own acting company.

Theater director in the post-war period:

• 1945: Dir. Carl-Heinz Goeke, Apollo Theater in Gr. Treehouse 42
• 1945–1946: Dir. Kay Nicolai, Schleswig-Holstein Operetta Theater in Gr. Tree yard
• 1946: Drury-Lane-Theater Schleswig in the city theater
• 1946: Dir. Kay Nicolai, Schleswiger Bühnen
• 1946–1949: Dir. Kay Nicolai, Renaissance Theater
• 1949–1950: Managing Director Rolf Ziegler
• 1949–1950: Head of Wolf Hecht, room theater in the " Brücke "

Second foundation in 1950

Those responsible in Schleswig re-founded the Nordmark-Landestheater in 1950 and appointed the artistic director of the North Frisian State Theater Westerland Horst Gnekow as artistic director (who brought part of his previous ensemble with him).

Horst Gnekow raised Schleswig again in the (positive) headlines across Germany for the first time. He was certified as having an “unusual game plan” and a flair for young talent, and his house was given the role of an avant-garde stage. One of the most renowned theater critics, Herbert Jhering , celebrated the Schleswig Theater in 1957 in the weekly newspaper “ Die Zeit ” as the “High School of Drama”. It had thus once again tied in with the great epochs of the Gottorf stage. Eight years after the war, Gnekow made a guest performance exchange with the Odense Teater .

Parallel to the re-establishment of the NLT, the Landesbühne Schleswig-Holstein GmbH Rendsburg began operations in 1949 . Both theaters agreed on a good neighborly cooperation and agreed on a program coordination and an exact delimitation of the area. Detours in the other's play area should only be made with their consent. The NLT played regularly in 15 towns in the northern part of the country between Tingleff , Garding and Kappeln .

Under Gnekow's successors, the tradition of the Schlosshofspiele in Gottorf (with the " Jedermann ") was established in 1964 , a studio stage and a special youth theater program were added.

The supra-regional reputation of Schleswig as a theater city could not be maintained, although the repeated visits to the theaters in Stralsund and Schleswig in the 1960s broke new ground again.

During this time a merger of the Rendsburger with the Schleswig stage (parallel also between Kiel and Lübeck) was negotiated (again without result). Only the negotiations that began in 1972 finally led to the goal of a unified Flensburg-Schleswig-Rendsburg state theater .

List of directors of the (second) Nordmark-Landestheater from 1950 to 1974:

• 1950–1960: Horst Gnekow
• 1960–1963: Karl Vibach
• 1963–1968: Heinz Rippert
• 1968–1973: Toni Graschberger

Landesbühne and "Komödie" in Lübeck

Wulf Leisner , senior theater director at the Lübeck City Theater , brought the "Landesbühne Lübeck" into being in 1945 and in 1947 developed the legendary "Comedy" from it. The newly created Landesbühne premiered on October 11, 1945 with Kleist's “ Broken Krug ” in the Kursaal in Travemünde . Schiller's “ Kabale und Liebe ” was played, Hauptmann's “ Biberfurz ” came out, and there was, well mixed, “ Robbery of the Sabine Women ” and “Noise in the Secret Annex”. 23 productions were offered in 1945, 1946, and 1947, with trips from Ahrensbök to Timmendorf , Bargteheide to Kücknitz , Ratzeburg to Reinfeld .

Illa Heddergott recalled:

“'Die Komödie' was the name of the house when the 1947/48 season began. That sounded more elegant. Big names came forward. Günther Lüders played with joy in several pieces, Ursula Grabley and Franz Schafheitlin came, and Wulf Leisner caught a catch. He had found out that Henny Porten had found accommodation in Ratzeburg. He persuaded the world-famous star since the silent movie era to play for him. In 'Sophienlund' by Weiß and Woedtke she was the wife of Sigrid of the writer Erik Stjernborg ( Hans Karl Friedrich ); The premiere was on October 11, 1947. Guests from Hamburg and Berlin had come. Henny Porten had already played children's roles in Berlin, but entered a stage in Lübeck for the first time as an actress. ... "

- Illa Heddergott : memories

Schleswig-Holstein State Theater in Rendsburg

→ Main article : Schleswig-Holstein State Theater

In 1949, on the initiative of Wulf Leisner, the "Schleswig-Holstein State Theater" was set up in Rendsburg. Initially, the partners were the cities of Rendsburg and Neumünster as well as the district of Rendsburg .

The "Landesbühne Schleswig-Holstein" worked 25 years under the directors :

• Wulf Leisner (1949 / 50–1958 / 59)
• Joachim v. Groeling (1959/60–1962/63)
• Hans-Walther Deppisch (1963 / 64–1969 / 70)
• Hans Thoenies (1970 / 71-1973 / 74).

In 1974 the "Landesbühne Schleswig-Holstein" was transferred to the " Schleswig-Holsteinische Landestheater und Sinfonieorchester GmbH ".

Schleswig-Holstein State Theater and Symphony Orchestra

→ Main article : Schleswig-Holstein State Theater and Symphony Orchestra

The formerly independent theaters in Flensburg, Rendsburg and Schleswig became the "Schleswig-Holsteinische Landestheater und Sinfonieorchester GmbH" in 1974, including the Nordmark Symphony Orchestra .

The successor organization of both "Landesbühne" (the "Nordmark-Landestheater" in Schleswig and the "Landesbühne Schleswig-Holstein" in Rendsburg) as well as the previously independent Stadttheater Flensburg (including its symphony orchestra) is the largest state theater in Germany and is based in Rendsburg with venues in:

• Flensburg
• Schleswig
• Rendsburg
• Itzehoe
• Neumunster
• pagan
• Husum
• Meldorf
• Niebüll
• Friedrichstadt
• St. Peter-Ording .

The stage's program includes music theater , ballet and drama, as well as children's and youth theater (including mobile classroom productions) and puppet theater .

On June 3, 1974, the contract was signed, which laid the foundation for today's "Schleswig-Holsteinische Landestheater und Sinfonieorchester GmbH". Partners were a total of 20 cities and districts. Locations were and still are in Flensburg, Schleswig and Rendsburg. The music theater including the orchestra is based in Flensburg, the theater was assigned to Schleswig and Rendsburg, and the administrative center was initially in Schleswig. General director and sole authorized signatory Horst Mesalla launched the "Schleswig-Holstein State Theater and Symphony Orchestra GmbH" on August 1, 1974.

List of general managers since 1974:

• 1974-2001: Horst Mesalla
• 2001–2010: Michael Grosse
• 2010–2020: Peter Grisebach
• from 2020: Ute Lemm

Today the "Schleswig-Holstein State Theater and Symphony Orchestra" is a modern company with around 380 employees and over 700 performances per season. It is operated in the legal form of a limited liability company, headed by general manager and sole managing director Peter Grisebach , who has been running the GmbH since August 2010. The administrative headquarters were relocated from Schleswig to Rendsburg in 2016. Grisebach will resign from office in 2020. Ute Lemm has been general manager since August .

Further stages in Schleswig-Holstein

Open air theaters

• Bad Segeberg: Karl May Games Bad Segeberg
• Eutin: Eutin Festival
• Lübeck: Lübeck open-air theater

Low German theaters

In the Niederdeutscher Bühnenbund Schleswig-Holstein eV , 16 Low German theaters in Schleswig-Holstein have joined forces. a .:

• Ahrensburg: Low German stage Ahrensburg (Stormarner Speeldeel)
• Flensburg: Low German stage Flensburg
• Husum: Low German stage in Husum
• Kiel: Low German stage Kiel
• Laboe: Black-headed Gull Theater
• Schleswig: Schleswig Speeldeel
• Westerholz: Nordangler Speeldeel

The aim of the Niederdeutscher Bühnenbund is to preserve and cultivate the Low German language through theater . The Niederdeutsche Bühnenbund operates the further development of the Low German theater, as the theater is the largest multiplier for the Low German language. The stages affiliated with the Low German Stage Association are independent and mostly work under professional guidance. They carry out their work on an idealistic and charitable basis.

Danish and North Frisian theater work

In addition to the Low German stages, there are also offers in the north of Schleswig-Holstein in Danish and North Frisian. Det lille Teater (in German Das kleine Theater ) has existed in Flensburg since 1966 as a theater offering in Danish . There were in South Schleswig temporarily another Danish amateur theater like the one on Sønderjysk occurring Æ Amatør . The Theater and Concert Committee of the Sydslesvigsk Forening also offers guest appearances from larger Danish theaters in southern Schleswig several times a year.

In 2016 the Amateurbühne Et Nordfriisk Teooter (in German Das Nordfriesische Theater ) was founded through an initiative of Friisk Foriining, which offers plays in North Frisian in the North Frisian area.

Private and independent theaters

The state is currently funding eight private theaters in:

• Flensburg: Theater workshop Pilkentafel
• Kasseedorf (Ostholstein district): Wolkenschieber puppet theater
• Kiel: The comedians
• Kiel: Polish Theater
• Kiel: Marc Schnittger puppet theater
• Lübeck: Theater Combinale
• Lübeck: Puppet Theater Kobalt
• Lübeck: Taschenoper Lübeck

There are also:

• Elmshorn : Forum Baltikum - Dittchenbühne
• Eutin : Theater in Eutin
• Flensburg: Orpheus Theater
• Flensburg: Russian-German stage
• Flensburg: Theater School Flensburg
• Lübeck: Theater am Tremser Teich ( children's and youth theater )
• Lübeck: Theater Partout
• Lübeck: theater ship
• Lübeck: Volkstheater Geisler
• Wedel : Theater ship Batavia

Amateur theater in Schleswig-Holstein

108 stages, including:

• Ammersbeker culture area
• Bad Oldesloe makes theater
• Rose hip stage, Uetersen
• Young Theater Hoisdorf
• Small theater Sandesneben
• Norderstedt amateur theater
• Oldesloer stage
• Pinneberger stages
• Low German stage, Tangstedt
• Plate scraper Zarpen
• Quickborner Speeldeel
• Rhener Amateurbühne, Henstedt-Ulzburg
• Theater of the Kurhaus Bad Bramstedt
• Theater Fidelio, Bad Schwartau
• Hoisdorf Theater
• Theater im Stall, Neu-Horst
• Theater Pur, Norderstedt
• Theater ut de Möhl, Glinde
• Wedel Theater
• Theater Association Rellingen
• Therapy Theater Reinfeld
• Trittau amateur player
• Waldenauer Speeldeel

History of the State Association of Amateur Theaters Schleswig-Holstein :

“The Volksspielbühne Die Rampe , Hamburg, was in 1963 an individual member of the then Association of German Volksbühnenspieler eV (BdV). Wilhelm Schüler visited the Federal Assembly of the BdV in Braunschweig in 1963 as managing director and elected delegate of the ramp . There he discovered that in many federal states there were associations within the framework of the BdV, but not in Schleswig-Holstein.

In 1964 he wrote to the individual associations in Schleswig-Holstein that were already members of the BdV to encourage the establishment of a regional association. In the same year, the representatives of seven associations met several times to draw up a statute for the newly founded association of Schleswig-Holstein.

On November 13, 1965, at the founding meeting in the Holstenhallen in Neumünster, the association was launched under the name Association of People's and Laienspielbühnen Schleswig-Holstein eV . The delegates elected Wilhelm Schüler as the first chairman and Werner Jungjohann as the second chairman. At that time, the association's sphere of activity was still very small. There was no money from the Ministry of Culture. Shortly before the Association Day on November 1, 1969, there was a cautious commitment for certain financial contributions for courses.

For tactical reasons, this association day elected the managing director of the Junge Bühne Oldesloe , Richard Lieske, as the first chairman. Wilhelm Schüler, whose residence was in Hamburg (the city does not belong to the state of Schleswig-Holstein), became 2nd chairman and held this office until 1988. Up until 1990, the places where the Association Days were held changed frequently. They should not all be mentioned here. Only a few are mentioned. So the Nordkolleg , the academy for cultural education in Rendsburg , could be won over from 1992 to the implementation of the further regional association days, which took place every two years in the city on the Kiel Canal until 2004 . Since 2012, the association days have been held at the location of the office in the Segeberg Youth Academy . In 2018, the regional association day took place as part of the 18th Wedel Theater Days.

In 1977 the city ​​of Norderstedt , in cooperation with the neighboring association, the Volksbühnenkunst Hamburg (today the Association of Hamburg Amateur Theater eV ) and the Schleswig-Holstein Association, launched the Norderstedter Amateur Theater Days, which took place every three years until 2010. The Wedel Theater Days , which have been organized by the association since 1983, are still held every two years.

The first cross-stage association production came in 1987 with the play bedroom guests . Eight actors worked together with a professional director on 17 rehearsal weekends for Alan Ayckbourn's comedy . For two years the group toured with this piece from Wenningstedt on Sylt, via Kiel, Norderstedt and other cities through Schleswig-Holstein.

With the Schleswig-Holstein Saga there was another association production in 1997. This time the occasion was the Federal Assembly of the BDAT in Husum. Under the direction of Walter Edelmann and Elke Heilsberger, over 30 actors between the ages of 6 and over 60 presented the history of Schleswig-Holstein in a musical picture sheet to the Association of German Amateur Theaters.

The association magazine Blick zur Bühne appeared for the first time in the spring of 1981. At that time, without a title, it had a circulation of 1,500 copies with three issues a year. The 100th edition went to print in summer 2015.

When an image brochure Theater Moves appeared for the first time in January 1987 , the Association of Amateur Theaters Schleswig-Holstein eV , as it now calls itself, had 41 member theaters . While 78,500 spectators were determined for 1985, the 60 theaters reported 275 productions four years later with 1,472 performances in front of 277,400 spectators.

In 1998 the regional association stepped up its public relations work by setting up its own homepage on the World Wide Web .

In 2000 the association set up an office with a paid employee in the rooms of the "Mühle" in Bad Segeberg . After several moves in town, the office is now housed in the Segeberg Youth Academy .

The state association of amateur theaters Schleswig-Holstein e. V. around 110 stages that present around 200 productions in 1,300 performances annually and can therefore delight over 165,000 spectators.

The high popularity and recognition by the audience spurs the amateur theaters of the Schleswig-Holstein State Association of Amateur Theaters as well as the significant support from the Ministry of Education, Science and Culture of the State of Schleswig-Holstein . "

- Office : History of the State Association of Amateur Theaters Schleswig-Holstein eV

See also

• History of the theater
• Medieval theater
• German touring stage
• Popular theater
• Theatrical performance
• Theater freedom
• Theater scandal
• German theater landscape

literature

• L. Wolff (Ed.): Almanach for Friends of the Dramatic Art for the year 1839 , Sittenfeld 1842 (Reprint: Nabu Press 2011).
• Heinrich Philippsen : Brief history of the city of Schleswig. Represented in words and pictures , Schleswig 1926.
• Heinrich Philippsen: The development history of the city of Schleswig from 1870 to the present day , Schleswig 1927.
• Heinrich Philippsen: Old Schleswig , Schleswig 1923–1928; in this:
  • I. Contributions to the history of the city of Schleswig (topographical part) , 1923.
  • II. Pictures of time and memorabilia (cultural-historical part) , 1928.
  • III. Seal and coat of arms of the city of Schleswig and the Schleswig Knudsgilde , 1925.
• Theater Zweckverband Schleswig-Husum: Five years of cultural theater in the German North Mark. Contributions to the history of the Nordmark-Landestheater , Schleswig / Husum 1929; therein u. a .:
  • Heinrich Philippsen: The theater situation in Schleswig up to the founding of the Nordmark-Landestheater (p. 11–28)
  • H. Suhr: The theater conditions in Husum. A historical review (pp. 29–35)
  • The previous directors of the Nordmark-Landestheater (pp. 52–55)
• 30 years of Nordmark-Landestheater Schleswig: 1924–1954 , Schleswig: Verlag Schleswiger Nachrichten 1954.
• Klaus Witt : Flensburg theater life from the 16th century to the present. Low German stage play in Flensburg from 1600 to the present (publications of the Society for Flensburg City History, No. 8 and No. 10) , Flensburg 1953 and 1955.
• Johannes Jacobi: Outpost of theater culture . Zeit article from November 22, 1956 ( online version ).
• Wilhelm Danielsen: Hundred Years of Kiel Theater 1841–1944 , Kiel: Schmidt & Klaunig 1961.
• Eike Pies : The theater in Schleswig 1618–1839 , Kiel: Ferdinand Hirt 1970.
• Theo Christiansen: Schleswig 1836–1945 , Schleswig 1973 (excerpts from Schleswig's theater history online at pkgodzik.de ).
• Peter Dannenberg : jugglers and prima donnas. From ballroom to city theater in old Kiel , Hamburg 1981.
• Peter Dannenberg: Heroes and Charges between the Wars. Thirty years of theater in Kiel , Hamburg 1983.
• Horst Königstein : The Schiller Opera in Altona. An archeology of entertainment , Frankfurt am Main: Suhrkamp 1983.
• Günter Zschacke : Hamlet and the finances. 70 years city theater in Lübeck 1908 to 1978 , in: Der Wagen. A Lübeckisches Jahrbuch , Lübeck: Hansisches Verlagkontor 1986, pp. 135–152; in this:
  • Problems with the town hall (Georg Kurtscholz)
  • Fuchs knew the situation (Stanislaus Fuchs)
  • Love was for the opera (Paul v. Bongardt)
  • First strike in the theater
  • The first real director (Georg Hartmann)
  • Thomas Mann in the hometown (Thur Himmighoffen)
  • The insulted game plan (Otto Liebscher)
  • The new zeitgeist breaks out (Edgar Groß)
  • The nation's celebration site (Robert Bürkner)
  • Not spoiled by fate (Otto Kasten)
  • A size too big for Lübeck (Hans Schüler)
  • More public relations again (Christian Mettin)
  • Dispute between the parties (Arno Wüstenhöfer)
  • A "nose" for contemporaries (Walter Heidrich)
• Theo Christiansen: Schleswig und die Schleswiger 1945–1962 , Husum 1987 (excerpts from Schleswig's theater history online at pkgodzik.de ).
• Horst Mesalla : Schleswig-Holstein State Theater and Symphony Orchestra 1974–1994 , Volume III, Schleswig: Schleswig : Schleswig-Holstein Printing and Publishing House 1994.
• Wolfgang Chechne : Lübeck and its theater. The story of a long love . Reinbek near Hamburg: Dialogue 1996.
• Ute Lemm: Musicology in West Germany after 1945. Analyzes and interpretations of discursive constellations . Univ. Diss., Bonn 2005 ( full text ).
• Falk Ritter: History of the Schleswig Theater from 1840 to 1974 , Schleswig 2007 ( online version ).
• 100 years of theater in the Dülferbau on the Beckergrube: 1908 to 2008 , in: Lübeckische Blätter. Journal of the Society for the Promotion of Charitable Activities 173 (2008) 225–256 (Issue 14 of September 20, 2008; online version ), therein a. a .:
  • Klaus Brenneke: Four decades, four directors - the last of their kind in Lübeck? (Pp. 228-230).
  • Günter Kohfeldt: Marianne Schubart-Vibach and the Karl Vibach era in Lübeck (pp. 231–233).
  • Arndt Voß: Aspects of a 100-year opera history in the Dülferbau (pp. 234–236).
  • Arndt Voss: The theater and its friends - let's keep looking forward to theater! 22 years of theater history as reflected by the “Society of Theater Friends Lübeck e. V. ” (pp. 243-248).
• Rolf-Peter Carl: Curtain up! Theater in Schleswig-Holstein , Heide: Boyens 2008.
• Katharina Kost, Sidney Smith: Theater Lübeck. History, rooms, highlights, people , Lübeck: Schmidt-Römhild 2008.
• Archives of the Hanseatic City of Lübeck: Foreword to the holdings 04.04-1 / 7 - Theater Authority / Theaters of the Hanseatic City of Lübeck , Lübeck 2010 ( online version ).
• Brigitte Rosinski: Curtain up! Theater life in Flensburg. Historical introduction by Dr. Dieter Pust , Flensburg: Society for Flensburg City History 2013; in this:
  • In the early days (1450–1650)
  • With bag and bag from place to place (1650–1795)
  • Flensburg's first theater (1795)
  • Three times "Tivoli" (1846–1882)
  • German premiere of "Nora" (1880)
  • 1883–1894: No time without theater
  • New City Theater (from 1894)
• Oliver Diedrich: Schiller Opera: Where the polar bear stepped in Altona , Hamburg: NDR 2016; in this:
  • Act 1: Circus Busch's Temple of Temptation ( online version )
  • Act 2: smear theater, syphilis and singing ( online version )
  • Act 3: Prisoners, Decay and Uncertain Future ( online version )
• Horst Mesalla: I don't think everything is theater. From the Berlin Renaissance theater to the largest state theater , Husum: Husumer Druck- und Verlagsgesellschaft 2018.

Web links

• Opening of the Stadttheater am Kleiner Kiel (Kiel Memorial Days: October 1, 1907): Website
• Theater Kiel: website
• Theater Lübeck: website
• Schleswig-Holstein State Theater and Symphony Orchestra: website
• Demolition of the Schleswig City Theater: Website , in it:
  • Brief summary of the structural development of the building (1892–2014)
• Finn-Ole Schröder: What a theater - These are the stages in Schleswig-Holstein - Source: shz.de © 2019
• Cabaret stages Schleswig-Holstein: website
• Landeskulturverband Schleswig-Holstein: Website KulturAdressen
• Theater in Schleswig-Holstein: website of the state
• Volksbühne Kiel eV: website

Individual evidence

1. ↑ See: Günther Rüther : Thomas Manns Deutschlandbilder im Goethejahr 1949 (online version) .
2. ↑ Playbill ( online version )
3. ↑ Notwithstanding the fact that the Hanseatic City of Lübeck only lost its 711-year-old territorial independence in the Greater Hamburg Law of 1937 and thus became part of the Province of Schleswig-Holstein , its theater history is described here in a regional context.
4. ↑ This and the following sections according to: http://www.theaterluebeck.de/index.php?seid=638 . See also: Archives of the Hanseatic City of Lübeck: Foreword to the holdings 04.04-1 / 7 - Theater Authority / Stages of the Hanseatic City of Lübeck ( online version )
5. ↑ ^{a b} Smith, Kost: Theater Lübeck ... , 2008, p. 143.
6. ↑ Klaus Brenneke: Four decades, four directors - the last of their kind in Lübeck? In: Lübeckischen Blätter (= Lübeckischen Blätter. Heft 14). Max Schmidt-Römhild, Lübeck 2008, ISSN  0344-5216 , pp. 228-230. ( online )
7. ↑ http://www.ln-online.de/Lokales/Luebeck/Roman-Brogli-Sacher-verlaesst-Luebeck
8. ↑ http://www.theaterluebeck.de/index.php?seid=713
9. ↑ http://www.theaterluebeck.de/index.php?seid=712
10. ↑ http://www.ln-online.de/Lokales/Luebeck/Zum-Abschluss-ein-Zeugnis-fuer-Frau-Borns
11. ↑ http://www.theaterluebeck.de/index.php?seid=617
12. ↑ http://www.theaterluebeck.de/index.php?seid=1928
13. ↑ https://www.kn-online.de/Nachrichten/Kultur/Luebecks-Theaterchef-Christian-Schwandt-wirft-hin-Scharfe-Kritik-am-Land ; https://www.ln-online.de/Nachrichten/Kultur/Kultur-im-Norden/Luebecker-Opernchefin-Kost-Tolmein-schmeisst-hin
14. ↑ http://www.zeno.org/Meyers-1905/A/Schuldramen
15. ↑ ^{a b c d e} https://www.sh-landestheater.de/spielstaetten/theater/flensburg-stadttheater/
16. ↑ ^{a b} Rosinski: Curtain up! ... , 2013, p. 11.
17. ↑ Rosinski: Curtain up! ... , 2013, p. 11 f.
18. ↑ ^{a b c d} Rosinski: Curtain up! ... , 2013, p. 12.
19. ↑ ^{a b c} Rosinski: Curtain up! ... , 2013, p. 13.
20. ↑ ^{a b} Rosinski: Curtain up! ... , 2013, p. 14.
21. ↑ https://ibsenstage.hf.uio.no/pages/organisation/33220
22. ↑ ^{a b} Rosinski: Curtain up! ... , 2013, p. 15.
23. ↑ Rosinski: Curtain up! ... , 2013, p. 16.
24. ↑ http://bmlo.de/p1105
25. ↑ https://www.nrz.de/staedte/kleve-und-umland/ Zwischen-den-zeiten- id9758372.html
26. ↑ Flensburg once had a singing hall. It was built in the 1870s for a singing festival in the Südergraben, had 966 seats and burned down in October 1912. - Source: https://www.shz.de/10057976 © 2019
27. ↑ See excursus II: Theater under National Socialism in: Rolf-Peter Carl: Curtain up! Theater in Schleswig-Holstein , Heide: Boyens 2008, p. 54 ff.
28. ↑ Ziegler was in the post-war period (after denazification ) from 1949 to 1950 managing director of the Schleswig City Theater.
29. ↑ Heinrich Steiner was also GMD of the Nordmark Symphony Orchestra , the forerunner of today's Schleswig-Holstein Symphony Orchestra . Although the orchestra has played in the theater for a long time, it remained an independent institution of the city until 1974.
30. ↑ ^{a b c d e f g h i j k l m n o p} http://www.rudiritter.de/Theater%202/theater2.html
31. ↑ This and the following sections based on Rolf-Peter Carl: Curtain up! Theater in Schleswig-Holstein , Heide: Boyens 2008, p. 12 f.
32. ↑ “The theater bills from the years 1792–1797 prove that the Society had the courage to deal with some large performances from the field of tragic games, such as Shakespeare's ' Hamlet ' and Schiller's ' Don Karlos ', during them in operas ' Die Zauberflöte ' and ' Don Juan '. Often there were also lighter fashion pieces, such as 'Abellino, the big bandit' or 'Graf Bengovski' as well as the infamous 'Rote Haube'. The number of theater tickets shows that the average number of visitors was calculated to be 300 people. The company's performances were highly praised and gave Schleswig an advantageous reputation in the duchies. The well-known music director Phanty acted as band master. The count [sc. Friedrich von Ahlefeld-Laurwig] also attached great importance to the furnishings of the pieces; in one month the bill for props is said to have amounted to 1200M. But despite his great wealth - the count was the owner of the 'Görzen Hof', the later ' Prinzen-Palais ', which he gave its current appearance, and he also built the farm on the Oer - the expenses finally grew over his head. After he resigned from the independent management of the theater towards the end of the 18th century, Landgrave Carl took over . But the maintenance costs became too high for him too, so that for a vain reason he closed the 'Hoftheater' in 1807, but allowed it to continue as a private company at the old location, namely in the ballroom on Gottorf. The theater remained here until around 1839. From then on, it was moved to a specially designed building (Stadtweg No. 37) in the city, where it remained until 1882, to be later replaced by new, more contemporary facilities. "(H. Philippsen: Brief History of the City of Schleswig ... , 1926, p. 95 f.)
33. ↑ L. Wolff (Ed.): Almanach for Friends of Drama on the year 1839 , Sittenfeld 1842 (Reprint: Nabu Press 2011), p. 376.
34. ↑ ^{a b c d} Eike Pies: The theater in Schleswig 1618–1839 , Kiel: Ferdinand Hirt 1970, p. 87.
35. ^ Heinrich Philippsen: Old Schleswig. Pictures of time and memorabilia , Schleswig 1928, p. 72.
36. ↑ ^{a b c d e} Eike Pies: The theater in Schleswig 1618–1839 , Kiel: Ferdinand Hirt 1970, p. 88.
37. ^ ^{A b} Theo Christiansen: Schleswig 1836–1945 , Schleswig 1973, p. 201.
38. ^ Theodor Christiansen: Chronicle of the Nordmark-Landestheater 1924–1944 , in: 30 Jahre Nordmark-Landestheater ... , 1954, p. 23 ff.
39. ^ Heinrich Philippsen: The development history of the city of Schleswig from 1870 to the present , Schleswig 1927, p. 50.
40. ↑ Carl: Curtain up! ... , 2008, p. 71.
41. ↑ ^{a b} http://www.alte-schleihalle.de/abbruch-stadttheater/
42. ^ Heinrich Philippsen: The development history of the city of Schleswig ... , 1927, p. 165.
43. ↑ Source: https://www.shz.de/197361 © 2019
44. ↑ This is how Horst Mesalla saw it: Believe not everything is theater ... , 2018, p. 198.
45. ^ Theo Christiansen: Schleswig und die Schleswiger 1945–1962 , Husum 1987.
46. ↑ https://www.shz.de/lokales/schleswiger-nachrichten/statiker-korsch-verteidigt-theater-abriss-am-lollfuss-id9135036.html
47. ↑ https://www.shz.de/lokales/schleswiger-nachrichten/neubau-plaene-in-truemmern-id9350981.html
48. ↑ https://www.shz.de/lokales/schleswiger-nachrichten/theater-bleibt-im-slesvighus-id19673496.html
49. ↑ https://www.shz.de/lokales/schleswiger-nachrichten/finanzierung-fuer-theaterneubau-ist-gebongt-id16225816.html
50. ↑ https://www.shz.de/lokales/schleswiger-nachrichten/grisebach-das-ist-der-durchbruch-id22637417.html
51. ↑ https://www.ndr.de/nachrichten/schleswig-holstein/Landestheater-Finanzierung-fuer-Schleswig-estand,schleswigertheater102.html
52. ↑ This and the following sections based on: Christa Geckeler: Kiel Day of Remembrance: October 1, 1907. Opening of the Stadttheater am Kleiner Kiel (with details of the literature cited; online version ). Cf. on the whole: Rolf-Peter Carl: Curtain up! Theater in Schleswig-Holstein , Heide: Boyens 2008, p. 35 ff.
53. ^ Danielsen: Hundert Jahre Kieler Theater ... , 1961, p. 21 ff.
54. ^ Danielsen: Hundert Jahre Kieler Theater ... , 1961, p. 5 f.
55. ↑ Carl: Curtain up! ... , 2008, p. 58.
56. ↑ Carl: Curtain up! ... , 2008, p. 59 ff.
57. ↑ https://www.abendblatt.de/archiv/2001/article204798297/Kieler-Schauspielchef-hat-gekuendigt.html
58. ↑ https://www.welt.de/print-welt/article187502/Selbstherrlich-Intendantin-Anette-Berg-muss-die-Kieler-Oper-verlassen.html
59. ↑ Here and in the following paragraphs excerpts from: Rolf-Peter Carl: Curtain up! Theater in Schleswig-Holstein , Heide: Boyens 2008, p. 98 ff.
60. ↑ https://www.altonaer-theater.de/theater/historie/
61. ↑ https://www.ndr.de/kultur/geschichte/Schiller-Oper-Altona-Hamburg-Zirkus-Busch-Tempel-Versendung-Eisbaer,schilleroper110.html
62. ↑ https://www.ndr.de/kultur/geschichte/Schiller-Oper-Schmierentheater-Altona-Hamburg-Syphilis-Gesang,schilleroper176.html
63. ↑ https://www.ndr.de/kultur/geschichte/Schiller-Oper-Altona-Hamburg-Verfall-Denkmalschutz-Ruine,schilleroper178.html
64. ↑ This and the following sections based on Rolf-Peter Carl: Curtain up! Theater in Schleswig-Holstein , Heide: Boyens 2008, p. 77 f.
65. ↑ This and the following sections according to: https://www.sh-landestheater.de/spielstaetten/theater/rendsburg-stadttheater/
66. ↑ Here and in the following paragraphs excerpts from: Rolf-Peter Carl: Curtain up! Theater in Schleswig-Holstein , Heide: Boyens 2008, p. 82 f.
67. ↑ https://www.sh-landestheater.de/spielstaetten/theater/rendsburg-stadttheater/
68. ↑ Pies (p. 88): "In 1904 the 'Subsidized City Theater Association Schleswig-Wismar-Rendsburg' was founded under Hans Polte."
69. ^ Pies (p. 88): "Under the direction of Albert and Friedrich Herolds, the 'Nordmark-Verbandstheater' existed from 1912 to 1924."
70. ↑ Carl (p. 8): “As early as 1923, a 'Schleswig-Holsteinische Landesbühne GmbH' was founded 'for the purpose of better utilization of the existing art institutes', to which ten Schleswig-Holstein cities from Husum to Ratzeburg belonged as shareholders, but which after had to be liquidated again not even two years. "
71. ↑ On the history of the Stadttheater Rendsburg ( online version ): “As early as 1900, due to a decree by the District President, efforts had been made to create a federal theater in Schleswig-Rendsburg-Husum. The plan was dashed by Schleswig's refusal. Only after 40 years did the plan become a reality. Hermann Wagner and Paul Jaenicke had joined forces and started to play in the St. Pauli Theater, which at that time was not giving any performances of its own. They were now looking for new ways to play from Hamburg. Via Neumünster they came to Rendsburg, where the theater had been confiscated and was administered by an English supervisory officer. They gave their first performance in December 1945 under the name of the Städtebundtheater. After the English withdrew from the house, a contract was concluded with the city of Rendsburg. The private company became a GmbH. Neumünster, the district of Rendsburg, the city of Rendsburg and Paul Jaenicke each contributed 20,000 marks. The success was extraordinary - until the currency cut put an end to it all. So this 'Städtebundtheater' was dissolved in 1949 due to financial difficulties. "
72. ↑ Zeit-Artikel from November 22, 1956
73. ↑ Pies (p. 88): "Under the directorship of Bruno Bacher, the 'Nordmark-Landestheater, Theater Zweckverband Schleswig-Husum' was founded."
74. ↑ This and the following sections based on Rolf-Peter Carl: Curtain up! Theater in Schleswig-Holstein , Heide: Boyens 2008, p. 71 f.
75. ↑ In the years 1933/34 the Nordmark-Landestheater called itself "Norddeutsche Bühne".
76. ↑ Rudolf Hartig was married to Fiete Krugel-Hartig since 1935 . In 1936 he staged Goethe's “ Walpurgis Night ” on the Brocken and in 1939 went to Schleswig as artistic director. He was called up for military service in 1944, was taken prisoner by Russia and died there.
77. ^ Theo Christiansen: Schleswig und die Schleswiger 1945–1962 , Husum 1987, pp. 93–100 (excerpts from theater history online at pkgodzik.de ).
78. ↑ http://tls.theaterwissenschaft.ch/wiki/Horst_Gnekow
79. ↑ Wolfgang Chechne: Lübeck and his Theater ... , 1996, p. 146 ff.
80. ↑ Schleswig-Holstein State Theater and Symphony Orchestra. (PDF; 291 kB) (No longer available online.) Landesbühnengruppe in the Deutsches Bühnenverein, formerly in the original ; Retrieved December 2, 2012 .  ( Page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.    
81. ↑ https://www.sh-landestheater.de/spielstaetten/flensburg/
82. ↑ https://www.sh-landestheater.de/spielstaetten/schleswig/
83. ↑ https://www.sh-landestheater.de/spielstaetten/rendsburg/
84. ↑ https://www.sh-landestheater.de/spielstaetten/itzehoe/
85. ↑ https://www.sh-landestheater.de/spielstaetten/neumuenster/
86. ↑ https://www.sh-landestheater.de/spielstaetten/heide/
87. ↑ https://www.sh-landestheater.de/spielstaetten/husum/
88. ↑ https://www.sh-landestheater.de/spielstaetten/meldorf/
89. ↑ https://www.sh-landestheater.de/spielstaetten/niebuell/
90. ↑ https://www.sh-landestheater.de/spielstaetten/friedrichstadt/
91. ↑ https://www.sh-landestheater.de/spielstaetten/st-peter-ording/
92. ↑ http://www.kn-online.de/Nachrichten/Kultur/SH-Landestheater-Generalintendant-Grisebach-will-nicht-verlaengern
93. ↑ http://www.kn-online.de/Nachrichten/Kultur/Ute-Lemm-wird-neue-Generalintendantin-am-Landestheater-Schleswig-Holstein
94. ↑ https://www.buehnenbund.com/
95. ↑ http://www.nb-ahrensburg.de/
96. ↑ http://www.niederdeutschebuehne.de/about/geschichte/
97. ↑ http://www.ndb-husum.de/
98. ↑ http://www.schleswiger-speeldeel.de/
99. ↑ http://nordangler-speeldeel.de/Vereinsgeschichte
100. ^ Sydslesvigsk Forening: Committees
101. ↑ Et Nordfriisk Teooter: The background
102. ↑ https://www.schleswig-holstein.de/DE/Fachinhalte/K/kulturfoerderung/theaterfoerderung.html
103. ↑ http://figurentheater-wolkenschieber.de/
104. ↑ https://polnisches-theater-kiel.de/
105. ↑ https://marcschnittger.de/de/
106. ↑ https://combinale.de/
107. ↑ http://www.kobalt-figurentheater.de/
108. ↑ https://theaterineutin.de/
109. ↑ https://www.orpheustheater.de/orpheus-theater.html
110. ↑ https://theater-rdb.de/index.php
111. ↑ https://theaterschule-flensburg.de/
112. ↑ https://www.theater-am-tremser-teich.de/tatt/
113. ↑ https://www.theater-partout.de/
114. ↑ https://www.volkstheater-geisler.de/
115. ↑ http://www.ammersbeker-kulturkreis.de/
116. ↑ http://www.bad-oldesloe-macht-theater.de/
117. ↑ http://www.hagebuttenbuehne.de/
118. ↑ http://www.jungestheaterhoisdorf.de/Ueber-uns/
119. ↑ http://www.theater-sandesneben.de/
120. ↑ https://norderstedter-amateur-theater.de/
121. ↑ http://www.oldesloerbuehne.de/
122. ↑ http://www.pinneberger-buehnen.de/
123. ↑ http://www.theater-tangstedt.de/
124. ↑ http://www.plattenspeeler.zarpen.de/
125. ↑ http://www.quickborner-speeldeel.de/
126. ↑ http://www.kreis-segeberg.city-map.de/city/db/021303030400.html
127. ↑ http://www.kreis-segeberg.city-map.de/city/db/021303030100.html
128. ↑ http://www.theater-fidelio.de/wir.html
129. ↑ http://www.theaterhoisdorf.de/
130. ↑ http://www.theater-im-stall.de/index.php/theater/das-theater.html
131. ↑ http://www.theaterpur.de/
132. ↑ http://www.tum-glinde.de/
133. ↑ http://www.theater-wedel.de/
134. ↑ http://www.theaterverein-rellingen.de/
135. ↑ http://www.therapietheater.de/
136. ↑ http://www.trittauer-laienspieler.de/
137. ↑ http://www.waldenauerspeeldeel.de/
138. ↑ https://vhat.info/
139. ↑ https://www.amateurtheater-sh.de/seite/347715/geschichte.html