Jo Lherman

Jo Lherman , also Joe Lhermann or Yo Lehrmann , actually Walter Ullmann (born January 5, 1898 in Vienna , Austria-Hungary , † May 5, 1949 in Paris ) was a director and theater founder and maker. He was also known as a radio commentator at the first Nuremberg trial under the pseudonym Gaston Oulmàn (also Gaston Oulman or Gaston Oullman ).

Ullmann was guilty of numerous property crimes over his entire lifetime and was very prone to imposture ; even his doctorate was merely presumptuous . In the Weimar Republic , under the name Lherman, he enjoyed a reputation as a “theater-obsessed” who put numerous premieres of living playwrights into work, often financed with bad checks and occasionally in violation of author's rights . Immediately after the Second World War, Ullmann succeeded as the official radio reporter of theNuremberg trial against the main war criminals for Radio Munich under the name Oulmàn, again with a falsified curriculum vitae and an abusive doctoral degree.

Early years

Walter Ullmann was born into a Jewish family in Vienna. His father was the employee ("private civil servant ", as it was called in Austria at the time) Moritz Ullmann, who probably worked in a freight forwarding company . His mother's name was Pauline Ullmann. So far nothing is known about Ullmann's youth and training. Although he later claimed to be a school friend of Arnolt Bronnen's , that is just as incorrect as his claim that he went to school with Bertolt Brecht .

At the age of 21 Ullmann had to leave Vienna because he was accused of cheating on an acquaintance out of a substantial sum of money . He first signed off from Vienna with a destination in Italy, but turned up in Rostock in March 1920 . A short term imprisonment against him for fraud is on record there. In the following months he traveled across Germany and was sentenced in Schongau , Berlin and Munich for fraud, theft and embezzlement to imprisonment from a few weeks to three months.

Lherman's first known contact with the theater dates back to 1920, when he was a guest at the Welker vaudeville troupe in Aue . He soon came into conflict with the law again and received a four-month prison sentence from the Zwickau District Court in March 1921 . The offenses were mostly relatively minor frauds: for example, he borrowed a tailcoat in Aue , but did not return it, but promptly turned it into money, and he also stole clothes and other items from his landlord's apartment.

When Dr. Jo Lherman

In Jena

In May 1923, Ullmann (now under the name Lherman) first managed to attract attention as a theater maker. Together with the Leipzig actor , director and later theater director Paul Lewitt (1895–1983) he organized a “New Drama Cycle” at the “Freie Volksbühne” in Jena, Thuringia, with a series of world premieres of contemporary works, including pieces by August Strindberg and Carl Sternheim , Frank Wedekind and Ernst Toller . The "Freie Volksbühne", a registered association founded by Adolf Reichwein among others , belonged to the socialist counterculture movement and saw itself as the "cultural organization of the working people". The performances were at least a critical success, because Alfred Döblin emphasized in a correspondent report for the Prager Tagblatt in August 1923 that Lherman had made a name for himself in Thuringia in recent months by performing "truly plays by living authors".

Lherman's “Das Theater” in Berlin

Lherman tried now to gain a foothold as a theater maker in Berlin. Since he did not have a theater license and was not a member of the Deutsches Bühnenverein , he founded, together with Emil Szittya, a closed society for the performance of plays, which he called "Das Theater". For this purpose he rented the Schwechtensaal , a concert hall on Lützowstrasse. He approached Arnolt Bronnen about a piece for a world premiere, who forwarded the request by letter to Bertolt Brecht in Augsburg. They finally agreed on a mystery play by Hans Henny Jahnn , Pastor Ephraim Magnus , which was considered unperformable because of its length. Bronnen took over the direction and secured the support of Brecht, who, according to Bronnen's report, made the majority of the necessary cuts (from seven to two hours of playing time).

On August 24, 1923, Lherman, Bronnen and Brecht actually succeeded in bringing about the premiere of the piece. Lherman had previously hit the beating drum, among other things with a programmatic article in the Berlin Börsen-Courier of 23 August 1923, the house paper of the well-known critic Herbert Ihering . In it Lherman confessed to modern drama and the “unleashed theater” of Alexander Tairow and Konstantin Stanislawski - and dedicated the essay to Brecht, whom he loved “infinitely”, “because he told me that he would be with me from the day of my eventual bankruptcy team up ". Jahnn, who had come to the last rehearsals, was not very friendly about the arrangement: “I didn't recognize my piece. Unfortunately, it hadn't turned out to be a Brechtian piece either. Hours of discussion and hostility. ”Most of the criticism was also negative; After all, Alfred Döblin found a few friendly words in the Prager Tagblatt and Fred Hildenbrandt in the Berliner Tageblatt .

A few days later, Lherman was arrested and the police closed his theater. The checks for the author and the costume designer had turned out to be uncovered. The Berlin writer Dinah Nelken promptly wrote:

The whole world seems twisted to us, because we are normal.
When Lhermann stands before the judge / he has to pay for the wine.
He saves our German art / with wine and false checks,
he makes the real blue haze / out of our poetic complex.

In his memoirs, Arnolt Bronnen attributed Lherman's check manipulation to the fact that he had financed the theater by speculating in foreign exchange on the falling mark - actually a promising business in the inflation year of 1923 , in which Lherman had the bad luck to catch a recovery phase for the mark. He was free again at the beginning of September as he was not accused of fraudulent intent.

Writing and journalistic activities

However, Lherman was not deterred by this fiasco, especially since he had considerably increased his level of awareness in this way. In the following years he went public with a variety of cultural activities. He wrote theater reviews and feature articles for various magazines and newspapers (including for Paul Westheim's renowned art journal , but also for the Westfälische Neuesten Nachrichten and the Heilbronner Neckar-Echo ), and at the end of 1924 he gave the opening speech at a Brecht evening with the reciter Franz Konrad Hoefert announced and together with the dramaturge Walter Gutkelch and Boris Wassermann published the short-lived cultural magazine Das Dreieck . Lherman edited a special issue of this periodical in early 1925 alone; it contained an "anthology of unpublished poems by sixty German authors" under the title "The Lyrik der Generation". Among others, Johannes R. Becher , Brecht (whose memory of Marie A. was printed here two years before its publication in the house postil ), Iwan Goll , Hermann Kasack , Klabund , Ernst Toller and Carl Zuckmayer - but also poems by the editor were represented himself, albeit under the name of Walter Ullmann, whom no one associated with Lherman.

Lherman's "Young Generation"

Lherman also succeeded, partly in Berlin and partly in various provincial cities, in staging a whole series of world premieres by living authors, where he now mostly drew as a director. At the end of 1925 he founded the “Young Generation” in Berlin, an independent theater group without a permanent venue, whose performances were mostly held as matinee events in rented theaters due to lack of money .

Despite these restrictions, numerous established Berlin actors played under Lherman's direction, many of them from the ensembles of the Volksbühne , the German Theater and the Prussian State Theater . Among them were Sonja Bogs, Jürgen von Alten , Paul Günther, Rosa Pategg and Hugo Döblin , the older brother of the writer and theater critic Alfred Döblin; also numerous younger actors such as the cabaret artist Hedda Larina, Herbert Brunar and Colette Corder , who had already played as a youthful leading actress in numerous horror and moral films such as "The Gray", "Großstadtmädels 2" and "Großstadtmädels 3". There were also theater-loving beginners and semi-professionals, including the later writer Ada Halenza .

With the “Young Generation”, Lherman first staged the premiere of the comedy Piano by Leo Matthias in 1925 , and in February 1926 The Drama with the Three Crosses by Karl Aloys Schenzinger ; In the same year he brought out Hermann Kasack's play Die Sister in Heilbronn , and soon afterwards Ernst Glaeser's tragic comedy Seele über Bord in Kassel .

The main critics, especially those of the capital city press, expressed themselves increasingly unfriendly about Lherman's directorial work, but by no means unanimously. Herbert Ihering wrote, for example: “Lherman is not a person, he is an adhesive. He reads a play that has not been performed and he is more attached to him than the author. “ Carl von Ossietzky devastated the Schenzinger premiere. For him, Lherman's direction was “utter dilettantism” and he felt that he and the other viewers were “victims of a bizarre assassination”. At the same time, however, he said that one should give the “theater crazy” a chance with a solid contract. Alfred Kerr, on the other hand, showed clear sympathy for Lherman, even though he criticized the performances and especially the selected pieces.

In 1927 Lherman again directed the world premiere of Walter Serner's Posada or the great coup in the Hotel Ritz , which was an “overwhelming failure”. Almost without exception, the director and actor were panned out in the press. The Neue Berliner Zeitung described the whole thing as a “belated carnival sulk”, the Berlin weekly Der Montag Morgen registered “a lot of involuntary comedy, a lot of wrong sounds, a lot of wrong scenic optics.” And the German daily newspaper complained: “The» young generation «... amazes their audience and steals three brilliantly beautiful Sunday afternoon hours. " Felix Hollaender blamed Lherman in his review for the mischief of his group", Fritz Engel denies him "any dramatic feeling" in the Berliner Tageblatt , Monty Jacobs calls him a "dilettante" . In his review, Max Osborn complains that with Lherman's director, “the audience never knows whether it is involuntary comedy that makes them laugh.” And the Berliner Welt on Monday summarized: “The performance is one of Mr. Lherman's most superfluous undertakings And that means something. "The fatal blow was given to the play and director by the conservative theater scholar Hans Knudsen in the respected literary magazine Die Schöne Literatur :" The director Lherman saw the boring of this evil work of apparent lack of talent as the most worthy of emphasis. "Author Serner felt himself too and his play misunderstood by Lherman and supplemented the later book edition with an “Avis for the director”, in which it was demanded that the play “neither as a parody nor as a grotesque”. There was no further performance of the piece. Allegedly the "police authority had raised an objection."

1928 Lherman sat in Bad Durkheim the pastor of Mainz by Wilhelm Schmidt Bonn staged. During this time, however, he repeatedly came into conflict with the law because of his business practices; Various proceedings were opened against him, most of which had no lasting consequences. In January 1929 he was convicted by the Charlottenburg jury for improper use of the doctoral degree (and fraudulent acquisition of a radio).

Lherman's enthusiast scandal

Hardly back in freedom, Lherman produced the biggest theater scandal of his career: the world premiere of the enthusiasts by Robert Musil . Lherman had teamed up with Paul Gordon , who in 1929 had taken over the so-called “ Theater in der Stadt ” on Kommandantenstrasse, a Berlin suburban theater . They wrote to Musil and asked him for an abridged version of the piece, which in the original would have been over four hours long. However, Musil refused, especially because he wanted to bring Die Schwärmer out at a renowned theater (which he had never succeeded in the past eight years, although he had received the renowned Kleist Prize for the play ). Lherman and Gordon then cut the piece down to about half themselves. They responded to Musil's criticism by referring to a contract they had signed with Drei-Masken-Verlag , the stage distributor for Musil's play.

Musil then tried to prevent the premiere with articles for the Berliner Börsen-Courier and other newspapers, but he only managed to postpone it by a week. The premiere (director: Jo Lherman) again met with a very mixed response: Alfred Kerr and Erich Kästner were cautiously positive about the "honest attempt" to get the play on stage, and blamed the problems of the performance on the difficult play, the unsuitable venue and the poorly educated audience. Kerr judged benevolently: “Lhermann works artistically. To deny the ascent of this ramp addict would be indecent for my feeling now ... Is there a speculator here? Or a nascent one? ”Herbert Ihering tore down the work and performance, as most critics did. According to eyewitness reports, the majority of the visitors could not do much with the play and direction, but there were also some enthusiastic claqueurs who (it was assumed) could have been paid by Lherman. And Musil noted in his diary the receipt of a check for a meager 66 marks and 25 pfennigs for the 10 performances.

Last productions

In 1930, Lherman succeeded for the last time in bringing plays by living playwrights on stage: in a midday performance in Berlin, he staged a play by James Joyce , Banished , which was again mixed up. In the Berliner Tageblatt , Lherman once received praise from Fritz Engel, who emphasized “that this Lherman, otherwise often so sloppy, did an excellent job here.” The critic and Musil connoisseur Walther Petry, on the other hand, judged: “The director, an experimenter without any skill with a penchant for difficult modern problem literature has no idea of ​​the tasks involved in the matter. His interpretation of the enthusiasts was pointless; that of the exiles was foolish ... his directing staff, instead of animating, kills. "

In the same year, a play by Paul Claudel , Das harte Brot , was performed in Vienna . Then Lherman's theatrical passion finally fell victim to his business practices: he was sentenced to six months in prison in Vienna in 1932 for fraud (among other things, he had accepted an advance payment for a play and immediately spent it without making any effort to stage it). As his true identity came to light in the course of this process, his theater career came to an end.

As early as the end of March 1931, Karl Kraus gave the following newspaper passage in the torch tellingly glossed through the headline Theater, Art and Literature :

“The name Jo Lherman was first mentioned in public when he was arrested in Berlin in the summer of 1927. - - In total, Lherman was charged with fraud in twenty-two cases and with forgery in five cases. - - Even then there were doubts about his personality - - In fact, it was also established that he had been punished five times in 1920 and 1921 for minor property crimes. Incidentally, at the Berlin negotiation, the well-known Berlin critic Alfred Kerr, who was questioned as an expert, spoke very favorably of Lherman and claimed that Lherman was obsessed with the fanaticism of helping the younger playwrights to get onto the stage, and that he already had a lot of salutary in this regard done and have all the talents to become a powerful theater director. The trial concluded with Lherman being sentenced to fifteen months in prison. "

- Karl Kraus : theater, art and literature.

Publicist, editor, publisher

For this purpose, Lherman found a job in Vienna at the Bergis publishing house . In his magazine Das Blaue Heft he published theater reviews as well as a number of political articles under the name WM Ullmann, including an impressive appeal in 1932: Remember Ossietzkys . In May 1932, Ossietzky had to serve an 18-month prison sentence for allegedly betraying military secrets, and Ullmann put himself in his position in this article:

"... wears the sackcloth suit of the Prussian convicts, has to hit his cot on the wall in the morning and maybe glue paper bags or wear tobacco during the day ..."

The article ended with an appeal

“To hold the front from which it was torn ...; to talk about him, to remember him, not to forget him, to call out to him again and again; and finally to love him with all my heart as our badly wounded brother. "

- Walter Ullmann : Das Blaue Heft, August 1, 1932

In 1933 Ullmann went to Paris with the order to transfer the publishing house to the French capital and published a series of books under the label Les Editions Bergis . However, he was soon threatened with arrest again because he was accused of embezzling the savings of German emigrants. He left for Brno , where he suggested to the emigrant Will Schaber , whom he knew from working with newspapers on the Neckar-Echo , that a German-language press service should be set up in Czechoslovakia. This really came about - of course without Ullmann, who had to disappear quickly because his profile appeared in the newspapers.

Ullmann stayed first in Portugal, then in Spain. Apparently he later reported on the Spanish Civil War as a correspondent for various Austrian newspapers . In 1937 he was arrested in Barcelona again, this time on charges, as representative of the "Geneva press service," the press agency of the League of Nations , the war censorship bypassed and the Franco ; forces to have worked. He himself later claimed that he had been a UP correspondent in Madrid . In fact, the then head of United Press in Madrid later campaigned for him in Munich. However, there were also rumors about Ullmann's arms deals with both warring parties.

In World War II

In the years after 1937, Ullmann's trail is lost. In 1949, the magazine's letters to the editor claimed that he was the head of an anti-German propaganda organization in Istanbul . But there is no evidence for this. Ullmann himself apparently later stated that he had been a journalist in Spain until 1941; He was arrested several times for his independent reporting for various Latin American media and was finally extradited to the Gestapo in 1941 when he publicly advocated the "Ibero-American states" entering into war against Hitler. At that time he was also given Cuban citizenship. Konstantin von Bayern, who saw Ullmann's later criminal file in Straubing, wrote about an extradition from Madrid on an international profile for fraud.

In any case, the next secured document concerning Ullmann's life is a judgment of the Regional Court for Criminal Matters Vienna of September 16, 1942. Ullmann, who was obviously doing very badly (the prison doctor found 24 kg underweight), was sentenced to five years in prison for fraud sentenced and transferred to the Straubing prison. When the front came closer in 1945, the SS drove the prisoners towards Dachau , and Ullmann ended up with many others in a POW camp , the main camp VII A near Moosburg .

Dr. Gaston Oulmàn, radio commentator at the first Nuremberg trial

After the liberation he succeeded as an alleged Cuban citizen under the new name “Dr. Gaston Oulmàn ”to make new contacts. At the intercession of fellow prisoners, the journalist Max Kolmsperger , at that time head of the care center for those persecuted by Nazism in Moosburg, obtained Oulmàn the persecuted status and private quarters and opened further doors for him. He won the trust of incriminated NSDAP members who entrusted him with their property and bought a car.

Oulmàn soon managed to establish himself in Munich. According to his secretary at the time, Oulmàn also provided NSDAP members with Persil bills for money or food. In Munich he met artists and journalists, including Trude Hesterberg and Curt Riess . Oulmàn copied Riess' war correspondent uniform and pretended to be a Cuban "war correspondent". He also made friends with the Wittelsbachers by telling them that he had communicated with a leading member of the monarchist resistance, Adolf von Harnier (see Harnier-Kreis ), in the Straubing prison by knocking and that he had convinced him that Bavaria had a Monarchy best fit. Oulmàn offered himself as a "propagandist for a Bavarian restoration". He organized a press conference in Leutstetten , where Crown Prince Rupprecht of Bavaria resided, and even persuaded the city commanders of Munich to approve a “ Bavarian Home and Royal Party ”, which was soon banned again. In order to generate an income, he successfully sold bonds in Swiss francs to a (presumably non-existent) Swiss account for Reichsmarks .

The decisive factor for Oulmán's brief fame in the post-war years was that he won the trust of the American radio commissioner for Bavaria and director of Radio Munich, Field Horine . Apparently, his acquaintance with the former head of United Press in Madrid, Joe Ravotto, who now worked at the Munich broadcasting company, was useful for this contact. Field Horine made Oulmàn the official radio reporter of the first Nuremberg Trial for Radio Munich. He had access to prisoners and witnesses at the trial and attended the court hearings. His radio commentaries, which were broadcast daily, "were often bitingly ironic and displeased to a large part of the German audience", as Will Schaber sums up. But also some Americans like Robert H. Lochner , whose father reported as a correspondent for the Associated Press from Nuremberg, describe Oulman's programs as "spiteful" and "oozing with German hatred".

In the course of the trial he won the trust of the wives of high Nazi leaders, such as Evi von Blomberg (wife of Werner von Blomberg ), Henriette von Schirach , Brigitte Frank (wife of Hans Frank ) and Emmy Göring . He passed on messages between the witnesses or accused and their wives, used the information obtained journalistically, but defended the women in his comments against any form of clan liability and unselfishly helped them to cope with private problems.

Oulmán's final comment on the Nuremberg verdict on October 1, 1946, was circulated throughout the German-speaking area. He praised the conduct of the Allies' litigation, but expressed fundamental concerns about the imposition of death sentences. As a result, he was heavily involved in convicting Franz von Papen in the arbitration chamber proceedings that followed the acquittal at the Nuremberg trial. In the meantime, however, people increasingly believed that they recognized him as Jo Lherman (including Hermann Mostar ), and his journalistic activities also met with increasing distrust among Americans; they didn't renew his contract.

For a short time, Oulmàn was a correspondent for the Associated Press and soon founded his own press agency, with which he quickly ran into difficulties again (among other things because he incorrectly labeled his own reports with the International News Service logo). The American consulate researched and found that a Gaston Oulmàn was not known in Cuba.

Directeur politique at Radio Saarbrücken

Oulmàn resigned himself in the Saar protectorate and in autumn 1947 became editor-in-chief of Radio Saarbrücken as Directeur politique . However, he could not last long there either. In 1948 he was replaced as editor-in-chief, among others at the instigation of the Saarland Prime Minister Johannes Hoffmann . This was preceded by a violent German press campaign against him. In March 1948, the SPD parliamentary group also complained about "misleading reports" about Oulmàn, calling him a communist.

In May 1948, the High Commissariat had also recommended his dismissal in a confidential letter, since as a correspondent for foreign media he would damage the good reputation of Saarland Broadcasting. This was immediately preceded by a report by Oulmàn on a student strike in Homburg , which he had published against the instructions of the French governor . When his boss and benefactor, General Director of Broadcasting Gérard Losson , got into trouble because of his personnel policy, a house search at Oulmàn was carried out and blank border tickets were found. The French police then arrested him and deported him to France after attempting suicide.

The last year

There were numerous rumors circulating over the last year in Ullmann's life. It was rumored that he was a brothel porter in North Africa or had worked for the Soviet embassy in Tangier . There is no evidence of this. His death has also been reported several times: he committed suicide in Casablanca or was found stabbed to death in the Kasbah of Algiers . In August 1948, the New York weekly Aufbau also claimed without any justification that Oulman was the author of Eva Braun's diaries, which had been exposed as a forgery .

It can be proven that Ullmann was in Paris in 1949, where he once again founded a press agency. His last success came on February 19, 1949: he published an interview with Friedrich Gaus about the signing of the Hitler-Stalin Pact in Le Monde . Two months later, according to a French press agency report, he died of a lung disease. Allegedly he “coughed the last bit of life out of his perforated lungs.” Walter Ullmann is buried in the Pantin cemetery.

Assessment and research situation

Personal descriptions of Ullmann are rare. According to the few details and photos, he was small, slim, had a “sharply curved nose” and in later years wore heavy glasses. According to a temporary employee, he was "a good entertainer and also told interesting stories."

The assessments of his personality are extremely divided. Former stage colleagues judged his activities as Lherman rather leniently: For Hans Sahl he was “an adventurer, a mixture of idealist and deceiver”, for Alfred Dreifuss “a lovable crook” and “professional scam”. For old and neo-Nazis like Franz Josef Scheidl he was the caricature of a Jew, "a small, lean man with long, dirty fingers and yellow teeth."

There are scattered reports about Jo Lherman in the memoir literature, especially in Arnolt Bronnen's book about his time with Brecht (see literature). Gaston Oulmán's activities from 1945 onwards have been echoed in a number of souvenir books and journalistic products. In his books After the Flood (1954) and Without Power and Glory (1961) , Konstantin Prinz von Bayern reported extensively on his experiences with Oulmàn. In addition, the figure Oulmàn appears repeatedly in historical revisionist publications, mostly as an example of the alleged corruption of reeducation , for example in David Irving's Nuremberg: The Last Battle and Franz Schönhuber's Ich was there , where he is portrayed as a professional criminal. Otto Zierer emphasizes his “oily voice”, although Oulmàn did not even speak most of his radio commentaries himself, and in 1978 absurdly defamed him as “an SS leader in hiding”.

In 1969 the broadcaster Freie Berlin is said to have broadcast a documentary about Oulmàn. On July 3, 1970, the Second German Television showed a "documentary game" Das Chamäleon based on a script by Joachim Ulrich about Oulmàn. In 1978 a "documentary thriller" with the same title by Maximilian Alexander (pseudonym for Ulrich Holler) was published, but it is primarily devoted to Oulmán's alleged bed stories.

Will Schaber published the first and so far only scientific study that focuses on Ullmann's biography in the yearbook Exilforschung in 1989 . In his extensive Musil biography, Karl Corino made use of a number of data, contemporary sources and archaeological finds from Ullmann's early years and Lherman's time in theater, which round off the picture of this colorful personality.

Fonts

As editor

• The triangle. Monthly magazine for philosophy, poetry and criticism. Edited by Dr. Walter Gutkelch, Dr. Jo Lherman, Dr. Boris Wassermann. 1924–1925 (seven issues published).
• The lyrics of the generation. An anthology of unpublished poems by sixty German authors . Edited and introduced by Jo Lherman. Berlin: Dreieck-Verlag, 1925.

Journalistic work (selection)

• Jo Lherman: Programmatic Essay. In: Berliner Börsen-Courier. August 23, 1923.
• Jo Lherman: The Kleist Prize winners. In: Westphalian Latest News. March 12, 1924.
• Jo Lherman: Dramatic result. In: The triangle. 1st year, issue 2, October 1924, p. 61.
• WM Ullmann: Remember Ossietzkys. In: The Blue Booklet. August 1, 1932.
• WM Ullmann: The defeat. In: The Blue Booklet. 12 (Issue 16), March 15, 1933, pp. 481-483.
• WM Ullmann: Emigrated writers. In: The Blue Booklet. 12 (issue 19), May 1, 1933, pp. 587f.
• WM Ullmann: To Marianne. In: The Blue Booklet. 12 (Issue 20), May 15, 1933, pp. 612f.
• Lherman: Pen club Austrians. In: The Blue Booklet. 12 (Issue 23) ,. July 1, 1933, p. 735.
• WM Ullmann: August 1st. In: The Blue Booklet. 13 (Issue 1), August 1, 1933, pp. 1f.
• WM Ullmann: The future. In: The Blue Booklet. 13 (Issue 7), November 1, 1933, pp. 208f.

literature

• Will Schaber: The Ullmann - Lherman - Oulmàn case. In: Exile Research. 7 (1989): Publizistik im Exil , pp. 107-118.
• Karl Corino: A piece of soul as minced meat. The "enthusiast" scandal. In: ders .: Robert Musil. Reinbek 2003, pp. 737–767 and 1683–1700.
• Arnolt Bronnen: A dollar cost a million marks! and the better weather on the march was Brecht himself. In: ders .: Days with Bertolt Brecht . Desch, Munich 1960, pp. 145–158.
• Konstantin von Bayern: Third report . In: ders .: After the Flood. Reports from a time of upheaval 1945–1948. Süddeutscher Verlag, Munich 1986, ISBN 3-7991-6339-5 , pp. 21-63.

Web links

• Carl von Ossietzky: Lherman. In: Ders .: Complete Writings. Volume 2, pp. 622ff. first in: Monday morning. February 22, 1926.
• Gaston in all streets (without indication of responsibility). In: Der Spiegel. April 10, 1948.
• A delightful encounter with Mrs. Steckel. (Audio piece). Conversation between David Herzog and Hermine Steckel, the secretary of Gaston Oulmàn 1945/1946 and later wife of Leonard Steckel , on January 10, 2001 ( text version ( Memento from September 16, 2011 in the Internet Archive ))

Remarks

1. ↑ According to the birth register of the Jewish community, quoted by Karl Corino.
2. ↑ This occupation comes from: Will Schaber: The case Ullmann - Lherman - Oulmàn. In: Exile Research. 7 (1989): Journalism in Exile , p. 117.
3. ↑ ^{a b} The presentation of the early years is based on Karl Corino: A piece of soul as minced meat. The "enthusiast" scandal. In: Ders .: Robert Musil. Reinbek 2003 especially p. 746f. and pp. 1686-1689. Corino (p. 1689) took the information on the judgments from an excerpt from the criminal record at the Public Prosecutor's Office III, Berlin, from November 17, 1928 (file [57] F. 3. J. 810.28 [242.28] in the Berlin State Archives ) . Corino cites the details of the Zwickau trial (p. 1688) from a report in the Zwickauer Tagblatt and Anzeiger of March 23, 1921. He reproduces the program of the cycle of new drama in Jena according to the Jenaische Zeitung of April 25, 1923 (Corino, p . 1688f.).
4. ↑ Alexander Abusch : Literature in the Age of Socialism. Berlin (East): Aufbau, 1967, p. 89; Eberhart Schulz: Red flags, brown shirts. Labor movement and fascism in Jena 1929 to 1933. Weimar 2005, p. 16; Birgit Liebold, Margret Franz: Volkshaus Jena. Attempt a chronicle. Jena / Quedlinburg 2003, p. 25.
5. ^ Alfred Döblin: Pastor Ephraim Magnus. In: Prager Tagblatt v. August 30, 1923.
6. ↑ Quoted from Werner Hecht: Brecht-Chronik, Frankfurt: Suhrkamp, ​​1997, pp. 160f.
7. ↑ Quoted from Werner Hecht: Brecht-Chronik, Frankfurt: Suhrkamp, ​​1997, p. 160.
8. ↑ Hildenbrandt's criticism appeared in the Berliner Tagblatt of August 25, 1923 (reproduced from Schaber, pp. 197f.), Döblin's review in the Prager Tagblatt of August 30, 1923 (reproduced from Corino, p. 747).
9. ↑ Dinah Nelken: All the Time of My Life: Stories, Poems, Reports. Berlin (East) 1977, p. 38.
10. ↑ For the events surrounding the premiere of Pastor Ephraim Magnus , the representations of Schaber (p. 107f.), Corino (p. 747–749 and p. 1691) and Bronnen were used.
11. ^ Names determined from contemporary reviews and the program sheet for Posada 1927.
12. ^ Berliner Börsen-Courier, November 2, 1925; quoted from Schaber, p. 108.
13. ↑ See Ossietzky 1926 (see under “Weblinks”).
14. ^ Presentation of Lherman's theater career after Schaber, pp. 108-109, and Corino, pp. 750f. as well as 1692f.
15. ↑ Walter Serner: The Abreiser. Materials on life and work. (Collected Works, Vol. X). Munich: Goldmann, 1988, p. 102f.
16. ↑ Posada or the big coup in the Hotel Ritz. In: Neue Berliner Zeitung No. 55 v. March 7, 1927; KHR: Posada . In: Monday Morning No. 10. March 7, 1927; HK: Posada. In: German daily newspaper v. March 7, 1927.
17. ↑ Felix Hollaender: "Devotion to the Cross" and a crook. In: 8 o'clock evening paper No. 55 v. March 7, 1927; Fritz Engel: Calderon and Walter Serner. In: Berliner Tageblatt v. March 7, 1927; MJ: »Posada« in the New Theater at the Zoo. In: Vossische Zeitung v. March 8, 1927.
18. ^ MO: Posada. In: Berliner Morgenpost v. March 8, 1927; HWF: »Posada« in the New Theater at the Zoo. In: World on Monday No. 10 BC March 7, 1927.
19. ↑ Review in: Die Schöne Literatur 28: 4 (1927), p. 191.
20. ^ ^{A b} Walter Serner: Der Abreiser. Materials on life and work. (Collected Works, Vol. X). Munich 1988, p. 243, note 34.
21. ↑ Alfred Kerr: The enthusiasts. In: Berliner Tageblatt v. April 4, 1929; Erich Kästner's review appeared under the title Small scandals about good pieces in the Neue Leipziger Zeitung on April 10, 1929.
22. ^ Ihering's review appeared on April 4, 1929 in the Berlin Börsen-Courier .
23. ^ Presentation of the events surrounding the Schwärmer premiere after Corino, pp. 750–767; the diary entry is mentioned in: Karl Corino: Robert Musil. In the S. (Ed.): Genius and Money. On the livelihood of German writers. Reinbek near Hamburg 1991, pp. 424-447.
24. ^ Wilhelm Füger (ed.): Critical legacy. Documents on the reception of James Joyce in the German-speaking area during the author's lifetime. Amsterdam 2000, p. 88 ff .; Fritz Engel: After Ibsen. In: Berliner Tageblatt v. March 10, 1930 (evening edition); Walther Petry: Experiment. In: Sozialistische Monatshefte 1930, p. 512.
25. ^ After Corino, p. 1696 f.
26. ^ Karl Kraus : Theater, Art and Literature. In: Die Fackel , No. 847–851, end of March 1931, p. 74.
27. ↑ Das Blaue Heft, August 1, 1932, quoted from Schaber, p. 109f.
28. ↑ cf. John M. Spalek, Konrad Feilchenfeldt, Sandra H. Hawrylchak (eds.): German-language exile literature since 1933, vol. 3: USA, part 2. Bern / Munich 2001, p. 394.
29. ↑ Cf. Konstantin von Bayern: Nach der Sintflut, p. 25, and Schaber, p. 111f .; Schaber quotes a report from the Wiener Telegraf at noon on July 29, 1937.
30. ↑ ^{a b A} delightful encounter with Mrs. Steckel (audio piece). Conversation between David Herzog and Hermine Steckel on January 10, 2001 ( text version ( Memento from September 16, 2011 in the Internet Archive )); see. also Constantine of Bavaria: After the Flood, p. 29.
31. ↑ Constantine of Bavaria: After the Flood, p. 25.
32. ↑ End station Tangier. In: Der Spiegel v. January 8, 1949, p. 28.
33. ↑ Constantine of Bavaria: After the Flood, pp. 25, 29, 236.
34. ↑ Illustration according to Schaber, pp. 109–112.
35. ↑ Constantine of Bavaria: After the Flood, pp. 24–28; Schaber, p. 112.
36. ↑ See the conversation with Hermine Steckel under "Weblinks".
37. ↑ Constantine of Bavaria: After the Flood, p. 31.
38. ↑ Constantine of Bavaria: After the Flood, p. 31; Schaber, p. 113.
39. ↑ Constantine of Bavaria: After the Flood, p. 32; Schaber, p. 113.
40. ↑ Schaber, p. 113.
41. ^ Robert H. Lochner: A Berliner under the stars and stripes. Berlin 2003, p. 42.
42. ↑ Konstantin von Bayern: After the Flood, Munich 1986, p. 35ff .; quoted here from Schaber, p. 116.
43. ↑ Constantine of Bavaria: After the Flood, pp. 37–56; Schaber, p. 116; Norbert Lebert, Stephan Lebert: Because you have my name. The heavy legacy of the prominent Nazi children. Munich 2000, p. 122.
44. ↑ Will Schaber: The Ullmann - Lherman - Oulmàn case. In: Exilforschung 7 (1989): Publizistik im Exil , p. 116; Heribert Schwan : The radio as an instrument of politics in Saarland 1945-1955. Berlin: Spiess, 1974, pp. 119, 135f .; Hans Bausch: Broadcasting Policy after 1945. First part: 1945-1962. Munich 1980, p. 152f .; see. also Paul Burgard: Die Saarlandmacher. The establishment of the Saarland Broadcasting Corporation and the state's autonomy 1946–1955. In: Clemens Zimmermann, Rainer Hudemann, Michael Kuderna (eds.): Saar media landscape from 1945 to the present. Volume I: Media between Democratization and Control (1945–1955). Munich: Oldenbourg, 2010, pp. 129–192, here: pp. 158–161.
45. ↑ Karl Corino: A piece of soul as minced meat. The "enthusiast" scandal. In: Ders .: Robert Musil. Reinbek 2003, p. 1697; Franz Schönhuber: The people stupid. Coburg 2006, p. 75; Der Spiegel from January 8, 1949.
46. ↑ RP: The Secret of Gaston Oulman. In: Structure No. 33 v. August 13, 1948, p. 6. ( digitized version ); About Eva Braun's “diary”. In: Structure No. 38 BC September 17, 1948, p. 17 ( digitized version ).
47. ↑ as Gaston Oulman: Comment fut signé le traité germano-soviétique du 23 août 1939. Le Monde, February 19, 1949. ( Online archive ; accessed September 1, 2016.)
48. ↑ Hans Buchheim : Current crisis points of the German national consciousness. Mainz: Hase & Koehler, 1967, p. 205.
49. ^ Presentation of the career of Gaston Oulmàn after Schaber, pp. 112–117.
50. ↑ Gaston in all streets . In: Der Spiegel , April 10, 1948. ( Digitized with photo by Oulman ).
51. ↑ An impression of the aforementioned physiognomic peculiarities is also given by a cartoon by Ullmann, which appeared in the program magazine Radiowelt in 1946 on the occasion of his reports on the Nuremberg Trials , printed in: Hans-Ulrich Wagner: Der Nürnberger Hauptkriegsverbrecherprozess als Medienereignis . The reporting by the radio stations in the Western Allied occupation zones 1945/46, in: Zeitgeschichte-online , October 2015, section “You are now listening to the daily trial report from Nuremberg”: Radio Munich and the Oulmàn case ; accessed September 1, 2016.
52. ↑ Hans Sahl: Memoirs of a moralist. Vol. 1, Frankfurt am Main 1985, p. 138; Alfred Dreifuss: Ensemble play of life. Berlin 1985, pp. 51, 81.
53. ^ Franz Josef Scheidl: The injustice to Germany. (History of the ostracism of Germany. Vol. 6). Vienna 1968, p. 217.
54. ^ First published in London in English under the title After the Flood .
55. ^ David Irving: Nuremberg: The Last Battle. Focal Point, London 1996, pp. 283f. Franz Schönhuber: I was there. Langen Müller, Munich 1981, p. 237.
56. ↑ Otto Zierer: Franz Josef Strauss. Munich 1978, p. 168.
57. ^ After Barbara Mettler-Meibom : Democratization and the Cold War. On American information and broadcasting policy in West Germany 1945–1949. Spiess, Berlin 1975, p. 161.
58. ↑ See the information at IMDB .
59. ↑ Maximilian Alexander: The chameleon. The man who turned to Dr. Gaston called Oulmàn. Glöss, Hamburg 1978, ISBN 3-87261-022-8 . The information on the actual name of the author comes from Schaber, p. 118.
60. ↑ Die Blaue Heft -Jgg. 12 to 13 are largely fully accessible on the DNB website .