Landesbühne Lower Saxony North

Landesbühne logo

The Landesbühne Niedersachsen Nord (LBNN) is a theater founded in 1952 and located in Wilhelmshaven . Originating from the Ostfriesische Landesbühne in Leer , it is now one of two state theaters in Lower Saxony (next to the Theater for Lower Saxony in Hildesheim ). One of the special features of these houses is that they not only supply their home and administrative headquarters with theater art, but also a large play area in rural areas. In the case of the Landesbühne Niedersachsen Nord, which traveled to the Lüneburg Heath in the 1950s, the venues changed annually at the beginning. Today the theater presents its productions in a region inhabited by 720,000 people, which stretches from East Frisia to the Emsland to the Oldenburger Münsterland .

The Landesbühne Niedersachsen Nord employs over 100 people, including 22 actors, who enable more than 500 performances annually in the entire play area. The focus is on acting and children's and youth theater .

Right from the start, the sponsor of the largest cultural institute in north-west Germany was the “Zweckverband der Landesbühne Niedersachsen Nord”, to which the districts and cities of the play area belong. Together with the state of Lower Saxony, the Zweckverband grants the theater annual subsidies. The theater generates almost 30 percent of its budget itself.

history

1947 to 1952: From Leer to Wilhelmshaven

The history of the LBNN began immediately after the end of the Second World War, when the forerunners of the Landesbühne began playing with the Ostfriesische Kammerspiele, founded in Leer , and the Neue Bühne, which was launched on the North Sea island of Norderney . The financially shaky theaters merged to form the Ostfriesische Landesbühne GmbH in Leer, which was known as the Ostfriesische Landesbühne GmbH in June 1948 and, according to the plans of its director, was to supply various guest venues with theatrical art of all branches . It soon became apparent, however, that Leer had decisive disadvantages for the venture of a touring stage: On the one hand, the location was not central enough for the excursions to the various venues, on the other hand, the catchment area of the city itself was too small. A move to the nearby city of Wilhelmshaven, which has had a rich theater tradition since its foundation in 1869, was therefore an obvious choice.

The Stadttheater Wilhelmshaven , since 1952 the venue and administrative seat of the Landesbühne Niedersachsen Nord

In the course of the reconstruction after the war, a "theater construction association" was founded in Wilhelmshaven in April 1947 with the aim of promoting the construction of a new theater to replace the municipal stage in the seamen 's house, which fell victim to the air war in 1943 . After much discussion, a new stage building was created by converting the centrally located former naval directorate from 1904. The atrium of the building at the corner of Virchow and Peterstraße, an area of ​​13 by 31 meters, was roofed over to create space won for the stage and the auditorium . The former service rooms gave way to the newly created foyer and offices for the employees on two floors . The seats in the theater - 718 in the stalls and 155 in the stands - were donated by the Wilhelmshaven population, who thereby expressed their sympathy for the new cultural institution.

The new Stadttheater Wilhelmshaven was initially a “house without an ensemble”. It was not until 1952, when the Lower Saxony Education Minister Richard Voigt reorganized the East Frisian State Theater into the Lower Saxony North State Theater , with administrative headquarters in Wilhelmshaven, that the city theater began to enjoy regular drama performances. At the same time it was agreed that the city theater should also host musical productions by the Oldenburg State Theater , Low German pieces from the Low German stage, which has existed since 1932, and concerts by the city ​​orchestra . The Landesbühne, on the other hand, had to cover a large play area from the Emsland to the Lüneburg Heath and in its first few years made guest appearances in the following cities, municipalities and health resorts, in addition to its home town Wilhelmshaven: Ahmsen, Aurich, Brake, Emden, Esens, Jever, Juist, Leer , Meppen, Norden, Norderney, Oldenburg, Papenburg, Pewsum, Rotenburg / Wümme, Sögel, Soltau, Stade, Varel, Weener, Werlte, Westrhauderfehn, Wittmund and Zeven. Some of these locations later did not have their own theater on a permanent basis, other locations fell under the jurisdiction of the Hanover State Theater, which was also founded in 1952 (today: Theater for Lower Saxony , based in Hildesheim), so that the LBNN's play area initially varied from season to season.

In order to put the Landesbühne on a solid legal and financial basis, the “Zweckverband der Landesbühne Niedersachsen Nord” was founded as early as 1947, to which representatives of the independent cities , the cities belonging to the district and the districts in the play area belong. The direct organizational model of the corporation, which has its headquarters in Aurich to this day , was an institution apart from cultural work, namely the “Zweckverband zur Kadaververwertung in Ostfriesland”. The association has been the sole shareholder of a GmbH since 1953 . One of the tasks of his supervisory board is to appoint the director of the state theater. The members of the Zweckverband pay contributions based on their number of inhabitants, which, together with the subsidies from the State of Lower Saxony, form an important economic foundation for the Landesbühne.

1952 to 1958: The first seasons

The first artistic directors of the LBNN had still worked in Leer: Wilhelm Grothe and Herbert Paris. The latter also took on the role of artistic director of the Stadttheater Wilhelmshaven from 1952. This personal union - head of the state theater and artistic director - was the rule in Wilhelmshaven until the mid-1990s, but there were also exceptions. Between 1958 and 1964, for example, Rudolf Sang , the former head director in Oldenburg , headed the city theater, while Rudolf Stromberg was the director of the LBNN during this period.

Arthur Miller

The first staging of the country Niedersachsen Nord, a rehearsal of Hamlet had, on 19 October 1952 in the form of a gala performance premiere in Wilhelmshaven. The title role played that evening by guest Bernhard Minetti . On the morning of the same day the city theater was officially opened with a matinee event; The keynote address was given by the Berlin theater scholar Hans Knudsen . In the first few seasons, performances of classics clearly predominated. In addition to some pieces by the young Schiller ( The Conspiracy of Fiesco in Genoa , Don Karlos ) , the program included large and a limited-staffed ensemble challenging productions such as A Winter's Tale by Shakespeare or The Knight of Zalamea by Calderón . But the modern drama of the first post-war years also found its way into the state stage; as was Sartre's No Exit as shown Arthur Miller's pieces all my sons and witch hunt . The stage demonstrated its fearlessness with a few world premieres and the staging of Rolf Honold's play The Strike after Ssogrebitsche , an early examination of the war years. As a local peculiarity, the drama Not in the house, not on the street was performed, the author of which Hans-Joachim Haecker worked as a teacher at a grammar school in Wilhelmshaven. The production, which contained a lawsuit procession and thematized waking dreams of the protagonist, challenged the actors to a non- mimetic style of play and was rejected by the audience. Nevertheless, the criticism confirmed that those responsible were doing contemporary theater: "One can no longer blame the Wilhelmshavener Landesbühne: lack of willingness to experiment and failure to conform to the intellectual currents of our time."

In the summer of 1955 Herbert Paris moved to the State Opera in Hamburg , while Wilhelm Grothe also moved to the Hanseatic city and worked there as an actor. Her successor Hermann Ludwig, who had previously headed the Volksbühne in Hanover , opened his directorship with Lessing's Nathan the Wise . He continued the work of Grothe and Paris in many ways. So he presented another drama by Arthur Miller with a view from the bridge and addressed current problems. In Wilhelmshaven, Gerd Oelschlegel's play Die tödliche Lüge (The Deadly Lie) , which illuminates the fate of a couple from the Soviet occupation zone and their attempts to gain a foothold in West German society, premiered .

1958 to 1973: Rudolf Stromberg

In 1958 Rudolf Stromberg became head of the Landesbühne. The father of the future director of the Deutsches Schauspielhaus in Hamburg, Tom Stromberg , had gained experience as an actor, dramaturge and director in Vienna , Graz , Stuttgart , Mannheim and finally Wilhelmshaven , and also worked for a while as a critic . So he was familiar with the field of theater from all sides. The general manager Ludwig, who was often absent from the site, had entrusted him with management tasks and made him his successor.

Stromberg worked from the beginning to improve the working conditions of the Landesbühne and its ensemble at all venues. The west wing of the city theater in Wilhelmshaven was expanded, creating new storage rooms, a new tailor's shop and a small rehearsal stage. The name Stromberg is primarily associated with a number of new hall structures that were built according to his concept at various locations in the play area. The newly won play areas were usually located in school buildings, where they were available as auditoriums , but at the same time also had to meet the requirements of theater operations (stage with a minimum area, sufficient lighting, rising rows of chairs, cloakroom, etc.). A desirable side effect of this construction activity was that students often made up a substantial part of the audience . The idea of ​​the hall construction chain, which received nationwide attention and was copied in Schleswig-Holstein , also had the advantage that similar conditions prevailed in the different locations and, for example, the stage sets did not have to be adapted to local conditions.

George Bernard Shaw: Saint Joan , 1958/59 season. Director: Rudolf Stromberg

Stromberg also had clear ideas from an artistic point of view. He tried to minimize the number of guest performances by other theaters in Wilhelmshaven and thereby strengthen the ensemble spirit at the Landesbühne. His stagings of classic plays (for example by Shakespeare, Schiller, Ibsen and Shaw ) were in the tradition of directorial theater , adapted to the respective time backgrounds with partially comprehensive strokes and were also perceived outside the national borders. But above all, Stromberg opened up to contemporary drama. The theater of the absurd , which began to emerge in the mid-1950s, was represented early on at the Landesbühne by authors such as Eugène Ionesco ( The Bald Singer ; The Lesson ; The Rhinos ) and Wolfgang Hildesheimer (The Delay) . In the course of the 1960s, the emphasis shifted in favor of a literature that was consciously socially critical. The anti-war play Mother Courage and Her Children by Bertolt Brecht , a series of bitter comedies by Friedrich Dürrenmatt , the cabaret-like sketchy news from the provinces by Jochen Ziem or Heinar Kipphardt's heavily discussed timepiece in the J. Robert Oppenheimer . Stromberg also made his audience familiar with current French theater; the repertoire included pieces by Sartre , Camus , Giraudoux , Anouilh and Queneau . Stromberg rejected light, non-mandatory entertainment and defended his repertoire with a term derived from Sartre as "dedicated theater" . “We want,” he wrote in a first balance sheet after five years, “ that the events on the stage [...] call on the visitor to rethink old thoughts and convictions, urge him to reflect on himself, to recognize and criticize his virtues and vices To ask him to live with a clearer, better consciousness [sic], to give him courage to go his way more self-confident, more individualistic, more courageous and more consistent. "

This theatrical conception sometimes led to conflicts with the audience, who no longer appeared in so many performances in the smaller venues of the Landesbühne (for example in Varel and Jever ). The theater responded with a series of "debate evenings" in which not only the artistic director and directors but also representatives from adult education centers and local libraries took part. In the spring of 1969 alone, representatives of the Landesbühne took part in no fewer than 21 discussion rounds throughout the entire play area. In terms of repertoire policy, however, the LBNN was not willing to compromise. The director wanted to meet the need for a non-accusatory, non-oppressive theater, which the older generation in particular had asserted in the discussions, with the addition of Peter Handke's spoken piece of public abuse . The author forbade the theater, like other theaters at the time, to play his play. Out of this need - and out of a certain annoyance - the Landesbühne developed the production The Audience Calming under the aegis of the actor and dramaturge Moritz Boerner , which, broken in a satirical way , entered into a dialogue with Handke's text and also confronted the audience with their demands.

The production Victor or the children in power (based on the drama of the same name by Roger Vitrac ) was invited to the 2nd North German Theatertreffen in Hamburg in 1972 and won a prize that consisted of the staging in the third television programs of NDR , Radio Bremen and Sender Free Berlin was broadcast. In the autumn of the same year, the Landesbühne celebrated its 20th anniversary . On the long journeys to the various venues, from which the actors and technicians often did not return until well after midnight, 724,822 kilometers had been covered by this time. Rudolf Stromberg, who had made a significant contribution to establishing the state theater as a permanent cultural institution, was awarded the Lower Saxony Order of Merit in December 1973 . At this point in time he had already left Wilhelmshaven after 15 years as artistic director and took over the municipal theaters of Augsburg .

1973 to 1979: Mario Krüger

Stromberg's successor was the former chief dramaturge Mario Krüger from Kiel. During his six-year directorship he managed to put a long-planned project into practice. In 1976, new rooms for workshops were inaugurated in a side wing of the Wilhelmshaven City Theater, so that the painting hall , assembly hall, joinery, furniture store, decoration hall, prop rooms and an electrical store for headlights were all under one roof. Before that, the stage sets had to be made in a barracks building on Schellingstrasse, several kilometers from the theater. Since the rooms there were only three meters high, brochures and other large areas could only be produced or processed with the help of a complicated folding technique. For the technical staff of the Landesbühne, the new workshops, which were built for the relatively small sum of one million marks, made their work considerably easier.

The technicians of the Landesbühne also benefited from another measure by Kruger. In addition to the BfA pension, a second pension and thus greater social security was agreed for this group of employees . The technical staff was thus put on an equal footing with the actors in this regard.

In his program policy, Mario Krüger deliberately set different accents in relation to the enlightenment and socio-critical theater of his predecessor. In his advertising booklet for the 1977/78 season, he announced a newly understood “ Volkstheater ” , which he defined as a “theater for majorities” . He described the “general comprehensibility of the topic” as an essential aspect . In a retrospective article 25 years later, on the occasion of a book publication on the Landesbühne, he understood the theater as an institution that had less to provoke or disturb, but rather it is incumbent on "to ensure the cohesion of society, to stabilize society" . The result of these views was a theater that, according to the theater scholar Karl Veit Riedel, produced fewer experiments or even "depressive elements" and instead gave "more space to the cheerful genre" . Serious dramas, for example the death of a traveling salesman by Arthur Miller, were thematically juxtaposed with tabloid productions such as Der Trauschein by Ephraim Kishon - and the contrast effect was further increased by the fact that the same actors, Barbara Dembeck and Klaus Hofer, played the central roles of the couple in both productions took over. The summer season on Norderney, with which a season of the Landesbühne traditionally began, was again more clearly characterized by lighter drama and crime plays.

Arnold Wesker

Nonetheless, Mario Krüger and his artistic collaborators also occasionally took up current issues. With the addition of Georg Kaiser's expressionist piece Gas from 1918, the stage reacted to a series of larger industrial settlements and bridge buildings in Wilhelmshaven, which destroyed coastal landscapes in the 1970s, such as parts of the Genius Beach in the Voslapp district . The lack of sensitivity in dealing with nature, which caused young people in particular to protest, finds a counterpart in Kaiser's play in the ruthless exploitation of energy resources. Even Arnold Wesker's contemporary piece Golden City , which has the failure of social utopias about, found particularly among the youth appeal. While Wesker's drama criticized the sober pragmatism of the Labor Party , he mocked Rolf Hochhuth's political comedy The Midwife , which the author himself staged in Wilhelmshaven in 1978, including the corruption of a senior city director of the SPD . The theatergoers in north-west Germany may have understood these attacks on the Social Democrats as an indirect argument with local decision-makers who, among other things, came under fire in connection with the establishment of a PVC plant for Imperial Chemical Industries on the Inner Jade .

1979 to 1994: Georg Immelmann

The Landesbühne Niedersachsen Nord experienced a new heyday from 1979, when Georg Immelmann , the former chief dramaturge of the Aachen Theater , took over the management in Wilhelmshaven. Until 1984, he engaged Johannes Kaetzler , who had previously worked as Ingmar Bergman's assistant at the Residenztheater in Munich, as senior director. Together with the dramaturge Kurt Kreiler , a theater program was developed that self-confidently put the “refusal to think provincial” into the center. As part of this program, there was also a “commitment to the province” . In the 1986/87 season, Georg Immelmann put the only play in world literature on the program that takes place in Wilhelmshaven, namely Ernst Toller's historical play Fire from the Ketteln (1930), in which the author reconstructs the sailors' uprising of autumn 1918. The production coincided with the Filbinger affair and the heated discussions about the death sentences of the former naval judge. The LBNN worked on the subject of naval jurisdiction, especially of the First World War , in cooperation with various departments of the Federal Navy; At the same time, an exhibition was set up in the foyer of the city theater, the former naval directorate. The performances and accompanying events were well received by the audience.

While the director Stromberg had shown a preference for French drama, Scandinavian classics were now strikingly often in the repertoire. Johannes Kaetzler staged the comparatively seldom played Ibsen drama The Woman from the Sea , which was accompanied by other works by the Norwegian with Gespenster , Ein Volksfeind and Nora or a doll's house . As early as 1981/82, the Landesbühne presented August Strindberg's relationship play Miss Julie ; four years later she ventured into the very short, dramatically concentrated monodrama The Stronger by the same author. With Selma Lagerlöf and the Swedish playwrights Barbro Lindgren and Ninne Olsson , who were hardly introduced in Germany at the time , the LBNN also trusted Scandinavian literature in the field of children's and youth theater .

Knut Weber and Ensemble: PEST (AIDS Project) , 1988/89 season

The constant search for the undiscovered gradually resulted in a veritable “trend towards forgotten classics” during Immelmann's directorship. Were played Goethe's farce Jahrmarktfest to Plundersweilern in the processing of Peter Hacks , Friedrich Hebbel generally actually obsolete held domestic tragedy Maria Magdalena and in the wake of reunification, even its distributed on two evenings extensive tragedy Die Nibelungen (season 1989/90). One of the first pieces that Immelmann presented to the North German audience was Lessing's rarely performed youth work Die Juden , which is about religious tolerance. Since he was in doubt whether the comedy could still be played without changes 250 years after the author's birth in 1979, he commissioned the playwright Erwin Sylvanus to edit the text in order to establish a connection with the present. Sylvanus decided to make the typical one-act play, which was created under the influence of the Commedia dell'arte , the starting point for a free sequel. In particular, he directed his attention to “opening the characters, confronting the guys with what they believe they are, and letting them feel and experience the consequences of it. “The range spanned from the Lessing production to the targeted“ confrontation with the unfamiliar ”, which was an explicit focus of the season in Immelmann's last season, 1993/94. The artistic direction of the LBNN reacted directly to social developments with accents of this kind. In an announcement it said: “Perhaps the biggest problem in reunified Germany and in not yet unified Europe is the fear of the foreign, a fear that provokes aggression and turns into hatred that causes violence. We think that the theater has to face this problem today. We know that it cannot offer any solutions. But it can show examples from the past, describe models of the present and develop utopias for the future. ” In this context, Brecht's Refugee Talks , Shakespeare's classic Othello , Witold Gombrowicz 's comedy Yvonne, the Burgundy Princess and Marivaux 's early enlightenment dispute all came onto the stage . The German premiere of George Tabori's emigre drama Requiem for a Spy also fell within the context of dealing with xenophobia .

The programmatic departure from provincial thinking implied that the expectations of the theatergoers were partially deliberately countered. When the AIDS shock triggered several waves of taboos in the course of the eighties, the then chief dramaturge of the Landesbühne, Knut Weber, and the ensemble dealt with the current topic in the form of a choreographically accentuated reappraisal. Other game plan decisions led to direct disagreements with the audience at various locations. Georg Immelmann opened his second season (1980/81) on Norderney with the subversive farce Don't Pay! of the later Nobel laureate for literature Dario Fo . Since one had expected more harmless entertainment at this place, in the venerable spa theater , the first audience left the hall after only twenty minutes with interjections and protests. Other controversial pieces such as Peter Turrini's minor performance followed. Klaus Pohl's drama Das alten Land , which takes place in the area around Stade ( where the theater was a detour at the time) immediately after the end of the war , could not be performed in some places because the local organizers rigorously rejected it after a production in Cologne was broadcast on television. In contrast, the Landesbühne was the first German theater to show the play Untertier by Thomas Strittmatter on subscription in the 1991/92 season . The piece illustrates how brutal everyday working life rubs off on private, interpersonal relationships; the production started with a scene in which police officers stand naked in the shower and talk about their problems. The performances were vehemently rejected by parts of the audience and the press (“excruciatingly boring and involuntarily comical staging”). There was also criticism in some of the Landesbühne's smaller venues such as Papenburg , where the piece was quickly replaced by another production. As a result, a citizens' initiative was founded in Leer demanding that the play not be sold; there the performance was a success.

Program for Willy Russell , Educating Rita , 1981/82 season. Director: Peter Lüdi

The Landesbühne also received approval for a number of other productions. The play Die Journalisten by the British playwright Arnold Wesker, who has already been introduced to the theater, had its German premiere in Wilhelmshaven in September 1981. The author was present at the rehearsals and arranged as a guest from London Christopher Hewitt , whose simultaneous stage impressed. Another British play, the comedy Educating Rita , was staged in German translation for the first time at a state theater venue (Norderney) and then re-enacted nationwide. As the fourth European theater, the house also took on the intellectually challenging play Der neue Prozess by Peter Weiss . The trade journal Theater heute praised Johannes Kaetzler's staging , which was characterized by “urgency and distance” in equal measure, and certified the actors, including Irmgard Solm, who was over 80, that they were more than up to the task. In 1985 the same magazine described the Landesbühne as “the rising star of the season” ; In the annual ranking of the best German-speaking theaters, it took fourth place behind the Münchner Kammerspiele , the Freiburg City Theater and the Munich Residenztheater.

During the time of Georg Immelmann's directorship, a long-planned renovation of the Wilhelmshaven City Theater also took place in 1983. Comprehensive modernization meant that the seats in the auditorium were dropped, which reduced the number of tickets to 600, which were now exclusively in the stalls. At the same time the foyer rooms of the theater were expanded. The inauguration of a second venue at the Landesbühne in Wilhelmshaven was even more important. In September 1989, they moved into the building at Rheinstrasse 91 in the premises of a former vocational school, which houses both the Young Theater with its own staff and the studio for more intimate performances. The Junge Theater , which celebrated its 20th anniversary in 2009, today describes itself as the oldest and largest children's and youth theater in Lower Saxony.

1994 to 1998: restless years

After Georg Immelmann left Wilhelmshaven in 1994 after fifteen years of activity, the institutional separation that had existed since 1952 between the Landesbühne Niedersachsen Nord and the Stadttheater Wilhelmshaven was lifted. The management of both institutions was now contractually in one hand. The resulting synergy effects did not materialize at first, however, which was also due to the fact that the new director Thomas Bockelmann , who had moved to the coast as director of the room theater in Tübingen , left the state stage after two years and took over the municipal theaters in Münster . In the short time he worked in Lower Saxony, he was unable to give the theater its own profile. However, the introduction of the summer theater in Wilhelmshavener Stadtpark goes back to Bockelmann, for which an adaptation of Goethe's Urfaust was created as an open-air event .

After Bockelmann's surprising departure, administrative director Arnold Preuss , who had also headed the Low German stage since the mid-1980s , acted as the “interim artistic director” of the Landesbühne. He tried to lean on the work of his predecessors and recipes for success from the past. Among other things, he took up the idea of ​​the open-air game and selected - with reference to the landscape - Theodor Storm's novella Der Schimmelreiter , which was premiered in Wilhelmshaven in 1997 in a commissioned version by the Argentine Norberto Presta . Georg Immelmann, whose commitment to the province had justified the processing of material from the region, returned to the Landesbühne as director. The Schimmelreiter performances were well received by the audience, and the press also found that the play was "not staged for the gazebo ".

1998 to 2013: Gerhard Hess

William Shakespeare: Titus Andronicus , 2004/05 season. Director: Reinhardt Friese

In May 1998 the supervisory board of the Zweckverband elected Gerhard Hess as the new director of the state theater. Born in Switzerland, he had worked as a freelance director in Mannheim , Wiesbaden and Dortmund , among others . Hess came to Wilhelmshaven with the claim "to make a theater that not only provides basic services, but [a] theater that is not excluded from the content-related and aesthetic discussion of the German theater scene." In an age of digital information technology and fast accessibility of the leading city theater of conflict between was thus for Hess metropolis and province become obsolete. From his first season onwards, his goal was "to use the funds of the Landesbühne to create a theater of supraregional importance."

In order to live up to these ambitions, he sometimes treaded unusual paths. “Thematically explosive” plays should form a focus of the theater, and for this purpose - atypical for a state stage - long-term collaborations with young authors were in part entered into. The playwright Katharina Gericke wrote six plays on behalf of the Landesbühne between 2000 and 2009, all of which were premiered in Wilhelmshaven. The aesthetics and themes of the works were quite heterogeneous. Gerickes piece Geister Bahn , which premiered in the studio in November 2000 , told of the rise and fall of a boy group from the East and, after the impression of the critics, contrasted the "shallow chill-out cosmos of the pop generation" with one in a not very successful way Theatrical language that reminded of Heiner Müller , among others . In Che, or The Star of Boina , the author went to the bottom of the myth of Che Guevara , which fails as an idealist in the Bolivian jungle; the staging was praised as being atmospherically dense. The last two commissioned works for the Landesbühne showed particularly clearly the broad spectrum of Gericke: While Buckliges Mädchen played again in the falling GDR and this time revolved around November 9, 1989 , in autumn 2009 she adapted the Nibelungen material , directed by Olaf Strieb as implemented a bright comic strip .

The Landesbühne also secured the premiere rights for Dominik Finkelde's dark dystopia Berlin Underground , which will treat the breakup of the two-class society in the near future as well as the lies of the media that hypocritically accompany this process (1999/2000 season). The next piece by the author, which could be seen in northwest Germany, Porcelain Ship , took up almost the entire ensemble of the Landesbühne. A gathering of aristocrats, parvenus and hobby poets, among them Charlemagne and Jeanne d′Arc, celebrated their own decay on a luxury steamer that had been deprived of time and space, revealing the economic, moral and emotional bondage of a closed society (season 2002 / 2003). The collaboration with another young playwright, Tine Rahel Völcker , resulted, among other things, in the premiere of her work Albertz about the Protestant pastor and ruling mayor of Berlin. As has been the case several times in the past, a Landesbühne production addressed the relationship between power and morality using the example of an SPD politician.

Even if the critics seldom considered these productions successful down to the last detail, the continuous dialogue with younger authors, the supply of even smaller venues with current contemporary drama and the willingness of the Landesbühne to take risks in general were recognized - “for a repertoire, in addition to some of the better endowments Theater seems shy ” . The sometimes spectacular premieres in the field of music theater are an example of this courage . In February 2003 the Landesbühne brought the biography of the actress and singer Hildegard Knef to the stage in the form of a musical, accompanied by great media interest . Knef herself had already designed a stage work for Broadway in 1979 on the basis of her global success Der schenkte Gaul together with the composer Harold Faltermeyer , but it was never realized. Instead of New York, the Knef Chansons could now be heard in Wilhelmshaven. The libretto was drawn up by the director and then senior director Reinhardt Friese in close cooperation with Knef's husband Paul von Schell - based on the 1979 manuscript. The performances attracted nearly 10,000 spectators. This success was the beginning of 2010 surpassed the rock musical Meta, North dike , a tribute to the idiosyncratic Norder landlady and nightclub operator Meta Rogall that in the sixties and seventies for its well-known throughout East Frisia music club house Waterkant undertook international bands. Within a short time, all 30 performances with guest Angelika Bartsch in the leading role were sold out. Almost 3,000 spectators saw the musical in the north alone.

The LBNN also produced some works of foreign drama as premieres or premieres, such as David Hare's Skylight (2000/2001 season) or David Lescot's work Pleite - Beginning and End (Un homme en faillite ; 2006/2007 season) and Long Live Europe! (2007/2008 season). In addition, Artistic Director Hess surprised with the addition of some difficult-to-play classics such as Shakespeare's Titus Andronicus (2004/05 season). In his endeavors to “also preserve and preserve the unknown, what has already been lost” , Hess managed to make some interesting excavations and rediscoveries. He made his debut as a director in the autumn of 1998 with Christian Dietrich Grabbe's cumbersome comedy Joke, Satire, Irony and Deeper Meaning , which at the same time offered the opportunity to bring almost all of the company's actors together in one production and to present them to the audience. This was followed by the staging of plays that were in part only known to literary historians, for example Die Suiters by Joseph von Eichendorff (2001/2002 season) or Sturm und Drang by Friedrich Maximilian Klinger (2004/2005 season). The baroque drama Murdered Majesty (Carolus Stuardus) by Andreas Gryphius had not been performed by any German theater for over 200 years before its premiere in Wilhelmshaven in March 2006; the theme of the religious legitimation of power and the resistance against it, emphasized by the staging, nevertheless appeared to the critics as "brand new"

Another reinterpretation of a classic at the Landesbühne generated a great response at the beginning of 2004, although - or precisely because - the performance concept had been stopped by a court of law. Contrary to the author's instructions, the young director Philipp Kochheim wanted to cast Samuel Beckett's play Warten auf Godot partly with women (roles Estragon and Lucky ) and to stage the dialogues as dialogues between a married couple. However, the S. Fischer Verlag had the performances forbidden on behalf of the Beckett heirs, so that the Landesbühne could only perform the play as a reading. Newspapers in India and Indonesia reported on the legal battles.

At the beginning of April 2012, Hess announced that he would end his contract, which ran until 2016, “at his own request” early at the end of the 2012/2013 season. Just a few days after Hess' announcement, the Landesbühne's special purpose association chose a successor with the previous director Olaf Strieb. The election was unanimous and unopposed. In June 2013, Hess was retired as director of the Lower Saxony North State Theater. The Mayor of Wilhelmshaven, Andreas Wagner , presented Hess with the city medal on this occasion.

Since 2013: Olaf Strieb

The new artistic director Olaf Strieb opened his first season (2013/2014) with the production of Buddenbrooks , a theater adaptation of the well-known novel by Thomas Mann . Olaf Strieb professed to offer pleasant theater. This led to a further increase in the number of visitors in the low single-digit percentage range, but also to the fact that the state stage hardly received any national attention.

Instead of the dilapidated youth theater and studio on Rheinstrasse, the Theater im Oceanis (TheoS am Bontekai) opened in February 2016 with the musical Die Fantasticks .

profile

Divisions

Focus on spoken theater

Shortly after the founding of the East Frisian State Theater in Leer, there was a tendency towards spoken theater . Although there was strong demand for cheerful music and operettas in the first post-war years , the first directors of the Landesbühne, Wilhelm Grothe and Herbert Paris, decided on only a few corresponding performances, as in their opinion the small ensemble was overwhelmed with this task. At first, guest singers were occasionally hired, but due to scheduling difficulties, this practice did not work. Even Hermann Ludwig - due to his quality standards - had no sympathy for the musical comedy; during his directorship only Karl Farkas 'and Robert Katschers' Bei candlelight came on stage (1956/57 season).

While his predecessors explained their choice of repertoire with practical constraints and the personnel situation, Rudolf Stromberg justified his skepticism towards music theater with artistic reservations. This even led to an open conflict with the city of Wilhelmshaven, which did not share Stromberg's concept of a pure theater business. Not least for this reason, there was a dual solution between 1958 and 1964 with Rudolf Stromberg (director of the state theater) and Rudolf Sang (director of the Wilhelmshaven City Theater). Mario Krüger, who was fundamentally more open to entertainment theater, only integrated pieces of music into his repertoire, such as the musicals Kiss me Kate (1974/75 season) or Irma la Douce (1976/77 season).

Peter Schanz : Meta, Norddeich (Rockmusical), season 2009/10, director: Ingo Putz

Georg Immelmann and his artistic collaborators cultivated a special form of music theater: they developed - as premieres - time-critical revues on certain epochs of German history, such as the Biedermeier revue (1979/80 season) or the Gründerzeit revue (1980/81 season ). If, in rare cases, musicals appeared in the program, this was done to support dramaturgical focal points such as dealing with xenophobia. For the classic West Side Story (1993/94 season), some of the most important roles, for example, were occupied by Greek, Turkish and Yugoslav youngsters. Music theatrical productions have only been taking up a somewhat broader space since 1998, when Gerhard Hess took over the state stage. In addition to the successes Der schenkte Gaul and Meta, Norddeich , Singspiele such as Ralph Benatzkys Im Weißen Rößl or musicals such as Kiss me, Kate , Ein Käfig voll fools or Anatevka were produced again.

In addition to spoken and, to a lesser extent, music theater, performances for children and schoolchildren form a third pillar of the LBNN. Other forms of theater - such as ballet or puppet theater - can only be seen very rarely at the Landesbühne and only in the form of guest performances.

Children's and youth theater

The children's and youth theater played an important role early. Even in the first seasons, fairy tales such as Cinderella , Rumpelstiltskin and Peterchens Mondfahrt were part of the Landesbühne's repertoire, which quickly established themselves as a permanent institution. A first performance in children's theater took place at the beginning of the Stromberg era, when Wolf Dieter Pahlke's fairy tale musical “Circus Children” was staged (1959/60 season). While the theater offering for young audiences was largely limited to the Christmas season in the first twenty years after the LBNN was founded, these activities intensified in the 1970s. A children's and youth theater group was created in the ensemble, which developed an open form of play with the involvement of the audience. The performances were designed for smaller rooms so that they could also be shown in rural communities away from the actual venues.

After Georg Immelmann became artistic director, the Landesbühne worked particularly hard to attract young audiences. It was the only theater in the Federal Republic of Germany to show Leonie Ossowski's play Voll auf der Rolle , which had premiered at Berlin's Grips Theater , in the evening program - also to stimulate dialogue between the generations. At the 10th North German Theatertreffen in Lübeck in 1981 , the production Columbus discovered America (based on the drama of the same name by Karl Wesseler ) was awarded a prize. The jury highlighted the so-called “integrated model” of the LBNN, which provides that the actors appear both in the evening (mostly in plays for an adult audience) and in the afternoon (in children's theater). More than half of the total of 162,000 spectators who attended the Landesbühne's performances that season, 1980/1981, were children and schoolchildren thanks to fairytale plays being played in parallel; the number represented a visitor record that has never been achieved. The LBNN drew an important impetus for its further work in the field of children's and youth theater from the opening of the Young Theater on Wilhelmshavener Rheinstrasse (1989). In order to further develop the gradually rich tradition at the Landesbühne, Gerhard Hess founded the German-Dutch youth theater festival Vis á vis in 1999, located in Emden , which "seeks to combine the best of the German and Dutch youth theater scene every two years" .

Every year there is a Christmas fairy tale for children on the program.

Theater education

Parallel to the expansion of the children's and youth theater, the Landesbühne hired a theater teacher for the first time in 1976 , who developed his own plays with young people. In close cooperation with the schools in the play area, initiative should be encouraged. This is how the piece Parka, Jeans and 16 Years was created , which was shown in the Wilhelmshaven communication center Pumpwerk and won a special prize at the 7th North German Theater Meeting in Hamburg. In addition, the Landesbühne tried to bind seniors to the theater. In Emden, women between the ages of 65 and 90, some of them sitting in wheelchairs, formed the group “Die Darwutigen” and presented scenes from their everyday lives. Another old age theater group, “Die Wellenbrecher”, was created in Wilhelmshaven, where you started In 1989 the Junge Theater was available as a rehearsal and performance location. Low German play groups and folk dance groups were also included in the theater pedagogical model.

The Lower Saxony Foundation supported the LBNN's “Children's and Senior Theater” project from the beginning of the 1989/90 season for three years with DM 600,000 each; The Zweckverband and the state of Lower Saxony had previously agreed to take over the follow-up financing of the project, which is still being carried out today. Currently there are two “children's clubs” (for children from 8 years of age & for children from 12 years of age) and a “youth club” (for young people from 15 years of age) at the headquarters in Wilhelmshaven, which is working on a scene collage with the South African youth theater group Victory Sonqoba Theater Company hat (spring 2009), and the senior group “Die Silbermöwen”.

Artistic direction and ensemble

The Landesbühne Niedersachsen Nord has been repeatedly referred to as a “young company” , an allusion not only to the relatively short history of the institution, but also to the young age of many of its employees. The heads of the Landesbühne usually take on their first directorship after a long period of work as freelance directors or chief dramaturge in Wilhelmshaven. Rudolf Stromberg was 32 years old when he took office, Mario Krüger 38 years, Gerhard Hess hardly older. The senior managers also often move to the north at a young age; so Johannes Kaetzler came to Lower Saxony from Munich at the age of 27. Despite their often not very extensive experience, artistic directors, directors and dramaturges are responsible for important artistic areas at the Landesbühne.

The same applies to the actors. Since the first seasons the ensemble can be described as very young; Not infrequently the employment at the Landesbühne Niedersachsen Nord represents the first permanent engagement for the actors. Although they take up their position freshly examined from the drama schools, they often immediately play leading roles (like Hamlet, Käthchen or Nora). For this privilege they have to make the sacrifice of a low beginner's wage of only 1,600 euros gross (as of 2009) and have to undertake grueling bus trips to the sometimes far distant venues.

Tim Fischer

Andrea Sawatzki

The young age structure of its ensemble occasionally poses problems for the theater. For example, Artistic Director Immelmann confessed that working with the young actors was “delightful” , but at the same time admitted that the cooperation between the many young and the few older actors does not always work smoothly. Given the young and overly homogenous ensemble also directors met more frequently to the difficulty of their productions not adequately fill to. For this reason, the supervisory board of the Zweckverband repeatedly criticized the fact that the state stage lacked the "seasoned actors" . Some actors use the theater's "stepping stone" function , that is, access to attractive roles, in order to recommend themselves for other engagements. At various times this meant that artistic directors from larger houses regularly attended the LBNN performances and poached the best actors in the ensemble. For this reason, the fluctuation in staff was relatively high at times.

Well-known artists who have appeared at the Landesbühne include the chanson singer Tim Fischer , who at the beginning of his career in 1991 took on a role in Rainer Bielfeldt's musical Keyword Lonely Heart , the actress Andrea Sawatzki , who also appeared in a number of plays in the early 1990s - and children's theater productions, and the successful theater and television actor Siegfried W. Kernen , u. a. known from the German television crime series Schwarz-Rot-Gold , which started his first permanent engagement at the LBNN in 1964. The musician Still Jürn , among other things part of the folk duo Jan & Jürn , was part of the LBNN ensemble as an actor, as was Thomas Pommer , who today mainly works as a television producer. The well-known painter Rainer Fetting completed a traineeship in the field of stage design during the days of Stromberg's management .

Although many members of the ensemble only stay a few years at the Landesbühne, there are examples of actors who have been employed at the house for decades. On September 2, 1971, Elisabeth Thiel was awarded honorary membership for her 25 years on the stage; she had joined the Landesbühne when she still had her headquarters in Leer. Other actors who spent most of their careers at the LBNN were Irmgard Solm, Barbara Dembeck, Harry Burmeister, Oskar Matull and Johannes Simons.

The size of the ensemble has remained relatively constant in the almost 60-year history of the Landesbühne. At the beginning of the 1950s the ensemble consisted “mostly of 9 women and 12 men” , in the 1960s it consisted of nine women and 15 men. In the 2009/2010 season, 8 female and 14 male actors were engaged at the Landesbühne, plus around 15 guests for individual productions. In addition to the senior director, the theater employed three dramaturges (two for the drama and one for the children's and youth theater), but no permanent director. Some of the actors - in addition to the artistic director - were also entrusted with directing duties, otherwise the theater worked together with independent directors.

Principles of the game board

After frequent changes in the early years, the play area of ​​the Landesbühne in northern Lower Saxony has not changed since the mid-1990s. Politically and sociologically , this landscape can be described as very heterogeneous. While the industrial cities of Emden and Wilhelmshaven and the districts of Aurich and Leer are social democratic strongholds, the rural areas around Papenburg and Vechta are Catholic and conservative. On the island of Norderney, both locals and spa guests looking for pleasure find their way to the theater. The “surprisingly different mentality of the audience” , including the diverse cultural committees of the municipalities, have influenced the work of the respective directors since the state stage was founded. Nevertheless, it was never a concern of a theater director to align parts of the program specifically to a specific location. The only exception was the summer seasons on Norderney until the 1990s , when the entire artistic staff of the Landesbühne stayed on the island for several weeks and offered its guests a colorful, varied program. Some directors appreciated being able to gather the ensemble in one place so that the actors could get to know each other better. Overall, however, the disadvantages of this solution predominated, so that Norderney now has the status of one of several fixed venues that is visited several times per season - with the different productions.

Although the individual directors set different priorities, they were largely guided by the concept of a “mixed program” based on four pillars: the classics , contemporary theater , entertainment and children's and youth theater . This programmatic breadth should appeal to the largest possible audience and generate the necessary income. The mixing ratio could vary greatly depending on the times and the artistic temperament of the theater director. In the years after the war, the focus was on the educational mission of the theater and a correspondingly high number of school classics were rehearsed. Rudolf Stromberg set himself the task of observing “the work of contemporary authors” , for example during the season 1967/68 seven current pieces were on the program. Stromberg's successor Kruger opened stronger the entertainment theater and brought alongside comedies such as a glass of water or Charley's Aunt z. B. a dramatization of Herman Wouk's novel The Caine was her destiny on the stage. With Georg Immelmann - with an otherwise balanced schedule - the exemplary processing of regional history began, which continued even after his departure. Gerhard Hess and his colleagues again specifically promoted young playwrights and, after the success with Meta, Norddeich, launched the Schlicksoldaten project, financed by the Federal Cultural Foundation , which artistically dealt with the navy, as the nucleus of the city of Wilhelmshaven - with the participation of soldiers, civil employees and their family members.

The Teatr Polski in Bydgoszcz

Another constant within the “mixed schedule” has developed since the first seasons of the LBNN, a strong interest in German and Eastern European history, including the topics of flight and displacement . The dramas by Honold and Oelschlegel, which were performed in the 1950s and dealt with the war and post-war years, pointed in this direction. Among other things, the play New Year's Eve 1944 by the Czech playwright Vlastimil Šubrt was premiered under Rudolf Stromberg, which deals with a murder case in Prague during the last winter of the war and shows how Czechs and Germans, years after the crime, acted on each other due to prejudice accuse (season 1965/66). Later, also during the directorship of Mario Krüger, some of the short dramas by Václav Havel , Pavel Kohouts and Sławomir Mrożeks were on the program. Several texts by Katharina Gericke shed light on the last days of the GDR, while the presentation of the solar eclipse , based on the novel by Arthur Koestler , recalled the practices of the Stalinist secret police (2000/2001 season). A long-term cooperation with the Teatr Polski in Bydgoszcz aimed to work through the Bydgoszcz Blood Sunday from a German and Polish perspective. One of the reasons for the collaboration was that large parts of the German minority who lived in Bydgoszcz (Bromberg) settled in Wilhelmshaven shortly after the end of the war. The premiere of the play "Bromberg / Bydgoszcz" (authors: Katharina Gericke / Artur Palyga, director: Grażyna Kania ) took place in October 2012 in Poland.

present

Venues

The former young theater or studio in Wilhelmshaven

Theater am Dannhalm in Jever

Kurtheater Norderney

The play area of ​​the Lower Saxony North State Theater has been clearly defined since the mid-1990s. The theater presents its productions in a seasonal rhythm in a region that is inhabited by 720,000 people. According to a formulation by the artistic director Gerhard Hess, the LBNN plays for a "large city in the area" .

As a rule, a new production is shown five to eight times at the headquarters in Wilhelmshaven, and once in each of the other venues. Significant exceptions, such as in the case of the musical Meta, Norddeich , which was seen there six times (as of February 18, 2010) due to its connection to the city of Norden, are possible.

The venues in detail:

• Wilhelmshaven
  • City theater : The city theater is housed in the former naval directorate, a building from 1904. The stage and auditorium are designed as a classic peep-show theater . The visitor areas were extensively modernized in 1983 and at the beginning of the 21st century. Today there are 514 seats available in the hall. If the front stage is used in connection with opera and musical performances or a mixer in the hall reduces the capacity, 477 to 500 seats can be offered. The stage is 18 meters wide and 7 meters deep; the orchestra pit offers space for 52 musicians.
  • Young theater / studio: The building on Rheinstrasse has been home to the oldest children's and youth theater in Lower Saxony since 1989. Smaller studio performances are also presented on the intimate stage without a ramp. The venue has 99 seats.
• Aurich
  • Stadthalle: In addition to the Landesbühne, other theaters such as the Ohnsorg Theater also use the venue, which is otherwise available for concerts and parties. With row seating, 500 seats are available.
• Emden
  • New Theater : The New Theater was built in 1970 and can accommodate between 600 (music theater) and 680 people (drama). The stage space is 16.80 m wide and 10.80 m deep.
• Esens
  • Theater in the Theodor-Thomas-Halle: In 1962 the cultural community of the city of Esens succeeded in persuading the Landesbühne Niedersachsen Nord to perform in their city. Since then, the city of Esens has been a permanent venue for the state theater. It is played in the 382-seat theater in the Theodor-Thomas-Halle on Walpurgisstrasse.
• Jever
  • Theater am Dannhalm: After the inadequate stage conditions no longer allowed the concert house to be used with larger stage sets from the 1970s, the Theater am Dannhalm was specially designed as a venue for the state stage. The venue has 352 seats.
• Empty
  • Theater an der Blinke: The former Emsaula of the vocational schools, with a capacity of 800 spectators, was extensively renovated in 2010 for around 3.3 million euros and received, among other things, a new foyer, new seating and modern stage technology.
• north
  • Theater hall of the secondary school , with 450 seats.
• Norderney
  • Kurtheater : The Kurtheater, which opened in 1894, is a late Classicist building by the Hanoverian architect Johannes Holekamp, ​​and its structure corresponds to that of the court-public multi-purpose theater. It has also been used as a cinema since 1923. The theater, which was once designed for around 500 spectators, now has 363 seats.
• Papenburg
  • Forum Alte Werft : The Forum Alte Werft ishousedin the former factory halls of the Meyer Werft , which were converted into a cultural center in 1992 after extensive renovations. The ensemble includes a theater with 240 seats and the city hall with 800 seats.
• Vechta
  • Metropol: cinema hall, which is also used for theater evenings, with 272 seats.
• Weener
  • Karl-Bruns-Realschule: School auditorium, which is also used for cultural events, with 290 seats.
• Wittmund
  • Auditorium in the school center Brandenburger Straße , with 271 seats.

Staff and performances

LBNN - visitor numbers

Playtime	Visitors
2005/2006	106.121
2006/2007	102.246
2007/2008	104.128

The Landesbühne Niedersachsen Nord employs more than 100 people in the 2014/2015 season. The management of the house consists of the artistic director Olaf Strieb, the administrative director Torben Schumacher, the director of the Junge Landesbühne , Carola Unser, and the senior stage director Eva Lange. This staff creates over 500 performances for the entire play area. The performances are spread over nine productions in the evening schedule, which can be seen in all venues, as well as four studio productions and six children's and youth theater productions by the Junge Landesbühne .

After the attendance record from the 1980/81 season had not been reached and the state stage had to record a further decline in audience numbers in the 1990s, a trend reversal succeeded at the beginning of the new century. Since the 2003/2004 season, the performances have again been seen by more than 100,000 people, including a good 50,000 visitors in Wilhelmshaven alone.

In addition to the theater performances, song recitals and readings have been taking place regularly in the main building for several years. In the 2009/2010 season, the “Theater Church ” series of events was presented, a collaboration between the Landesbühne and the Christ and Garrison Church in Wilhelmshaven. In the form of a prayer , the priest and dramaturge approach topics from the current program together.

audience

Even the first directors of the Landesbühne, Herbert Paris and Wilhelm Grothe, obtained grants for school performances and admission discounts for young people, with long-term success. In the mid-1950s, 1,600 young people belonged to various youth visitor organizations; 35 percent of the audience in the theaters were young people. Other directors like Georg Immelmann also made an explicit effort to attract the young audience, which brought them the charge of wanting to turn the state stage into a “pure children's and youth theater” .

Even at the moment, visitors of young age, especially in the important school and university location Wilhelmshaven, make up a considerable part of the audience. Optional subscriptions such as the Junior Six Pack are aimed specifically at schoolchildren and students. In addition, so-called “theater messengers” advertise the state stage in schools and organize theater visits. Seniors are also part of the regular visitor base in all the venues, while the middle generation is somewhat underrepresented. The largest theater audience in Wilhelmshaven and the surrounding area is the Volksbühne , which celebrated its 60th anniversary in 2007 and is therefore five years older than the theater itself. There are special offers for the unemployed, such as tickets at a greatly reduced price (2 euros; Status: September 2011) for recipients of ALG II .

The “Kulturkarussell”, which takes place every summer in Wilhelmshaven and begins with a parade of the costumed theater people through the city center, has developed into one of the Landesbühne's most important marketing instruments. In a free season review, viewers get an insight into the staging of the coming season. They also have the opportunity to take a look behind the scenes and auction costumes from the stock .

budget

Since the establishment of the East Frisian State Theater in Leer, the Zweckverband and the State of Lower Saxony have been involved in the financing of the institution. During the Stromberg directorship, around 70 percent of the allocations were borne by the state and around 30 percent by the association. Little has changed in this distribution of funds up to the present. In the 2007/2008 season, the state of Lower Saxony contributed a total of 2.908 million euros to the annual budget of 5.537 million euros, and the Zweckverband 983,000 euros. Due to the positive development in visitor numbers, the Landesbühne was able to generate almost 30 percent of its costs (compared to 15.9 percent in 1995) itself - which was a top figure nationwide.

Nevertheless, at the beginning of 2010, the further financing of the LBNN was not secured. When the costs swelled significantly due to tariff increases, increased energy costs and more expensive stage set materials, the state of Lower Saxony did not adjust its allocations to the new situation. This threatened to create a deficit of 900,000 euros. The Zweckverband then decided to increase its grant by 150,000 euros annually for three years, in the hope that the country would follow suit. Despite assurances to the contrary by the Lower Saxony Minister of Culture Lutz Stratmann , the state's expenses were not increased. The Landesbühne responded with an online petition to the Lower Saxony state parliament , in which it called on the state to "end the cultural bleeding of rural areas in the northwest" . At the end of May 2010, the state of Lower Saxony promised the Landesbühne additional funds of 140,000 euros for the current financial year. In 2011 a new contract was signed between the Landesbühne and the State of Lower Saxony. It provides for a "partial dynamization" and not, as required by the LBNN, an annual increase in the state subsidy by the sum of the wage increases. Since there was a risk of new financial shortfalls by 2014, the Zweckverband decided to unilaterally increase its financial contribution.

Awards

• 2nd North German Theatertreffen in Hamburg (1972): Award for the production of Victor or the children in power by Roger Vitrac
• 7th North German Theatertreffen in Hamburg (1977): Special prize for the production of parka, jeans and 16 years of the theater pedagogical model
• 10th North German Theatertreffen in Lübeck (1981): Award for production Columbus discovers America by Karl Wesseler
• 14th North German Theatertreffen in Göttingen (1985): Award for the production The Caucasian Chalk Circle by Bertolt Brecht
• 14th North German Theatertreffen in Göttingen (1985): Award for actress Elke Münch (for her role as Grusche in Bertolt Brecht, The Caucasian Chalk Circle )
• Award for authors of the state stage group in the German stage association to Katharina Gericke for Geister Bahn , 2000
• Newcomers of the 1985 season (according to the specialist magazine Theater heute )
• Nominated for best theater work away from the centers (by the specialist journal Die deutsche Bühne , 2006)
• Nominated for best theater work away from the centers (by the specialist journal Die deutsche Bühne , 2008)
• Nominated for best performance in the field of stage / space / costume - Diana Pähler / Andorra - (by the trade journal Die deutsche Bühne , 2008)
• Nominated for best performance in the field of directing - Eva Lange / Andorra - (by the trade journal Die deutsche Bühne , 2008)
• Nominated for Best Director Acting - Jan Steinbach / Stella - ( Der Deutsche Theaterpreis DER FAUST , 2010)
• There were also invitations with productions to major German theaters. The world premiere of the Völcker play Albertz , directed by Christian Hockenbrink, from the 2008/09 season in Berlin's Maxim-Gorki-Theater and the Stella production from the 2009/10 season at the Deutsches Schauspielhaus in Hamburg.

Directors

• 1952–1955: Wilhelm Grothe / Herbert Paris
• 1955–1958: Hermann Ludwig
• 1958–1973: Rudolf Stromberg
• 1973–1979: Mario Krüger
• 1979–1994: Georg Immelmann
• 1994–1996: Thomas Bockelmann
• 1996–1998: Arnold Preuß ("interim artistic director")
• 1998–2013: Gerhard Hess
• since 2013: Olaf Strieb

literature

• Gerhard Hess (ed.): Theater by the sea. 50 years of the Lower Saxony North State Theater and Wilhelmshaven City Theater. LBNN GmbH, Wilhelmshaven 2002, ISBN 3-930510-77-4 .
• Gerhard Hess, big city theater in the area - the state stage Lower Saxony-North. In: Christian Kirk (Hrsg.): Wirtschaftsstandort Niedersachsen , Edition 2009/2010, Darmstadt 2009, ISBN 978-3-938630-64-8 .
• Peter Hilton Fliegel: Sometimes the circle is a square. Gerhard Hess in conversation about the Lower Saxony North State Theater. LBNN GmbH, Wilhelmshaven 2013, ISBN 978-3-941929-04-3 .
• Heino Küster: Music and theater in Lower Saxony. In: Karl Wiechert (Ed.): Cultural policy initiatives in Lower Saxony. Dedicated to Richard Voigt . Verlag für Literatur und Zeitgeschehen, Hannover 1965, pp. 105–111.
• Karl Veit Riedel : City Theater Wilhelmshaven, Landesbühne Lower Saxony-North, Low German Stage Wilhelmshaven. History and memories . Friesen-Verlag Willy Beutz, Wilhelmshaven 1983 (without ISBN)
• Bernd Steets: Theater almanac season 2009/2010. Topography of the German-speaking theater landscape . Edition Smidt, Pullach im Isartal 2009, ISBN 978-3-941537-00-2 .

Web links

Commons : Landesbühne Niedersachsen Nord  - Collection of images, videos and audio files

• Official website of the Landesbühne
• Official website of the Young Theater
• Participation report of the city of Wilhelmshaven 2008 , pp. 85–89 (PDF file)

Individual evidence

1. ↑ ^{a b} Carola Hannusch: The hour of birth. A look at the beginnings of the Landesbühne. In: Gerhard Hess (Hrsg.): Theater am Meer. 50 years of the Landesbühne Niedersachsen-Nord and Stadttheater Wilhelmshaven . Wilhelmshaven 2002, pp. 19–27, here: p. 19
2. ^ Karl Veit Riedel: City Theater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Wilhelmshaven 1983, p. 79
3. ↑ See Karl Veit Riedel: Stadttheater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Wilhelmshaven 1983, p. 80
4. ^ Karl Veit Riedel: City Theater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Wilhelmshaven 1983, p. 82
5. ↑ See Heino Küster: Music and Theater in Lower Saxony. In: Karl Wiechert (Ed.): Cultural policy initiatives in Lower Saxony. Dedicated to Richard Voigt . Hannover 1965, pp. 105–111, here: p. 108 f.
6. ^ Karl Veit Riedel: City Theater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Wilhelmshaven 1983, p. 83
7. ^ Karl Veit Riedel: City Theater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Wilhelmshaven 1983, p. 35
8. ↑ Cf. Carola Hannusch: The hour of birth. A look at the beginnings of the Landesbühne. In: Gerhard Hess (Hrsg.): Theater am Meer. 50 years of the Landesbühne Niedersachsen-Nord and Stadttheater Wilhelmshaven . Wilhelmshaven 2002, pp. 19–27, here: p. 23
9. ↑ See Nordwestdeutsche Rundschau , October 1, 1952
10. ↑ See Karl Veit Riedel: Stadttheater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Wilhelmshaven 1983, p. 90
11. ↑ See world and word. Literary Monthly , 8, 1953, p. 213
12. ↑ Norderneyer Spa Courier , July 18, 1953
13. ↑ Cf. Carola Hannusch: The hour of birth. A look at the beginnings of the Landesbühne. In: Gerhard Hess (Hrsg.): Theater am Meer. 50 years of the Landesbühne Niedersachsen-Nord and Stadttheater Wilhelmshaven . Wilhelmshaven 2002, pp. 19–27, here: p. 25
14. ↑ See Nordwestdeutsche Rundschau , January 24, 1958
15. ↑ See Karl Veit Riedel: Stadttheater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Wilhelmshaven 1983, p. 102
16. ^ ^{A b} Cf. Karl Veit Riedel: City Theater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Wilhelmshaven 1983, p. 100
17. ↑ See Frankfurter Abendpost , November 30, 1961
18. ↑ See Wilhelmshavener Rundschau , January 21, 1966
19. ↑ Quoted from Frank Wittkowski: Die Intendanz Stromberg. An era in documents. In: Gerhard Hess (Hrsg.): Theater am Meer. 50 years of the Landesbühne Niedersachsen-Nord and Stadttheater Wilhelmshaven . Wilhelmshaven 2002, pp. 31–46, here: p. 37
20. ↑ See Wilhelmshavener Zeitung , April 16, 1966
21. ↑ See Wilhelmshavener Zeitung , December 6, 1969
22. ↑ See Piet Defraeye: You! Hypocrite Spectateur. A Short History of the Production and Reception of Peter Handke's Audience Insult. In: Seminar. A Journal of Germanic Studies , 42, H. 4, November 2006, pp. 412-438, here: p. 429
23. ↑ See Karl Veit Riedel: Stadttheater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Wilhelmshaven 1983, p. 110 f.
24. ↑ See Wilhelmshavener Zeitung , March 7, 1972
25. ↑ See Karl Veit Riedel: Stadttheater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Wilhelmshaven 1983, p. 113
26. ↑ See Wilhelmshavener Zeitung , December 6, 1973
27. ↑ See Karl Veit Riedel: Stadttheater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Wilhelmshaven 1983, p. 114 f.
28. ↑ ^{a b c} Cf. Mario Krüger: A review. In: Gerhard Hess (Hrsg.): Theater am Meer. 50 years of the Landesbühne Niedersachsen-Nord and Stadttheater Wilhelmshaven . Wilhelmshaven 2002, pp. 49–57, here: p. 56
29. ^ Announcement and advertising booklet for the 1977/78 season, Landesbühne Niedersachsen Nord
30. ↑ Mario Krüger: A look back. In: Gerhard Hess (Hrsg.): Theater am Meer. 50 years of the Landesbühne Niedersachsen-Nord and Stadttheater Wilhelmshaven . Wilhelmshaven 2002, pp. 49–57, here: p. 53
31. ^ Karl Veit Riedel: City Theater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Wilhelmshaven 1983, p. 117
32. ↑ See Karl Veit Riedel: Stadttheater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Wilhelmshaven 1983, p. 118
33. ↑ See Mario Krüger: A review. In: Gerhard Hess (Hrsg.): Theater am Meer. 50 years of the Landesbühne Niedersachsen-Nord and Stadttheater Wilhelmshaven . Wilhelmshaven 2002, pp. 49–57, here: p. 54
34. ↑ See Karl Veit Riedel: Stadttheater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Wilhelmshaven 1983, p. 121
35. ↑ See on this topic: Günter Handlögten, Henning Venske: Dreckiger Sumpf. Corporations, municipalities, corruption. Kabel, Hamburg 1983
36. ^ ^{A b} 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. 67
37. ^ ^{A b} Ludwig Zerull : Out for a provincial miracle. Intendant Immelmann leaves Wilhelmshaven. In: Theater heute , 1994, no. 4, p. 32
38. ^ Karl Veit Riedel: City Theater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Wilhelmshaven 1983, p. 131
39. ↑ See Karl Veit Riedel: Stadttheater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Wilhelmshaven 1983, p. 131 f.
40. ↑ Cf. Erwin Sylvanus: Lessings Juden. A comedy , Frankfurt am Main 1979
41. ↑ Georg Immelmann, Erwin Sylvanus: Lessings Jews. In: Lessing 79. Messages from the Lessing year 1979 , issue 3, 1979, pp. 10-14, here: p. 11
42. ^ Announcement and advertising booklet for the 1993/94 season, Landesbühne Niedersachsen Nord
43. ↑ ^{a b c} 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. 72
44. ↑ See Lübecker Stadtzeitung , 25 September 2001
45. ↑ ^{a b} 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
46. ↑ ^{a b} 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. 68
47. ^ Wilhelmshavener Zeitung . March 9, 1992
48. ^ Rheiderland-Zeitung , March 11, 1992
49. ↑ 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. 71
50. ↑ See Karl Veit Riedel: Stadttheater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Wilhelmshaven 1983, p. 136
51. ↑ See Theater heute , vol . 4, 1984, p. 56
52. ↑ See Theater 1985. Yearbook of the magazine Theater heute, p. 124 f.
53. ↑ See Karl Veit Riedel: Stadttheater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Wilhelmshaven 1983, p. 139
54. ^ Website of the Junge Theater Wilhelmshaven ( Memento from July 19, 2011 in the Internet Archive )
55. ^ Gerhard Hess: Theater am Meer - today. In the S. (Ed.), Theater am Meer. 50 years of the Landesbühne Niedersachsen-Nord and Stadttheater Wilhelmshaven. Wilhelmshaven 2002, pp. 81–88, here: p. 83
56. ↑ Thomas Bockelmann: era to whom era is due. In: Gerhard Hess (Hrsg.): Theater am Meer. 50 years of the Landesbühne Niedersachsen-Nord and Stadttheater Wilhelmshaven. Wilhelmshaven 2002, pp. 77-78, here: p. 77
57. ↑ Jeversches Wochenblatt , July 22, 1997
58. ↑ Long distance running. Conversation with Gerhard Hess. In: Gegenwind , No. 195, January / February 2004
59. ^ Gerhard Hess: Theater am Meer - today. In: Gerhard Hess (Hrsg.): Theater am Meer. 50 years of the Landesbühne Niedersachsen-Nord and Stadttheater Wilhelmshaven. Wilhelmshaven 2002, pp. 81–88, here: p. 85
60. ^ Gerhard Hess: Theater am Meer - today. In: Gerhard Hess (Hrsg.): Theater am Meer. 50 years of the Landesbühne Niedersachsen-Nord and Stadttheater Wilhelmshaven. Wilhelmshaven 2002, pp. 81–88, here: p. 86
61. ↑ See Die Welt , November 28, 2000
62. ^ Nordwest-Zeitung , September 26, 2005
63. ↑ See Die Welt , September 28, 2009
64. ↑ See Thorsten Jantschek: The capital, underground. Dominik Finkeldes “Berlin Underground”, premiered in Wilhelmshaven. In: Theater heute , 1999, no. 12, p. 55f.
65. ↑ Cf. Hella Kemper: Dance of Death on the upper deck. In: Theater der Zeit , 2003, no. 1, p. 50 f.
66. ^ Kathrin Ullmann: Sociology from the salon steward. In: Theater heute , 2003, no. 1, p. 43
67. ↑ See taz , December 9, 2008
68. ↑ See Die Welt , January 28, 2003
69. ↑ ^{a b} See taz , March 20, 2007
70. ↑ Volker Hagedorn: A Swiss man anchors. In: Die deutsche Bühne , 1999, no. 2, pp. 42–43, here: p. 42
71. ↑ See Frankfurter Allgemeine Zeitung , February 24, 2003
72. ↑ Looked in the mouth. Knef musical "The gift horse" in the city theater. In: Gegenwind , No. 188, March 2003
73. ↑ See Die Welt , September 22, 2003
74. ↑ Cf. on the subject: Werner Jürgens: Come, we go to Meta , Norden 2000 (3rd edition 2009)
75. ↑ See Ostfriesen-Zeitung , February 3, 2010
76. ↑ See Schwäbische Zeitung , January 21, 2010
77. ^ Gerhard Hess: Theater am Meer - today. In: Gerhard Hess (Hrsg.): Theater am Meer. 50 years of the Landesbühne Niedersachsen-Nord and Stadttheater Wilhelmshaven. Wilhelmshaven 2002, pp. 81–88, here: p. 87
78. ↑ See taz , January 27, 2004
79. ↑ Kate Connolly: Women in 55-yr wait for Godot. In: The Telegraph (Calcutta), January 21, 2004
80. ↑ Cetak Berita: Penerbit Larang Wanita Mainkan drama "Waiting For Godot". In: Media Indonesia Online , January 20, 2004
81. ^ Nordwest-Zeitung , April 7, 2012
82. ↑ Nordwest-Zeitung , April 13, 2012
83. ^ Wilhelmshavener Zeitung , June 17, 2013
84. ↑ Nordwestzeitung August 20, 2016
85. ^ The German Stage 7/2014
86. ^ Wilhelmshavener Zeitung February 15, 2016
87. ↑ Cf. Carola Hannusch: The hour of birth. A look at the beginnings of the Landesbühne. In: Gerhard Hess (Hrsg.): Theater am Meer. 50 years of the Landesbühne Niedersachsen-Nord and Stadttheater Wilhelmshaven . Wilhelmshaven 2002, pp. 19–27, here: p. 19
88. ↑ See Karl Veit Riedel: Stadttheater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Wilhelmshaven 1983, p. 91
89. ↑ Cf. Carola Hannusch: The hour of birth. A look at the beginnings of the Landesbühne. In: Gerhard Hess (Hrsg.): Theater am Meer. 50 years of the Landesbühne Niedersachsen-Nord and Stadttheater Wilhelmshaven . Wilhelmshaven 2002, pp. 19–27, here: p. 27
90. ↑ See Karl Veit Riedel: Stadttheater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Wilhelmshaven 1983, p. 137
91. ↑ ^{a b} 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 f.
92. ^ Gerhard Hess: Theater am Meer - today. In: Gerhard Hess (Hrsg.): Theater am Meer. 50 years of the Landesbühne Niedersachsen-Nord and Stadttheater Wilhelmshaven. Wilhelmshaven 2002, pp. 81–88, here: p. 88
93. ↑ See Karl Veit Riedel: Stadttheater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Wilhelmshaven 1983, p. 124
94. ↑ See Nordwest-Zeitung , April 6, 2009
95. ↑ Junge Landesbühne - This is where you play! , accessed May 5, 2012
96. ^ Karl Veit Riedel: City Theater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Wilhelmshaven 1983, p. 111
97. ↑ ^{a b} Gerhard Hess: Large city theater in the area - the state stage Lower Saxony-North. In: Christian Kirk (Hrsg.): Wirtschaftsstandort Niedersachsen , edition 2009/2010, Darmstadt 2009
98. ↑ Bernd Steets: Theater almanac season 2009/2010. Topography of the German-speaking theater landscape , Pullach im Isartal 2009, p. 161
99. ↑ The actors of the LBNN emphasized the burdens again and again over the decades and described them e.g. B. as a "backbreaking job" (Mathias Reiter). See Wilhelmshavener Zeitung , March 23, 2010
100. ↑ 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. 62
101. ^ ^{A b c} Karl Veit Riedel: Stadttheater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Wilhelmshaven 1983, p. 101
102. ^ Biography Tim Fischer website of the artist (accessed June 3, 2010)
103. ↑ See interview in the Wilhelmshavener Zeitung , April 28, 2010
104. ↑ http://www.harbour-front.org/mitnahmende/siegfried-kernen , accessed on November 28, 2010
105. ↑ Christos M. Joachimides (Ed.): The metropolis found again. New painting in Berlin , Berlin 1984, p. 130
106. ^ Karl Veit Riedel: City Theater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Wilhelmshaven 1983, p. 86
107. ↑ See Mario Krüger: A review. In: Gerhard Hess (Hrsg.): Theater am Meer. 50 years of the Landesbühne Niedersachsen-Nord and Stadttheater Wilhelmshaven . Wilhelmshaven 2002, pp. 49–57, here: p. 52
108. ↑ See Karl Veit Riedel: Stadttheater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Wilhelmshaven 1983, p. 115 f.
109. ^ Announcement and advertising booklet for the 1961/62 season, Landesbühne Niedersachsen Nord
110. ^ Wilhelmshavener Zeitung , March 23, 2010
111. ↑ See Karl Veit Riedel: Stadttheater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Wilhelmshaven 1983, p. 110
112. ↑ Cf. Gerhard Hess: Theater am Meer - today. In: Gerhard Hess (Hrsg.): Theater am Meer. 50 years of the Landesbühne Niedersachsen-Nord and Stadttheater Wilhelmshaven. Wilhelmshaven 2002, pp. 81–88, here: p. 87
113. ↑ Peter Hilton Fliegel, Sometimes the circle is a square. Gerhard Hess in conversation about the Landesbühne Niedersachsen Nord , Wilhelmshaven 2013, p. 64 f.
114. ^ The Bromberg Bloody Sunday. A Polish-German rapprochement Kulturstiftung des Bundes (accessed on March 30, 2010)
115. ↑ Speeches about the massacre in Bromberg Deutschlandradio Kultur, November 4, 2011
116. ↑ German Stage Yearbook 2009 , p. 524
117. ↑ East Frisian Landscape - local chronicles: Esens, Stadt, Wittmund district by Gerd Rokahr (accessed on July 27, 2011; PDF; 99 kB)
118. ↑ Sebastian Bete: Opening of the theater on the Blinke. In: Ostfriesen-Zeitung [Leer], January 31, 2011
119. ↑ Theater statistics 2005/2006 , published by the Deutsches Bühnenverein, Cologne 2007, p. 109
120. ↑ Theater statistics 2006/2007 , published by the Deutsches Bühnenverein, Cologne 2008, p. 115
121. ↑ ^{a b} Theater Statistics 2007/2008 , published by the Deutsches Bühnenverein, Cologne 2009, p. 113
122. ↑ See Nordwestdeutsche Rundschau , October 7, 1953
123. ↑ Carola Hannusch: The hour of birth. A look at the beginnings of the Landesbühne. In: Gerhard Hess (Hrsg.): Theater am Meer. 50 years of the Landesbühne Niedersachsen-Nord and Stadttheater Wilhelmshaven . Wilhelmshaven 2002, pp. 19–27, here: pp. 23 ff.
124. ^ Communication from the LBNN, March 2010
125. ↑ Playtime review light. In: Gegenwind , No. 148, September 1998
126. ↑ See Jeversches Wochenblatt , August 25, 2009
127. ^ Karl Veit Riedel: City Theater Wilhelmshaven, Landesbühne Niedersachsen-Nord, Niederdeutsche Bühne Wilhelmshaven . Wilhelmshaven 1983, p. 97
128. ↑ Participation report of the city of Wilhelmshaven 2008 , p. 87 (PDF file)
129. ^ Theater statistics 2007/2008 , published by the Deutsches Bühnenverein, Cologne 2009, p. 157
130. ↑ See Hannoversche Allgemeine Zeitung , January 21, 2010
131. ^ Petition to the Lower Saxony State Parliament , www.landesbuehne-nord.de (accessed on April 5, 2010)
132. ↑ See Nordwest-Zeitung , November 26, 2010
133. ^ Radio Jade , August 25, 2011
134. ↑ Sponsorship Award of the Landesbühnen ( Memento of February 13, 2007 in the Internet Archive ) autorenpreis.de
135. ↑ See Theater 1985. Yearbook of the magazine Theater heute, p. 124 f.
136. ↑ See Die deutsche Bühne , no. 8, 2006, p. 27 ff.
137. ↑ ^{a b c} Cf. Die deutsche Bühne , H. 8, 2008
138. ↑ Nominations for FAUST , www.buehnenverein.de (accessed on November 28, 2010)
139. ↑ ALBERTZ im Gorki ( Memento from November 25, 2010 in the Internet Archive ), www.gorki.de (accessed on November 28, 2010)
140. ↑ STELLA at the Deutsches Schauspielhaus Hamburg , www.schauspielhaus.de (accessed on November 28, 2010)

This article was added to the list of excellent articles on June 9, 2010 in this version .

Coordinates: 53 ° 31 '17.9 "  N , 8 ° 7' 7.9"  E