Hans Reimann (Author)

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Hans Reimann , actually Albert Johannes Reimann (born November 18, 1889 in Leipzig , † June 13, 1969 in Schmalenbeck near Hamburg ) was a German humorous writer, playwright and screenwriter. He also used the pseudonyms Max Bunge , Hans Heinrich , Artur Sünder , Hanns Heinz Vampir and Andreas Zeltner .

Hans Reimann

Life

Hans Reimann came from a middle-class background. After finishing school, he completed a graphic design course in Leipzig, attended the art academy in Munich and studied German philology and art history . During World War I he was deployed on the Galician and Summer Fronts . He then returned to Leipzig and published the satirical magazine Der Drache (1919–1925) and then in Frankfurt am Main Das Porcupine (1924–1929). He also worked for Simplicissimus and Die Weltbühne and founded the cabarets “Retorte” (Leipzig) and “Astoria” (Frankfurt am Main). From 1925 he lived in Berlin.

During a brief collaboration with the lawyer and writer Heinrich Spoerl at the beginning of the 1930s, the stage play The Accelerated Passenger Train was created based on an idea by Spoerl, which Spoerl also converted into a novel in 1936 under the title If we were all angels . According to Reimann in his autobiography Mein blaues Wunder (1959), both authors wrote the novel Die Feuerzangenbowle together in 1931 ; however, only the name Heinrich Spoerl was named as the author. The first film adaptation from 1933, titled So ein Flegel! , was written by Reimann, the fee between Reimann and Spoerl split in half, as well as all income from the novel Die Feuerzangenbowle . Both authors contractually sold the film rights for 5,000 Reichsmarks.

The role of Hans Reimann in the time of National Socialism is presented in different ways. So in 1931 the plan became public that Reimann should write a Hitler parody under the title "Mein Krampf" for the Paul Steegemann publishing house. When Reimann wanted to refrain from doing so , according to his own statements after a warning from Hanns Johst , Steegemann tried to enforce compliance with the obligation in 1932. In his memoir, Mein bluues Wunder , Reimann describes that with this plan he made himself permanently unpopular with the National Socialists and that after 1933 he had considerable difficulties in publishing. Four of the books published by Reimann in the Weimar Republic were put on the list of harmful and undesirable literature by the National Socialists on April 25, 1935. Between 1933 and 1945 new books and new editions by Reimann could only appear with harmless content; he published some of them under a pseudonym anyway. Reimann found a job as editor-in-chief at Kladderadatsch , where he was not listed in the legal notice. Regarding his work for the magazine Brennessel , Hans Riebau writes : “Reimann was the 'acting editor' of the 'Brennessel' at the time and asked me to collaborate on this paper, which he said he wanted to cleanse of political and tendentious contributions. This intention astonished me to a certain extent, but in fact R. made the magazine into a kind of 'funny family paper', at least as far as text contributions were possible. The result was that the 'nettle' was completely abandoned by Eherverlag and no longer appeared. "

In 1939 Hans Reimann married his third wife, the actress Vilma Bekendorf , and moved to Bernried . During the Second World War he served as a front entertainer in Italy, on the Volkhov, on the Arctic Ocean and in Lapland. An article Jüdischer Witz under the magnifying glass , which Reimann published in 1944 in Velhagen and Klasings Monatshefte (born 1943, No. 6, pp. 255-257), led to a provisional publication ban for Reimann after the war ended. In the article, the pun invented by Heinrich Heine "family" is referred to as "pun" and "fornication with letters", Heine as "kosher lyricist" [8]. In 1958, Reimann won a lawsuit against the writer Moritz Lederer , who attacked Reimann in the 1950s for allegedly publishing activities under National Socialism. Lederer had to publicly revoke his claims. After the Second World War, Hans Reimann was denazified as a fellow traveler. In the judgment of the Court of Cassation in the Bavarian State Ministry for Special Tasks of April 26, 1949, it says: “Until 1933, the person concerned was a well-known, decidedly anti-fascist writer. He worked with Jews, made friends and helped them. He did not give up this attitude even after the seizure of power. The National Socialists banned his books, declared his public appearance or the mention of his name as undesirable or demanded a respective permission. The Dresden district leadership described him as an enemy of every national movement, which should be relentlessly eliminated. The person concerned suffered not only monetary disadvantages, but also moral damage: his career as a writer was cut off and he was forgotten. This did not change even after the offending article. As a victim of National Socialism, the victim is worthy of a milder assessment, especially since his anti-Nazi sentiments are confirmed and despite that newspaper article he is not a supporter of Nazi racial doctrine. "[11] Then Reimann first published again in Simpl , a Munich satirical magazine. From 1951 until his death he lived in Schmalenbeck near Hamburg, where he a. a. Edited the literary criticism series “Literazzia” for 17 years. His literary estate is kept in the German Literature Archive in Marbach. His estate administrator Harald Dzubilla runs the homepage www.hans-reimann.de.

Hans Reimann is the father of Peter Reimann and the grandfather of the poet Andreas Reimann .

Artistic creation

Hans Reimann's literary work revolves around two poles: on the one hand, around the peculiarities of the German language, with which he engages in Dadaist allotria in his "grotesques" , and on the other around the humorous aspects of everyday life. He was best known for his “high school satires” and for the “Saxon miniatures”, in which he presented the history and everyday life of his homeland in Saxon dialect. Also parodies about successful authors such as Hedwig Courths-Mahler , Edgar Wallace , the anti-Semite Artur Dinter  - whose work The Sin Against the Blood he ridiculed as “Artur Sünder” under the title Die Dinte gegen das Blut  - and about the later NS author Hanns Heinz Ewers made him known.

The best-known dramatic work is the comedy Das Ekel , which he wrote together with Toni Impekoven . Erich Kästner commented on the text:

“'Das Ekel' is a character farce in which Hans Reimann's dearest child, the Saxon philistine, lives out. No maddened situation comedy with which America and the literary 'German-Americans' slowly drive us to despair. [...] That the audience is happy is certain. "

The comedy was filmed three times: in 1931 based on a script by Erich Kästner and Emmerich Pressburger , in 1939 with Hans Moser and in 1959 under the title The House Tyrant with Heinz Erhardt in the leading role. In addition, Hans Reimann dramatized together with Max Brod to Svejk by Jaroslav Hašek . There are also other plays from his pen, but only a few of them have been performed.

Reimann also made a name for himself through city and travel descriptions, as a screenwriter (e.g. from So ein Flegel ) and as a literary critic (see the book series "Literazzia") and through his autobiography Mein bluues Wunder .

Works (selection)

  • 1916: The black list. A delicate picture book (graphic plagiarism), Kurt Wolff, Leipzig
  • 1916: The Lady with Beautiful Legs and other grotesques , Georg Müller, Munich
  • 1917: Kobolz. Grotesques , Kurt Wolff, Leipzig
  • 1917: The Forbidden Book. Grotesques and purrs , Georg Müller, Munich
  • 1917: The ink against the blood. A time novel (under the pseudonym Artur Sünder), Paul Steegemann , Hanover
  • 1918: the flea. Sketches from wartime , Georg Müller, Munich
  • 1918: The Paukerbuch. Sketches from the grammar school , Georg Müller, Munich
  • 1918: Tyll , humorous novel, Kurt Wolff, Leipzig
  • 1919: With red ink , Erich Matthes, Leipzig
  • 1919: Pax. A peaceful book , GEorg Müller, Munich
  • 1920: The sewer. A delicate reading book , Kurt Wolff, Munich
  • 1921: Saxon miniatures , drawings by George Grosz , Der Drache Verlag, Leipzig
  • 1923: Saxon Miniatures Volume 2 , with 20 drawings by Paul Simmel , Steegemann, Hanover and Leipzig
  • 1921: The blind chicken or, to be more precise, the chicken that is almost totally blind on the left , Wieland, Munich
  • 1922: Hedwig Courths-Mahler. Simple stories for home sweet home , Steegemann, Hanover, Leipzig, Zurich
  • 1923: From Karl May to Max Pallenberg in 60 minutes , Kurt Wolff, Munich
  • 1924: Der Igel [Das Ekel] (with Toni Impekoven), comedy, first performance in 1926
  • 1925: Ewers. A guaranteed neglected junk novel in rags, tatters, antics and underpants by Hanns Heinz Vampir , Steegemann, Hanover
  • 1928: Sago , Carl Reissner, Dresden
  • 1928: Reluctant composer. Humorous novel , Reissner, Dresden
  • 1928: New Saxon miniatures , with illustrations by Karl Holtz , Reissner, Dresden
  • 1929: The Book of Leipzig. (Vol. VI of the series Was nicht im “Baedeker” ), Piper Verlag , Munich (Reprint: Connewitzer Verlagsbuchhandlung 1995)
  • 1929: Men Coughing in the Basement , parodies of Edgar Wallace. Berlin, Paul Steegemann Verlag 1929
  • 1929: The completely perfect marriage. According to Dr. Th. H. van der Velde , Steegemann, Berlin and Leipzig
  • 1930: Das Buch von Frankfurt, Mainz, Wiesbaden (Vol. IX of the series Was nicht im Baedeker ), Piper Verlag, Munich (Reprint: Connewitzer Verlagbuchhandlung 1995)
  • 1931: Pleasurable manual of the German language , Gustav Kiepenheuer, Berlin (2nd, changed edition 1932, 3rd edition 1937, 4th edition 1942)
  • 1931: Sächsisch , Piper Verlag, Munich, Volume I of the series: What is not in the dictionary (Reprint: Connewitzer Verlagsbuchhandlung 1995)
  • 1932: Quartet for three. Anything but a novel , Kiepenheuer, Berlin
  • 1933: The real etiquette , Carl Reissner, Dresden
  • 1934: Woman without a heart. A play in 5 pictures (under the pseudonym Andreas Zeltner), Dreiklang, Berlin
  • 1935: Motor stroll through the Orient , Müller & Kiepenheuer, Berlin (new edition Oswald Arnold, Berlin 1942)
  • 1935: Man, make it easy for yourself! The "Real Knigge" 2nd edition , Carl Reissner, Dresden
  • 1935: The straw man. Schwank in 3 acts , Dreiklang, Berlin - not performed
  • 1935: A Sunday child. Comedy operetta in 7 pictures (music by Karlheinz Gutheim), distributor and publisher of German stage writers and stage composers, Berlin
  • 1936: Enjoy your life! (with Bruno Wellenkamp ), Verlag Arbeitsfront (a revue for KdF )
  • 1936: The Book of Kitsch , Piper, Munich
  • 1939: You, listen! Funny , military publisher Karl Siegismund, Berlin (German soldiers library, series A, vol. 1; 2nd edition 1940)
  • 1939: Still a child at the age of 100 ... , Schützen-Verlag, Berlin (4th edition 1940)
  • 1939: The devil's vial. A utoparodistic novel (under the pseudonym Andreas Zeltner), Schützen-Verlag, Berlin
  • 1940: The Joker , Curtius, Berlin (co-author)
  • 1940: The little jester , Curtius, Berlin (co-author)
  • 1940: with Viktor de Kowa : The Clumsy. Comedy in 3 acts based on the novel by Hans Ribau , Ahn & Simrock, Berlin
  • 1940: Mr. Knurpel. Shop-talk about a purring figure (under the pseudonym Andreas Zeltner), Wehnert, Leipzig (2nd edition 1942)
  • 1940: Tamerlan (under the name of RA Stemmle ), Ibach, Vienna a. a.
  • 1940: with GV Otten: The hunting lodge. Schwank , Ahn & Simrock, Berlin - not listed
  • 1941: Love and plaster , Frommhagen, Berlin
  • 1941: Laughing field gray , Burmester, Bremen (together with Hans Riebau)
  • 1942: Do you have any notes! , Schützen-Verlag, Berlin
  • 1942: The cobalt blue invisibility cap. A rascal in the small town , Braun & Schneider, Munich
  • 1943: Laughing field gray , Burmester, Bremen (together with Hans Riebau)
  • 1951: Behind the scenes of our language. A chat , Pohl, Munich
  • 1956: Reimann travels to Babylon. Notes of a philistine , Heidenheimer Verlagsanstalt, Heidenheim
  • 1957: Der Mogelvogel , Roman, Niemeyer, Hameln
  • 1959: My blue miracle. Life mosaic of a humorist , autobiography, Paul List, Munich
  • 2007: Order in the bookcase. Feuilletons , Lehmstedt, Leipzig
  • 2008: antics of life. Essays and poems at the time , Lehmstedt, Leipzig
  • 2010: From drummers and rascals. Memories , Lehmstedt, Leipzig

Audio documents

Original recordings

At the end of the 1920s, Hans Reimann discussed a number of records for the brands Odeon, Homocord, Grammophon, Ultraphon, Telefunken and Electrola with his own texts. The composer Erich Einegg accompanied him on the piano while recording on homocord, ultraphone and telefunk .

1. Odeon

  • Saxon miniatures: a) Spießer - b) Meißen or Loschwitz. Odeon O-11 003 a (Be 7243)
  • Saxon Miniatures: The Story of Creation. Odeon O-11 003 b (Be 7242)
  • Saxon miniatures: a) The cat - b) The maid. Odeon O-11 004 a (Be 7244)
  • Saxon miniatures: a) In the cigar shop - b) The blinds. Odeon O-11 004 b (Be 7245) [1] September 1928
  • Saxon miniatures: Oswin, the drowned herring. 1. u. Part 2. Odeon O-2616 a (Be 7642) and b (Be 7643) [2] December 1928
  • Indiscreet from our family. 1. u. Part 2. Odeon O-25 306 a (mx. H-83 429) and b (mx. H-83 430) homocord die

2. Homocord Electro

  • Laura, a poem. On the piano: Erich Einegg. Homocord 4-3215 (mx. TC 1578)
  • Sago, not a poem. On the piano: Erich Einegg. Homocord 4-3215 (mx. TC 1580)
  • Baul Ball, a drunk man. I and II. Homocord 4-3216 (mx. TC 1582/1583)
  • Mathilde Müller, the bent life curve of a Saxon maiden. On the piano: Erich Einegg. Homocord 4-3217 (mx. TC 1581)
  • Drinking song. On the piano: Erich Einegg. Homocord 4-3217 (mx. TC 1644)
  • Madame's kissed hand. Music by Ralph Erwin . Homocord 4-3218 (mx. TC 1645)
  • The good old and the new. On the piano: Erich Einegg. Homocord 4-3218 (mx. TC 1646) (A 22. 8. 29)
  • Imitation Schiller. Homocord 4-3577 (mx. H-62 543)
  • Land of milk and honey. Homocord 4-3577 (mx. H-62 545), also: Odeon O-25 257 (Be 10 782)

3. gramophone

  • In praise of the good old days. Gramophone 21 866 / B 46077 (mx. 741 bh-IV)
  • Saxon hymn. Gramophone 21 866 / B 46076 (mx. 744 bh-IV)
  • The fisher child from Norderney. Gramophone 21 865 / B 46075 (mx. 743 bh-IV)
  • The trip to Bitterfeld. Grammophon 21 865 / B 46074 (mx. 742 bh-IV) (mech. Copyr. 1928)
  • Lullaby. Gramophone 19 983 (mx. 519 bi-IV)
  • Child's guardian angel. Gramophone 19 983 (mx. 520 bi-IV)

4. Ultraphon
on the wing: Erich Eingg. Recorded February 1931, Berlin

  • a) Tree frog and goose - b) The transformed sparrow. Ultraphon A 871 (mx. 16 254)
  • a) The hunter man - b) The zebra. Ultraphon A 871 (mx. 16 255)
  • a) Poem of lies - b) The belated Easter Bunny. Ultraphon A 872 (mx. 16 256), [3]
  • Twelve little negroes. Ultraphon A 872 (mx. 16 257), [4]

5. Telefunken
Recorded November 1937, Berlin, Singakademie

  • Telefunken-Brettl: Tonfilm-Kathrein. 1st part (Erich Einegg - Hans Reimann): Lisl Tirsch - Ilse Trautschold - Erich Einegg - Hans Reimann. Telefunken A 2349 (mx. 22 471)
  • Telefunken-Brettl: Sleeping Beauty and Ulrike. 2nd part (Erich Einegg - Hans Reimann): Lisl Tirsch - Ilse Trautschold - Erich Einegg - Hans Reimann. Telefunken A 2349 (mx. 22 472)

6. Electrola

  • Adam and Eve. EG 2311. Recorded around May 1931, deleted from the catalog by the company in June 1934

Re-releases

  • Hans Reimann: Oswin, the drowned herring - all published recordings in 1928 - early 1930 plus 2 unpublished ones. Edition Berliner Musenkinder 2004 (CD Duo Phon 05403). Contains: Oswin, the drowned herring I & II / The story of creation / Spießer / Meißen or Loschwitz / The cat / The maid / In the cigar shop / The blinds / In praise of the good old days / The trip to Bitterfeld / The fisherman's child from Norderney / Saxon Hymn / Lullaby / The child's guardian angel / Laura, a poem / Sago, not a poem / Mathilde Müller, the bent life curve of a Saxon maiden / Baul Ball, a drunk in the night I & II / Drinking song / The sore-kissed hand of the Madame / The good old and new times / imitation Schiller / obituary for a canary / three little porcupines / land of milk and honey

literature

  • Christel Hartinger:  Reimann, Hans. In: New German Biography (NDB). Volume 21, Duncker & Humblot, Berlin 2003, ISBN 3-428-11202-4 , p. 335 f. ( Digitized version ).
  • Torsten Körner: A good friend - Heinz Rühmann biography. Structure of the Taschenbuch Verlag, Berlin 2003, ISBN 3-7466-1925-4 .
  • Berthold Leimbach (Ed.): Sound documents of cabaret and their interpreters 1898–1945 . Göttingen, self-published in 1991, unpaginated.
  • Rainer E. Lotz (Ed.): Discography of German Cabaret , Volume 3 by Manfred Weihermüller. ISBN 978-3-9802656-3-8 [5]
  • Oliver Ohmann: Heinz Rühmann and Die Feuerzangenbowle. Lehmstedt, Leipzig 2010, ISBN 978-3-937146-98-0 .
  • Ingrid Heinrich-Jost (Ed.): Kladderadatsch. The story of a Berliner Witzblatt from 1848 to the Third Reich. cw leske Verlag, Cologne 1982, ISBN 3-921490-25-1

Web links

Individual evidence

  1. http://www.hans-reimann.de/drittes.html
  2. Reimann's speech recordings in the Saxon dialect were highly valued by the Hamburg professor (1922-1947) for phonetics, Giulio Panconcelli-Calzia , because of their articulation and pitch movement (quoted “Critique of an Expert” (Panconcelli-Calzia) in Reimann's book Sächsisch ( Was nicht in the dictionary stands , vol. I), Piper 1931, p. [189], unnumbered advertising page of the publisher for "Saxon records by Hans Reimann".
  3. Although the TC 1578 and TC 1580 are pure speech recordings, the label still says “On the wing: Erich Einegg”.
  4. A parody of Ralph Erwin Vogl's hit hit "I kiss your hand, Madame" from 1928.
  5. Alan Kelly: HIS MASTER'S VOICE. BERLIN LOCAL REGISTER OF 10 "RECORDS . Sheffield 2000 and Hans Reimann: Sächsisch ( What is not in the dictionary , vol. I), Piper 1931, p. 189, unnumbered advertising page of the publisher for" Sächsische Schallplatten von Hans Reimann ".