Green nine

from Wikipedia, the free encyclopedia

[Oh you] green nine! is an exclamation of surprise at something negative, similar to "Oh, Lord!". The origin is not known for sure.

origin

Theater an den Blumenstrasse 9b

Blumenstrasse 9b: The house between Ifflandstrasse and the darkly drawn Residenz Theater. To the south is the New Wallner Theater, referred to here as the Schiller Theater.

In Berlin , the exclamation (in the Berlin Metrolekt "[Oh you] Jriene Neune") is often associated with a theater on Blumenstrasse that had changing names because the theater names in Berlin were linked to the respective concessionaire. It was called Wallner-Theater , Theater in Concordia, Bundeshallen-Theater, Vaudeville-Theater and for a time also the Royal City Theater. Immediately adjacent to it was a second theater building, which has become best known under the name Residenz Theater.

The theater was located at Blumenstrasse 9b with the main entrance to the Grüner Weg (since 1947 roughly along Singerstrasse) - hence “green” and the number nine. Robert Prutz described the house in 1865 as "a true mousetrap [...] in one of the most remote and obscure areas of the city". This area - southwest of Alexanderplatz - was an entertainment district at the time. In the theater between 1858 and 1864 mainly satirical song poems and demi- world dramas were played. When the theater was closed in November 1864 (when Wallner had completed a larger theater building for his professional theater business, which was a little further south), the "Epilogue: The Last Hour of the Green Nine", attributed to David Kalisch , was performed. Its pieces portrayed the Berlin milieu so vividly that quotations were taken over in the colloquial language of Berlin.

The Blumenstrasse was shaped by the gardens near the Jannowitzbrücke, which had been located since the middle of the 17th century and which became coffee gardens. In 19th century Berlin, the summer theater joined the country party and the coffee garden. Since the middle of the 18th century, theater play, previously reserved for exclusive aristocratic circles, had become the domain of the petty bourgeoisie. In the flower street the ground for this was through the coffee gardens Liebhabertheater particularly been fruitful. Towards the end of the Biedermeier period , there were three lovers' stages in a very small space. "At certain time intervals a huge row broke out among the members of the association, and a new society was quickly founded." The cabinet order of August 4, 1822 ordered the closure of all private theaters and so they asked the king to continue. The "Familien-Ressource" resident on the property of the widow Werner, Blumenstrasse 9, asserted: "It has already been 21 years that we have gathered together as calm and calm citizens in this family circle." The widow Werner pointed out that you The man who died three years ago had used the assets to purchase land for a private theater and her income consisted of a small contribution. At Alexanderstraße 26, at the corner of Blumenstraße, the “Concordia” company found itself in a particularly uncomfortable location with the new construction that was started. They also suspected in their petition that the ban on the entrepreneur Cerf of the new royal city theater could have been made. The king withdrew the ban for everyone: "Urania", "Concordia" and "Familien-Ressorce" continued to play. The club coffers were not sold with tickets, but in the "amateur theaters" programs were sold at ticket prices. The "Thalia" was built in Blumenstrasse 9 in 1770, and a few years later it split into Alt-Thalia and the Neu-Thalia Association; the latter became after a dispute the association "Concordia" and in 1792 again the "Urania". The Neu-Thalia was created “diagonally-à-vis” from the Thalia in a large garden. "Green Neune", that is the nickname that Mother Thalia has always used since she was founded, and which was not forgotten when the amateur theater had long since become one of the most popular private theaters. "In 1824 the widow Werner transferred the theater property to one Schönfärber and sold this to the shoemaker Schultze, an avid dilettante, in 1825. He had an inhabited old side wing and the bowling alley demolished “for better use of the amateur theater there.” His widow, married Griebner, née. Kuhirt owned the property in 1830: her husband sold 98 feet of the 132 feet of the street front on her behalf to master mason Böhme, who built the two front houses 9 and 9a. Due to an unpaid bill, he built a theater and rented it to Concordia. The property itself was soon auctioned and mortgaged. In 1859, according to the “Land Register of the Royal City”, the Thalia and Concordia according to the contract of 1847, the landowners changed. The property and the theater were sold to eight Concordia members on 23 September 1959 for 48,000 thalers. The Thalia was rented out for performances from 1863 to 1866, but in 1869 Die Dahlja had lost a mortgage litigation and had to vacate the house. The new owner had "on the Sunday after the performance of Wilhelm Tell [by] eight hundred strong and well-trained members and friends [...] within five hours [...] the Dahlja with 32 complete decorations, 820 folding seats, about 100 tables, 400 chairs, 200 garden tables, 800 garden chairs and the entire gas equipment of the theater, the ballroom, the large garden, the four guest rooms “have to be cleared. The director of the Magdeburg City Theater, Otto Nowack, rented it for ten years and had it expanded by the architect Bohm. The cultivated opera went badly and in 1871 Albert Rosenthal from Breslau opened the "Residenz Theater" with French custom plays. The theater with its repertoire became a favorite of society, most recently under the direction of the Rotter Brothers, when theater-goers followed the “train to the west”. Thalia and Neu-Thalia and the Concordia in number 9, created in 1843, and the extravagant access to the Green Nine were preserved as a lovers' theater and as a professional theater, in addition to the concern for the property. In 1853 there was a violinist “Herr Grieben” in the Königsstadt theater. Rudolf Cerf was the concession holder in the royal city and went bankrupt as director of his theater in Charlottenstrasse. In order to keep this site-specific concession (it is possible) that he obtained the “Green Nine” from Grieben. For the public, the house remained the “Green Nine” as a professional theater with the name “New Royal City Vaudeville Theater”. This stage continued to suffer from a lack of funds. Franz Wallner recounted in his memory: "In August 1855 I leased a tiny, unnoticed theater in Blumenstrasse, which formerly vegetated as a lovers' theater under the name of Green Neune, until the owner rented the fallow theater license from Cerf." The custom plays by Alexandre Dumas Fils as a new repertoire finally brought Wallner the saving box office successes.

More theories

  • There are many opinions about the origin of the name "Grüne Neune", which is both a name and a specifically Berlin expression. “Hugo Wauer attributes it to the fact that the theater stood in a large garden and was also painted green. Others speak of a green lantern with which the theater was "illuminated". "Carl Helmerding and Ludwig Lenz" explain it plausibly with the green-painted doorway on which the number 9 was emblazoned in the most beautiful sap green. "
The sheet nine in the German playing card sheet
  • According to a theory about the origin of the idiom, it is a transfer of the tarot card "nine of swords" (which corresponds to the spades - nine in the French playing card sheet ) to the German playing card sheet . This card has been associated with severe discomfort, illness, and loss of wealth. In the German leaf it corresponds to the nine in the color of foliage (also called leaf, grass or green), i.e. the "green nine" or the "green nine".
  • Another theory on the origin of the “Green Nine” is based on the traditional meaning of the “nine kinds of herbs”, which was mentioned around the 10th century in the Lacnunga manuscript as Nine Herbs Charm (“ nine herbs blessing ” or “ magic ”).

literature

Individual evidence

  1. ↑ Blumenstrasse 9b . In: Allgemeiner Wohnungs-Anzeiger together with address and business manual for Berlin , 1860, II., P. 14. "Wallner's Theater, owner Director Wallner" (1860/527: F. Wallner Director and owner of Wallner's theater, apartment at Blumenstrasse 23) . // Blumenstrasse 9b . In: Allgemeiner Wohnungs-Anzeiger together with address and business handbook for Berlin , 1866, II., P. 23. “Theater-Local, owner builders Hoffmann and Schmidt” (Hoffmann and Schmidt also owned Blumenstrasse 10 and 11). // Location on the map 1863
  2. ↑ on the location compare Histomapberlin.de under Straubeplan IIA from 1910 or Map 4231 from 1940, also Map 423D from 1966, search keyword: Ifflandstraße >> 4 (10179) / X = 26140, Y = 21105
  3. ^ Deutsches Museum, magazine for literature, art and public life from July 1, 1865, No. 27, p. 779 (accessed February 11, 2018)
  4. ↑ Grüner Weg, Blumenstrasse, Rosengasse, Rosenquergasse . In: Allgemeiner Wohnungs-Anzeiger together with address and business manual for Berlin , 1860, II., Pp. 14 f., 45 f., 121 f ..
  5. ↑ Blumenstrasse, Grüner Weg, Markusstrasse . In: Allgemeiner Wohnungs-Anzeiger together with address and business manual for Berlin , 1865, II., Pp. 20 ff., 60 f., 127 f ..
  6. ↑ The intermediate act from 18./19. February 1861, page 3 (accessed February 11, 2018)
  7. ↑ Before the Viennese Theodor Herzl founded the “Jewish State”, he wanted to become a great playwright. He made his debut in Berlin berliner-zeitung.de on July 3, 2004 (accessed on February 11, 2018)
  8. ↑ Theater and riots in Blumenstrasse - "Jrienen Neune" fhzz.de (accessed on February 11, 2018)
  9. ↑ The father of Kladderadatsch and the Berliner Posse , Max Ring , Die Gartenlaube 1872
  10. ↑ Lexicon of German-Jewish Authors . Volume 13: Jaco-Kerr. Edited by the Bibliographia Judaica archive. Saur, Munich 2005, ISBN 3-598-22693-4 , p. 209 ( limited preview in Google book search).
  11. ^ Acta re. The private theaters Urania and Concordia 1822-1845, series 89, volume III, 91.11
  12. ↑ However, this genealogy of the three theater associations could not be verified. However, it can certainly be traced back to the widow Werner that her husband, the coffee animal and restaurateur Werner, built the Liebhabertheater Blumenstrasse 9 in 1801 to bridge the winter months in the coffee garden. A theater building on plot 9/10 for the year 1815 follows from the files of the building police.
  13. ↑ Histomapberlin.de : Straubeplan IIA, 1910: Alexanderstraße24, 25, 26 and Blumenstraße 80–84 (X = 25950, Y = 21120)
  14. ↑ Map of Berlin 1: 5000 (K5 - color edition): location around the house at Alexanderstraße 73
  15. ↑ In 1861 share certificates of 50 Thalers were issued to a "property company of the property at Blumenstrasse 9".
  16. ↑ Hugo Wauer: Humorisitsche flashbacks to Berlin, good old 'time from 1834 to 1870 . Experienced by Hugo Wauer, self-published, 6th edition, Berlin 1910, page 107
  17. ^ Gerhard Muhle: The history of the Residenztheater in Berlin from 1871-87 . Dissertation Berlin 1955
  18. ^ In Ludwig Lenz: Berlin and the Berliners , genre pictures with original pen drawings by Theodor Hosemann, Berlin 1844:

    “You step through a lattice gate into a narrow garden avenue, which is bordered on both sides with magnificent potato tops, sunflowers, gooseberry bushes and nettles and is picturesquely bordered at a distance of 30 paces by a kind of tastefully whitewashed garden gazebo. […] From this gazebo you get into the garden that surrounds the theater building, which […] gives no indication of its high purpose. [...] Comedy plays, antics, drama and tragedy are played at this theater; Most popular, however, are bourgeois dramas, Iffland family paintings and Kotzbuesche antics. "

  19. ↑ On September 20, 1854, Cerf submitted renovation plans, but the police headquarters issued a negative decision: because the “neighboring border was too close” and there was “a second theater in the immediate vicinity”. With his special position, like that of his father, he received the instruction to contact the "Ministry of the Royal. House ”.
  20. ^ Franz Wallner: From my memories . Verlag Albert Goldschmidt, Berlin o. J. In: Colorful series . Volume II, pp. 11-12
  21. ↑ Carl Helmerding: From my stage life (memories II). In: Der Zeitgeist, supplement to the Berliner Tageblatt, year 187, no. 36, September 5, 1887.
  22. ↑ Ludwig Lenz: Berlin and the Berliners , genre pictures with original pen drawings by Theodor Hosemann, Berlin 1844