Kurtheater Norderney

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Kurtheater Norderney
Kurtheater Norderney, 2018

Kurtheater Norderney, 2018

Data
place Norderney
architect Johannes Holekamp
Construction year 1893
Coordinates 53 ° 42 '20.6 "  N , 7 ° 8' 47.3"  E Coordinates: 53 ° 42 '20.6 "  N , 7 ° 8' 47.3"  E
Kurtheater Norderney (Lower Saxony)
Kurtheater Norderney
particularities
The only theater on the East Frisian Islands. One of the oldest theaters in Lower Saxony.

The Kurtheater Norderney is located on the northern edge of the Kurplatz in the center of the North Sea island of Norderney . The spa theater, designed in the style of a small residence theater based on the model of the opera house in Hanover , was opened in 1894 and is therefore one of the oldest theaters in East Frisia . It was taken over by the city of Norderney in the 1920s and has served as the venue for the Lower Saxony North State Theater (LBNN) since the 1950s . Since 1923 the house has also been used as a cinema , which has made a name for itself, among other things, as the venue for the Emden-Norderney International Film Festival . In 1987 the building was placed under monument protection.

history

prehistory

Norderney belonged to the Kingdom of Hanover between 1815 and 1866 . During this time, the seaside resort, which was the summer residence of King George V from 1836 , developed into a center of court and social life. The Welfenhaus invited internationally known artists to the island several times. In addition to the Swedish opera singer Jenny Lind , who gave two charity concerts in the Conversationshaus in 1854 , the court actor Karl August Devrient traveled to an evening of recitation in 1857. However, it does not seem that there were regular theater performances on Norderney before 1868. This year, the troupe of the Emden theater director Adolf Basté was invited to a guest performance on the island. The summer of 1872 is considered to be the first real theater season, when the Hanoverian Theater performed comedies , mainly one-act plays , on 16 evenings . In the following years, there were only occasional theater performances “for entertainment in rainy weather”, such as sketch programs and readings.

Continuous theater operations did not develop until the 1890s. For a long time, the island's restaurateurs tried to offer their guests entertainment. They mainly organized cabaret shows and engaged the magician Samuel Bellachini or ventriloquist several times . Gradually, however, the need for a permanent theater with performances in summer grew.

First seasons

Kurtheater Norderney around 1900

The hotelier Gustav Weidemann, who ran one of the leading hotels on Norderney, the Deutsches Haus (later Schuchards Hotel ), began building a theater building in the large restoration garden of his hotel in November 1893. The location near the spa center was easily accessible for both locals and guests. The building by the Hanoverian architect Johannes Holekamp , which had cost a total of 80,000  marks , was already completed the following summer . The theater was officially opened on July 1, 1894 with the comedy Der Herr Senator by Franz von Schönthan and Gustav Kadelburg . The Kur-Theater (spelling at the time) was in this first season under the direction of Carl Waldmann, the owner of the private residence theater in Hanover . The ensemble of the two houses consisted of 21 women and 21 men and 26 technicians. With the repertoire , which mainly consisted of comedies by successful authors such as Adolph L'Arronge , Ludwig Fulda and Franz von Schönthan, Waldmann adapted to the entertainment needs of the bathing audience; The classics Charley's Aunt and The Robbery of the Sabine Women were not to be missed . As a special feature, the one-act operetta Lieschen and Fritzchen by Jacques Offenbach also featured a smaller musical theater work. The last performance of the first season took place on September 16, 1894.

Even if the concerts of the Royal Bathing Band were even more popular, the theater was able to establish itself as a new attraction. In the years up to the First World War , little changed in the direction of the program . Only popular pieces of the easy genre were given, which not only appealed to the audience, but also had the advantage that they were geared towards traditional roles . Necessary new appointments could be accomplished in this way within a short time, and prominent actors could also appear relatively easily. The well-known Hamburg actor Robert Nhil was the highlight of the second season in a Fulda production.

The management of the Kurtheater changed frequently. After Waldmann's death, Hans Gelling, the director of the Mecklenburg court theater, was responsible for the stage for a short time. Victor Arnold later put together an ensemble with actors from Berlin, Danzig and Magdeburg, among others. In smaller approaches he tried to deviate from conventional entertainment theater. In 1904 and 1906 he himself appeared as Professor Dühring in Frank Wedekind's play Der Kammersänger and received good reviews. On the 100th anniversary of Friedrich Schiller's death in 1905, the play The Robbers came on the stage of the Kurtheater; Jann Berghaus, who later became President of the Aurich administrative district, played the role of the old moor . In 1908 the stage had one of its few world premieres with the military humor The Kaisertoast . In addition to Walter Turszinsky, the author was a Freiherr von Schlicht , a pseudonym behind which the Berlin satirist Wolf Ernst Hugo Emil von Baudissin hid himself . The most important actors of the Kurtheater were honored once a season with a charity performance , as in more prestigious theaters , in which they were allowed to appear in a glamorous role and received the lion's share of the income.

1914 to 1945

The bathing business came to a complete standstill during the First World War, and tourism only developed slowly after 1918 . On April 18, 1921, the city of Norderney decided to take over the stage, which was last owned by hotelier Werner Friedrich, for a price of 155,000 marks. Parts of the equipment had mysteriously disappeared during the war years, and the theater no longer met the increased demands in all technical details. The house therefore received, among other things, new stage lighting and was otherwise extensively renovated. Despite these measures, the use of the house proved to be extremely difficult. The Konzertdirektion Leonhardt in Berlin, which had been commissioned to design the program, initially toyed with the idea of ​​an operatic focus with the call of well-known soloists such as Grete Merrem-Nikisch and Richard Tauber , but in the end they did not dare to take the financial risk. Instead, the management organized individual evenings with alternating guest performances, which, however, did not reach the audience to the extent desired. The following season (summer 1922) was largely contested by the Oldenburg State Theater and the Hamburg Thalia Theater , although the number of visitors was still moderate . A substantial deficit accumulated within two years; the season in the inflation year 1923 even had to be canceled entirely.

The response to these problems was, in some cases, new concepts. As early as 1922 a theater was prepared in the dunes , which specialized in the open - air theater , which was becoming popular at the time . Among other things, an amateur play (Gudrun) by the German art historian Walter Curt Zwanziger, in which 27 young people from Norderneyer took part, was performed. In 1923 a facility for film screenings was installed in the Kurtheater , which expanded the range of cultural offers on Norderney. In the mid-twenties, the Heimatverein Norderney was also brought into being, which provided the stage with new content-related impulses. The impetus for founding the Heimatverein was primarily a staging of the Alten Norderneyer Whitsun play , which was developed in May 1926 by the chairman of the Saxon Heimatbund, the puppeteer Oswald Hempel . The “care of the sense of home”, to which they now professed, led in 1927 to a production of the Low German fairy tale De Fischer un sien Fru , which was followed by further theater performances in Low German as well as regular “East Frisian home evenings ”. Over the years the stage has presented numerous classics of Low German stage literature by authors such as August Hinrichs , Gorch Fock , Alma Rogge and Karl Bunje .

With the beginning of the Second World War , Norderney was expanded into a sea ​​fortress , as it had been between 1914 and 1918 , but this time the cultural scene did not completely collapse. Up until the last phase of the war, films were shown in the Kurtheater and occasionally Low German plays were performed. In July 1944, the Norderney Soldier's Stage was set up, which was initiated by Herbert Paris, a lieutenant in the Navy from a theater-loving family. The artistic director of the new stage, located in the Kurtheater, was Corporal Kurt Schmengler , who had attended an acting school in Danzig and played his first major roles on Norderney. After the war he was part of the Berliner Ensemble for a while; his star role in Bertolt Brecht's Galilei brought him back to the Kurtheater in the 1970s. Schmengler also provided his audience, now mostly soldiers, with boulevard theater, which not only contributed to entertainment, but was also intended to improve morale in the war. In addition to pansies such as Friedrich Forster's antiques or Die chaste Kunigunde , he brought a play on stage with the three-act Ice Sea People of the convinced Norwegian National Socialists Lars Hansen and Karl Holter , which had achieved great popularity in the Third Reich.

After 1945

Scene from Meta, Norddeich , season 2009/2010

After the end of the war, the need for traditional education and an ideology-free cultural offer was great everywhere in Germany. In East Friesland, no fewer than 46 different theaters were built in the first post-war years; even smaller towns like Greetsiel or Pewsum had their own houses. On Norderney, again under the direction of Herbert Paris, the Neue Bühne established itself, which was able to rely primarily on the amateur actors from the former soldiers' theater. There were also female actors and a few professional actors. This ensemble regularly used the spa theater as a venue. In winter, outside of the bathing season, there was a lack of audience on the island, so that the New Stage also headed to individual locations on the mainland, for example Norden and Marienhafe . In the long run, however, the Neue Bühne did not have a secure financial foundation. They finally went a merger with the in empty a resident Ostfriesischen Kammerspiele. The theater that was newly created in this way was called the East Frisian State Theater from June 1948 and was based in Leer. In 1952 the theater was transformed into the still existing Lower Saxony North State Theater (LBNN) with its headquarters in Wilhelmshaven . From the beginning, Norderney was part of the theater's play area, which regularly visited the Kurtheater.

The Landesbühne continued the tradition and played the Kurtheater annually from July to mid-September, and there were also performances on individual evenings in winter. Herbert Paris was initially responsible for the summer seasons, who worked together with Wilhelm Grothe as director of the LBNN until 1955 and was very familiar with the conditions on Norderney. The repertoire again consisted mainly of easy pieces, but occasionally the audience was also confronted with current works such as Jean-Paul Sartre's drama Closed Society . In addition, there were often guest performances with prominent artists, such as the dancer and pantomime Harald Kreutzberg . The Heimatverein also resumed its activities and produced a program in the winter months especially for the island's population. A second amateur theater group gathered around Hansjörg Martin from 1951 , who made a name for himself as an author of crime novels from the 1960s. For several years she presented fairy tales for young audiences in the spa theater.

This structure, summer seasons of the Landesbühne, individual productions in winter, productions by amateur theaters as well as guest performances, readings and cabaret, remained almost untouched for decades. However, the cinema gradually gained great importance, especially after the former commandant of the sea emergency flight command, Karl Born , set up the new film studio in the theater in 1961 . With his award-winning program, he was immediately successful with the audience; within the first ten years almost 500,000 moviegoers streamed into the spa theater. Regular film art weeks were mainly dedicated to film production in a specific region. B. Polish and Russian cinema. The Emden-Norderney International Film Festival , which has specialized in north-western Europe and presents the latest British and Irish productions, has continued this tradition since 1990 .

If the state stage deviated from the offer of pure entertainment theater, the bathing audience occasionally reacted with incomprehension. In the summer of 1980 there was the subversive farce Don't Get Paid! of the later Nobel laureate for literature Dario Fo on the program of the Kurtheater. Many viewers felt so provoked by the communist ideas of individual figures, among other things, that they left the theater after 20 minutes with protests and heckling. Experiences of this kind, but also general artistic concerns about an undemanding program, led to the fact that the summer seasons were finally abandoned. Before the then director of the Landesbühne, Georg Immelmann , decided to take this step, he tried to gradually increase the literary quality of the program. There were even two German-language premieres at the Kurtheater. While Willy Russell's comedy Educating Rita was largely acclaimed in July 1981, the critics in the case of Sławomir Mrożek's two-person chamber play The Contract (August 1987) were surprised that the German premiere took place in such a small and remote house of all places. Since the beginning of the 1990s, the Landesbühne no longer only performs in the summer months on Norderney, but shows its repertoire on the North Sea island throughout the season.

Among the biggest successes of the recent past, the production of the rock musical is one of Meta, Norddeich (2009/2010) on the life of Norder landlady and nightclub operator Meta Rogall . The performances always took place in front of a sold out house.

architecture

Courtly multipurpose theater

Kurtheater seen from the northwest with the new entrance area in front of the former portal World icon

The late Classicist building by the architect Johannes Holekamp was based on the opera house in Hanover , even if its dimensions were much more modest. A second source of inspiration was the Oldenburg State Theater, completed in 1893 by the architect Paul Zimmer . In terms of building type, the Kurtheater thus corresponds to the court-public multi-purpose theater. A real portico was dispensed with on the building with the typical white facade color of the spa architecture , but originally not a representative portal with a triangular gable and triglyph frieze . It consisted of several swinging doors framed by slender pilasters , a combination of arched and rectangular windows and a spacious eight-step staircase. Two rotunda segments of the building are divided by rectangular and blind windows and by ox eyes on the upper floor. The facade is decorated with neo-baroque bastion plaques. In 1913 two prop rooms were added to the east .

The two-story auditorium , surrounded by Corinthian metal columns , is kept in white, gold and red, the colors preferred for theater interiors at the time. With the subdivision into parquet , parquet and orchestra boxes, rank boxes and balcony boxes, the building follows the design features of the court theater and not the contemporary hall structures. The main curtain , designed by the imperial court painter Otto Heyden , originally depicted Apollo on the sun chariot. Today the theater uses a single-colored red curtain that can be operated manually and electrically.

The stage of the Kurtheater was generously dimensioned from the start, while the foyer and the adjoining rooms for actors' cloakrooms and equipment were soon felt to be too small. Reconstruction measures had several times the aim of improving the room layout in the theater. At the beginning of the 1960s, extensions were supposed to create more space, but in the opinion of the population they did not fit the overall architectural picture and were controversial. They were removed again in 1970. Five years later, in 1975, the Norderney City Council decided to incorporate the Kurtheater into a new complex that was named House of the Island . Since then, the previously free-standing elegant building has been part of an ensemble ; the original portal no longer serves as the main entrance. In the course of the recent renovation, the stage was completely renovated, the entire technical system was overhauled and a new orchestra pit was created. Today the theater, which was originally designed for around 500 spectators, has 363 seats covered with red corduroy . The stage is 9.65 meters wide and 5 meters deep; the pull height is 8 meters.

Heine monument

The Heine sculpture by Arno Breker . It stands on the square in front of the island house, which was inaugurated in 1977, and the spa theater.

Heinrich Heine had visited Norderney in 1825 and in the two following years and processed his impressions into literature. A memorial in honor of the poet has stood in front of the spa theater since autumn 1983. It goes back to a design by the sculptor and architect Arno Breker from 1930.

Breker was living in Paris at the time, but regularly responded to German tenders. With his Heine design, he won second prize in a competition organized by the city of Düsseldorf , Heine's birthplace , in 1932 . After the seizure of power by the National Socialists, who, based on their anti-Semitic denigrating ideology person and work of Heine, a list of the monument in the public space was impossible. Breker settled in Berlin at the end of 1933 and rose to become the most prominent sculptor of the Third Reich. On September 10, 1937, he applied for membership in the NSDAP .

In 1979, a Heinrich Heine Memorial Society was founded in Düsseldorf that campaigned for Breker's design to be carried out. A year later, the artist began to make an eighty-centimeter high model of a crouching youth with a book in his hand. This model was enlarged in Paris in a ratio of 1: 2 to 160 cm and cast in bronze . The culture committee of the city of Düsseldorf, however, rejected the installation of the sculpture, as did the city of Lüneburg , in which Heine had temporarily lived with his parents.

The society then decided to donate the monument to the city of Norderney in agreement with Breker. Although the city council unanimously accepted the gift, a citizens' initiative was formed: Heine ja - Breker no , which criticized the sculptor's National Socialist past. Despite violent protests by the population and accompanied by a critical statement by the PEN Center in London, the sculpture was nevertheless placed in front of the Kurtheater on December 6, 1983. The text is engraved on the east-facing side of the base:

"I LOVE THE SEA LIKE MY SOUL - HEINE ON NORDERNEY 1826"

He refers to Heine's cycle Die Nordsee , which was created on Norderney.

Individual evidence

  1. ^ Karl Veit Riedel: City Theater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Friesen-Verlag, Wilhelmshaven 1983, p. 11 .
  2. ^ Karl Veit Riedel: City Theater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Friesen-Verlag, Wilhelmshaven 1983, p. 12 .
  3. ^ Karl Veit Riedel: City Theater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Friesen-Verlag, Wilhelmshaven 1983, p. 13 .
  4. ^ Christiane Winter: Architecture highlights on Norderney . Book Print Verlag, Goch 2009, ISBN 978-3-940754-47-9 , p. 60 .
  5. ↑ Gottfried Kiesow : Architectural Guide Ostfriesland . Deutsche Stiftung Denkmalstiftung - Monumente Publications, Bonn 2010, ISBN 978-3-86795-021-3 , The Islands, p. 367 ff .
  6. ↑ Norderneyer Badezeitung , June 2, 1894
  7. ^ Karl Veit Riedel: City Theater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Friesen-Verlag, Wilhelmshaven 1983, p. 17th ff .
  8. ^ Karl Veit Riedel: City Theater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Friesen-Verlag, Wilhelmshaven 1983, p. 19 .
  9. ^ Günter Seehaus: Frank Wedekind and the theater . Cologne 1965, p. 143 .
  10. ↑ Norderneyer Badezeitung , July 21, 1906
  11. ^ Siever Johanna Meyer-Abich (ed.): Jann Berghaus tells . East Frisian Landscape, Aurich 1967, p. 179 .
  12. ^ Studies on Philosophy and Literature of the Nineteenth Century . Vol. 30. Frankfurt am Main 1976, p. 312 .
  13. ↑ "The Imperial Toast" - comedy in 3 acts . Karlheinz Everts. Retrieved May 23, 2010.
  14. ^ Karl Veit Riedel: City Theater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Friesen-Verlag, Wilhelmshaven 1983, p. 21 .
  15. ^ Karl Veit Riedel: 100 Years of the Kur-Theater Norderney. Theater auf Norderney and the history of the Lower Saxony North State Theater . Kurverwaltung Nordseeheilbad Norderney, Norderney, S. 15th f . (probably 1994).
  16. ^ Karl Veit Riedel: 100 Years of the Kur-Theater Norderney. Theater auf Norderney and the history of the Lower Saxony North State Theater . Kurverwaltung Nordseeheilbad Norderney, Norderney, S. 18 (probably 1994).
  17. ^ Karl Veit Riedel: 100 Years of the Kur-Theater Norderney. Theater auf Norderney and the history of the Lower Saxony North State Theater . Kurverwaltung Nordseeheilbad Norderney, Norderney, S. 19 (probably 1994).
  18. ^ Karl Veit Riedel: City Theater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Friesen-Verlag, Wilhelmshaven 1983, p. 24 ff .
  19. ↑ Meiningen Actors and the Film ( Memento of the original from July 19, 2011 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. (PDF file; 321 kB) www.meiningen.de (accessed on September 8, 2011) @1@ 2Template: Webachiv / IABot / www.meiningen.de
  20. ↑ On the importance of entertainment topics in film and in the drama of the Third Reich cf. Karsten Witte, Laughing Heirs, great day , Berlin 1995, ISBN 3-930916-03-7 .
  21. ^ Karl Veit Riedel: 100 Years of the Kur-Theater Norderney. Theater auf Norderney and the history of the Lower Saxony North State Theater . Kurverwaltung Nordseeheilbad Norderney, Norderney, S. 21 (probably 1994).
  22. ^ Karl Veit Riedel: City Theater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Friesen-Verlag, Wilhelmshaven 1983, p. 28 .
  23. ^ Karl Veit Riedel: City Theater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Friesen-Verlag, Wilhelmshaven 1983, p. 33 ff .
  24. ^ Karl Veit Riedel: City Theater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Friesen-Verlag, Wilhelmshaven 1983, p. 82 .
  25. ^ Karl Veit Riedel: City Theater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Friesen-Verlag, Wilhelmshaven 1983, p. 94 .
  26. ^ Karl Veit Riedel: City Theater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Friesen-Verlag, Wilhelmshaven 1983, p. 95 .
  27. ^ Karl Veit Riedel: 100 Years of the Kur-Theater Norderney. Theater auf Norderney and the history of the Lower Saxony North State Theater . Kurverwaltung Nordseeheilbad Norderney, Norderney, S. 63 (probably 1994).
  28. ↑ Norderneyer spa courier, Christmas edition 1965 (PDF; 3.5 MB) Hans-Helmut Barty. Retrieved September 22, 2012.
  29. ^ Karl Cramer: The history of East Frisia. An overview . Isensee, Oldenburg 2003, ISBN 3-89598-982-7 , p. 69 .
  30. ↑ Cf. Georg Immelmann: Landesbühne Wilhelmshaven 1979–1994 . In: Gerhard Hess (Hrsg.): Theater am Meer. 50 years of the Lower Saxony North State Theater and Wilhelmshaven City Theater. Wilhelmshaven 2002, pp. 61–72, here: p. 63
  31. ↑ Joseph Gregor u. a .: The play from 1980 to 1983 . Hiersemann, Stuttgart 1986.
  32. ↑ Halina Stephan: Transcending the Absurd: Drama and Prose of Sławomir Mrożek . Rodopi, Amsterdam 1997, p. 206 .
  33. ↑ Die Zeit , August 14, 1987.
  34. ↑ Klaus Irler: The trailblazer . taz.de. January 22, 2010. Retrieved May 23, 2010.
  35. ^ Karl Veit Riedel: City Theater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Friesen-Verlag, Wilhelmshaven 1983, p. 15 .
  36. ^ Karl Veit Riedel: City Theater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Friesen-Verlag, Wilhelmshaven 1983, p. 17 .
  37. ^ Christiane Winter: Architecture highlights on Norderney . Book Print Verlag, Goch 2009, ISBN 978-3-940754-47-9 , p. 61 .
  38. ^ Karl Veit Riedel: City Theater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Friesen-Verlag, Wilhelmshaven 1983, p. 126 ff .
  39. ^ According to information from the Landesbühne Niedersachsen Nord, 2013.
  40. ↑ Cf. Birgit Bressa, Nach-Leben der Antike. Classical images of the body in the Nazi sculpture Arno Brekers , Diss.Tübingen 2001, p. 19.
  41. ↑ Jürgen Trimborn, Arno Breker. The artist and power , Berlin 2011, ISBN 978-3-351-02728-5 .
  42. ↑ According to another representation, the model was 90 cm high; see. Magdalene Bushart (ed.): Sculpture and power. Figurative sculpture in Germany in the 1930s and 1940s, Berlin 1984, p. 175.
  43. ↑ Dagmar Matten-Gohdes: Heine is good. A Heine reading book . Beltz and Gelberg, Weinheim 1997, p. 192 .
  44. ↑ Ulrike Müller-Hoffstede: Heine monuments. In: Magdalene Bushart u. a. (Ed.): Sculpture and power. Figurative sculpture in Germany in the 30s and 40s , Berlin 1984, pp. 141–153.
  45. ↑ Rudij Bergmann: The Loreley is in the Bronx . In: Jüdische Allgemeine . February 16, 2006.

literature

  • Karl Veit Riedel : City Theater Wilhelmshaven, Landesbühne Lower Saxony-North, Low German Stage Wilhelmshaven . Friesen-Verlag, Wilhelmshaven 1983.
  • Karl Veit Riedel: 100 years Kur-Theater Norderney. Theater auf Norderney and the history of the Lower Saxony North State Theater . Kurverwaltung Nordseeheilbad Norderney [reprint of a series of articles from the spa courier Norderney 1977/78], Norderney (probably 1994).
  • Christiane Winter: Architectural highlights on Norderney . Book Print Verlag, Goch 2009, ISBN 978-3-940754-47-9 .

Web links

Commons : Kurtheater Norderney  - Collection of pictures, videos and audio files