Schleswig-Holstein State Theater

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The Schleswig-Holstein state theater was from 1949 to 1974 a state theater or a federal theater for the cities of Rendsburg and Neumünster as well as the district of Rendsburg , which in 1974 became part of the Schleswig-Holstein State Theater and Symphony Orchestra GmbH .

history

precursor

As early as 1900 there had been efforts in the province of Schleswig-Holstein to create a federal theater in Schleswig-Rendsburg-Husum on the basis of a decree by the chief president Ernst von Köller . The plan was dashed by Schleswig's refusal.

Instead, Schleswig founded its own "Nordmark-Verbandstheater" in 1912, which was renamed in 1924 to " Nordmark-Landestheater ".

As early as 1923, a "Schleswig-Holsteinische Landesbühne GmbH" was founded "in order to better utilize the existing art institutes", to which ten Schleswig-Holstein cities from Husum to Ratzeburg belonged as shareholders, but which had to be liquidated again after less than two years.

In 1945, after the end of the Second World War , Hermann Wagner and Paul Jaenicke merged and began to play in the St. Pauli Theater , which at that time had no performances of its own. From Hamburg they were looking for new ways to play. Via Neumünster they came to Rendsburg , where the theater had been confiscated and was administered by an English supervisory officer. The two gave their first performance in December 1945 under the name “Städtebundtheater”.

After the English withdrew from the house, a contract was concluded with the city of Rendsburg. The private company became a GmbH. Neumünster, the district of Rendsburg, the city of Rendsburg and Paul Jaenicke each contributed 20,000 marks. The success was extraordinary - until the currency cut put an end to it all. So this "Städtebundtheater" was dissolved in 1949 due to financial difficulties.

In the same year 1949 the "Landesbühne Schleswig-Holstein" was built, again under the responsibility of Rendsburg. Neumünster and the Rendsburg district were other shareholders.

Directors

The "Landesbühne Schleswig-Holstein" worked 25 years under the directors :

  • Wulf Leisner (1949 / 50–1958 / 59),
  • Joachim v. Groeling (1959/60–1962/63),
  • Hans-Walther Deppisch (1963 / 64–1969 / 70) and
  • Hans Thoenies (1970 / 71-1973 / 74).

The Wulf Leisner era

Leisner's attempt to set up a state theater in Rendsburg was successful. The performances were recognized by the public in Rendsburg and in the 12 detour locations that were initially used. In the course of the first ten years, the state stage became an integral part of the country's cultural life. The conscious cultivation of the classics led to 22 classics being performed in ten years.

Leisner organized several world premieres. Particularly successful: “The Daisy Society” by Heinz Wunderlich and “The Hungry Gods” by Hans Schubert.

Ten of his own pieces and revisions by artistic director Leisner himself were also on the program. “Don Quixote” was also able to enjoy it in Sweden .

In the years that followed, the program sheets of the first season became stately monthly issues.

An initial organization of visitor rings and theater trips was successful. The number of visitors increased from year to year.

Season 1949/50

The Landesbühne opened its first season on September 7, 1949 with a festival performance of Goethe's “ Faust ”. Walter Erich Schäfer's “The Conspiracy”, Henrik Ibsen's “ Nora ” and the world premiere of Kollo's charming musical play “The bright yellow gloves” completed this month's program. Johann Strauss' classic operetta “ Wiener Blut ” was the first operetta production of the season to be performed, and within a few weeks it had 30 performances. The first performances of Shaw's “ Die Heilige Johanna ” and Anouilh's “Medea” were great artistic successes , while Günther Rutenborn's problematic piece “In the Sign of Jona” aroused a sensation and general interest. In January 1950, a new production of Kleist's “ Prinz von Homburg ” achieved 25 performances. The number of visitors to the Landesbühne rose from 5,928 visitors in September to 18,074 visitors in December, while 12,000 regular subscribers joined the Landesbühne's visitor ring. The Landesbühne ended its first season with a highly acclaimed new production of Shaw's “Frau Warrens Gewerbe” with Erika Falkenhagen in the title role and Strindberg's “Stake”. 110,463 spectators visited the Landesbühne in these eight months. 42,978 visitors from the rural communities were brought to the performances of the Landesbühne by buses.

1950/51 season

The focus of this season was on three classic productions: Hebbel's “Herodes and Mariamne”, Lessing's “ Minna von Barnhelm ” and Shakespeare's “ Hamlet ”. The clear-cut, strictly formal interpretation of these productions attracted the greatest attention far beyond the state stage and already shaped the style of its classic productions, which is unique to the state stage. Lessing's comedy “Minna von Barnhelm” reached 45 performances within eight weeks. Contemporary playwrights, Shaw with his amiable comedy “ Pygmalion ”, Tennessee Williams with “ Die Glasmenagerie ”, Zuckmayer with “ Katharina Knie ” and Anouilh with “Romeo and Jeanette”, completed the program of the play . At the top of the operettas was Johann Strauss' “ One Night in Venice ” with 43 performances. The number of visitors to the Landesbühne rose by a further 25 percent within a few months.

1951/52 season

A new production of Schiller's “ The Fiesko's Conspiracy in Genoa ”, which received a lot of attention, opened the 1951/52 season. Grabbe's “ joke, satire, irony and deeper meaning ” was a sensational success in the staging and adaptation of Wulf Leisner. The previously seldom played satire Grabbes could be played eight times in front of sold-out houses. Wedekind's “ Die Büchse der Pandora ” was premiered in a joint arrangement by Kadidja Wedekind and Wulf Leisner. Kadidja Wedekind was an enthusiastic spectator at the premiere, which was followed by a series of performances in all the venues. New productions of Lessing's “ Clarissa ”, Büchner's “ Leonce and Lena ” and Shaw's “Caesar and Cleopatra” rounded off the drama program for this third season, which the Landesbühne again acquired a large number of new theater fans.

1952/53 season

With Schiller's “ Maria Stuart ”, Kleist's “ The Broken Krug ” and Shakespeare's “ Was ihr wollt ”, the attempt to renew a contemporary interpretation of classical works was continued with great success with the public and the press. The contemporary drama was in the foreground with Shaw's “The Emperor of America”, Fry's “A Sleeping Prisoner”, Patrick's “The Hot Heart” and Herbert's “Clouds Are Everywhere”. In the operetta, Benatzky's revue operetta “ Im Weißen Rössl ” achieved a performance record of over fifty performances.

1953/54 season

A new production of Gerhart Hauptmann's peasant war tragedy " Florian Geyer " by the artistic director Wulf Leisner will be the strongest impression of this season for the press and audience . The demanding work of Gerhart Hauptmann, which had its festive premiere on the occasion of a conference of all state theaters in Rendsburg, was unanimously recognized by the participants of the conference as convincing proof of the artistic performance of the state theater. The series of the already traditional new productions of classics was continued with Schiller's “ Don Carlos ” and Lessing's “ Emilia Galotti ”. In this season, too, contemporary drama with Wilder's “ Our Little Town ”, Ustinov's “The Love of the Four Colonels” and Fry's “One Phoenix Too Much” took an excellent place. Molière's charming comedy “ The Imaginary Sick ” achieved a performance record of 28 performances in a new translation and arrangement by artistic director Wulf Leisner. In the operetta, Jessel's “ Black Forest Girl” and Lehár's “ The Count of Luxembourg ” dominated with enthusiastic new productions by the operetta director Arthur Hell. For the first time this season, the number of visitors to the play exceeded that of the operetta - a fact that clearly proves the artistic qualification of the Landesbühne's play.

1954/55 season

During this season, Patrick's “Das kleine Teehaus”, Pagnol's “Zum golden Anker” and Hasenclever's “Napoleon intervenes” received the greatest response from the press and the public. The season, which opened with Schiller's “ Kabale und Liebe ” and reached its climax with a new production of Shakespeare's “ The Taming of the Shrew ”, brought the Landesbühne a new visitor record. Lehár's “ The Merry Widow ” and “ The Tsarevich ” lead the operetta performances . Lessing's " Minna von Barnhelm " was added to the program again.

1955/56 season

In the foreground of this season was a highly acclaimed new production of Goethe's “ Faust I ” by the artistic director Wulf Leisner. Herbert Doberauer stages the world premiere of Wunderlich's “Society of Daisies” and Gerhart Hauptmann's “ Fuhrmann Henschel ”. Both productions met with a strong response from the press and the public. Nash's “The Rainmaker”, Galsworthy's “Escape”, Shaw's “ Heroes ”, Leisner's “Don Quixote” and Fodor's “Die Abiturientin” made the program of this season particularly interesting and varied. In the operetta, Kollo's amiable Berlin Singspiel " As once in May " dominated with 32 performances.

1956/57 season

In this season, too, the work of a German-speaking author with Hans Schubert's “The Hungry Gods” was premiered on the Landesbühne. As in the previous year, Wunderlich's “Society of Daisies”, Schubert's tragic revolutionary play “The Hungry Gods” was included in the repertoire of numerous German theaters after the premiere by the Landesbühne. A redesign of Ibsen's “ Peer Gynt ” by the artistic director Wulf Leisner met with particularly strong interest, which extended far beyond the state stage . The season, which was first presented to contemporary authors by Peter Ustinov with “Romanoff and Julia” and Arthur Miller with “Blick von der Brücke”, ended with an impressive new production of Goethe's “ Egmont ”. Of the four operettas of the season, a new staging of Eysler's amiable singspiel " Die golden'ne Meisterin " was particularly popular .

1957/58 season

Shakespeare's “ A Midsummer Night's Dream ” opened the Landesbühne's ninth season. The enthusiastically received new production was followed by Moreto's classic comedy “Donna Diana” and Grillparzer's comedy “ Woe to him who lies! ". Again, contemporary drama took up a large part of the program with Morris' “The Wooden Bowl”, Priestley's “ Die Zeit und die Conways ”, Honold's “Fledermaus Squadron” and Sartre's “ Closed Society ”. In the month of Shrovetide, a revision by the artistic director Wulf Leisner of Raeder's popular farce "Robert and Bertram" was performed for the first time and reached record numbers of visitors in just a few weeks. New productions of Kálmán's “ Die Csárdásfürstin ” and Nedball's “Polenblut” were enthusiastically received in the operetta repertoire . The number of visitors to the Landesbühne reached its highest level at the end of this season.

1958/59 season

During this season, the Schleswig-Holstein State Theater performed the following:

The Joachim v. Groeling

From Esslingen, Joachim v. Groeling in April 1968 about his time in Rendsburg:

“My 'era' began in 1959 with 'Sturm' by Shakespeare and elsewhere as director of the Schleswig-Holstein State Theater and it ended with 'Ingeborg' by Kurt Götz in 1963. In between there were four rich years, which I fondly think back to. With the enthusiasm of the young conductor Hans-Joachim Marx, who I hired to Rendsburg, who began his work in Rendsburg with the flash of his first Gershwin concert and immediately made people sit up and take notice , as well as with the help of my old friend Prof. Radamsky and his international group of singers the musical program, which previously only performed operettas, was expanded to include operas , musicals and concerts . In the program of the play, I preferred a certain poetic direction from the classical to the modern.

This line was supplemented by the newly established 'Studio', in which Samuel Beckett ('Waiting for Godot'), Eugène Ionesco ('Sacrifice of Duty', played on stage as 'Theater upside down', and 'Die Stühle' as ship theater in the belly of the Alve) and an abundance of grotesque or contemplative one-act plays were performed in the foyer. The clean and friendly city of Rendsburg, the beautiful landscape of Schleswig-Holstein, which became my adopted home after the war, the bombed-out Dresdener, the many people interested in the theater, among whom I made friends, and my own obsession with which I started my first artistic director - All of this still strongly connects me with Rendsburg and its state theater. I believe that there are still a few people in the Schleswig-Holstein state theater who remember these performances, and I hope that I will leave my successor an instrument on which he can use his energy, to his taste and of course with the help of his own Can make music well in engagements. After the 'tones', which even reach southern Germany, he makes music powerfully and successfully. I wish him and our beloved Schleswig-Holstein state theater full of sounds in the future too - and full of money. "

- Joachim v. Groening, 1968

The opera genre was introduced in 1959/60 with Mozart's "Abduction from the Seraglio" . The first musical was called: "Kiss me, Kate". Head: v. Groeling / Marx.

The first concerts were also given to Cole Porter , as well as Gershwin and Beethoven with Elly Ney .

The studio was tested in the upper and lower foyer, on the stage and in the Alve and was an integral part of the program.

A “theater working group” was founded in the VHS; many discussions and lectures, including in schools, were held.

For the first time subscriptions were issued, which tripled from year to year in the first few years. For the first time guest performances were carried out in Hameln / Weser and on Heligoland .

For part of the theater ensemble, a summer season was held in 1963 as a preliminary stage to the year-round season.

1959/60 season

During this season, the Schleswig-Holstein State Theater performed the following:

1960/61 season

During this season, the Schleswig-Holstein State Theater performed the following:

1961/62 season

During this season, the Schleswig-Holstein State Theater performed the following:

1962/63 season

During this season, the Schleswig-Holstein State Theater performed the following:

The Hans-Walther Deppisch era

Walther Deppisch wrote in the anniversary brochure "20 Years of the Schleswig-Holstein State Theater":

“When I came to Rendsburg in 1963, I brought with me the South German idea of ​​the 'stiff north'. Today I know how unjustified this prejudice is. Already in my first year in Rendsburg I experienced an open-minded, sociable and enthusiastic audience that was ready to go along new, perhaps previously unfamiliar paths, and even where everything did not work out in the first attempt, recognized the good intentions and the serious will .

Over the past five years I have been particularly grateful for the freedom of movement that was given to me when designing the game plan. I have never been exposed to pressure from parties or denominations; and it seems to me that something of the worldwide spirit of the old Hanseatic League is still at work in the inland Rendsburg : an atmosphere of exemplary tolerance.

If you have no distance from your work, it is difficult to say anything about it. During these five years there have been successes and failures, hopes fulfilled and disappointed. But one thing has remained constant to this day: the love for my work, in which I feel connected to many of my employees. It is my sincere wish that our audience should always feel this. An old, experienced theater man once said to me: 'It doesn't matter which theater you run, but how you run it.' I tried to heed that advice.

20 years of the Schleswig-Holstein State Theater ... Measured against the long tradition of many German stages, these two decades seem insignificant. May they be a beginning ... ad multos annos. "

- Hans-Walther Deppisch, 1969

1963/64: The summer season was extended so that a large part of the drama ensemble could get year-round contracts.

1964/65: Expansion of the ballet group. First ballet evening with " Peter and the Wolf " by Prokofieff, expansion of the opera repertoire to two works in each season. Three quarters of the entire staff receive annual contracts with continuous season. Establishment of own theater metalworking shop. In cooperation with the Neumünster Social Welfare Office , a subscription is being issued there for the first time as part of the elderly .

1965/66: Conversion of the studio into the series “Theater der Gegenwart” with discussions between the director, set designer, actors and the audience following the performances. Some of the productions in this series are now also shown in the venues outside Rendsburg. Opening of a separate youth theater program for 10 to 15 year olds with Benjamin Britten's “ We make an opera ”. Expansion of the subscription system in Rendsburg: "Sunday afternoon subscription". Publication of a free, monthly information publication: "The theater letter". Introduction of a program booklet subscription.

1966/67: A newly concluded sample employment contract binds the orchestra members to the Landesbühne for the entire duration of a season. Expansion of the youth theater program in close cooperation with the schools in our play area. First participation of the Landesbühne at NORLA Rendsburg with its own information stand . Formation of new theater working groups at the adult education centers in Hademarschen , Meldorf , Neustadt and at the home adult education center in Rendsburg . French weeks with the exhibition “poesie & histoire” and a production of Eugène Ionesco's “The Rhinos”, a matinee “montage poetique” and a chamber music evening with works by French composers, visit by a delegation from Vierzon .

1967/68: Annual meeting of the Barlach Society on the occasion of the “Sündflut” production at the opening of the season. Expansion of the subscription system in Rendsburg: "Subscription for young people". Announcement of a competition: "Theater plays for young people". The youth theater - for the first time with an additionally engaged ensemble for “Robinson shall not die” - is carried out in the entire theater area of ​​the state stage. Exhibition "Molière Today" in the foyer of the Rendsburg City Theater. Youth parties in the foyer of the Stadttheater, exchange guest performance with the Stadttheater Klagenfurt.

In these five seasons, the Landesbühne was able to expand its play area to Lower Saxony ( Verden , Göttingen ), North Rhine-Westphalia ( Herford ) and the outskirts of Hamburg, the number of venues rose to 31.

Since 1963/64 exhibitions have been held regularly in the foyer of the Stadttheater, which should bring the life and work of the authors of our opening premieres closer to the public ( Hebbel , Shakespeare , Schiller , Brecht , Barlach ). The special exhibition “poesie & histoire” was also shown in Neumünster, Itzehoe, Kiel and Hamburg, and the Molière documentation in Ingolstadt , Baden-Baden , Osnabrück and Detmold in the following season .

1963/64 season

During this season, the Schleswig-Holstein State Theater performed the following:

1964/65 season

During this season, the Schleswig-Holstein State Theater performed the following:

Season 1965/66

During this season, the Schleswig-Holstein State Theater performed the following:

1966/67 season

During this season, the Schleswig-Holstein State Theater performed the following:

1967/68 season

During this season, the Schleswig-Holstein State Theater performed the following:

1968/69 season

Further details are missing; but the following were listed:

Season 1969/70

Further details are missing; but it was listed:

  • play
    • Sternheim: From the bourgeois heroic life 1913

The era of Hans Thoenies

Hans Thoenies was the artistic director of the Schleswig-Holstein state theater from 1970/71 to 1973/74 .

The Rhinelander, an actor and director since 1955 , came to the Hanseatic City of Lübeck in 1979 via the Schleswig-Holstein State Theater and the Memmingen Theater . When he said goodbye, the speakers emphasized that he had been a “lucky man” and that his time passed without scandals.

The artistic director, actor and director was artistic director and managing director of the Wolfsburg Theater from 1991 to 2008, and honorary director since 2008; 1992 to 1998 President, since then honorary member of INTHEGA, interest group of the cities with theater guest performances . Numerous productions in all genres at various theaters. Author of children's plays; Translator.

“For 17 years, Hans Thoenies' performance stood for the fact that the Wolfsburg theater is linked to a continuous success story. Of which theater in our country can this be said in the same way? "

- Theater of the City of Wolfsburg GmbH

Portrait and works by Hans Thoenies can be found on the website of the VVB ( sales office and publisher of German stage writers and stage composers ). Thoenies died on September 18, 2019 in a home in Wolfsburg, shortly before his 87th birthday.

1970/71 season

Information about the productions is missing.

1971/72 season

Information about the productions is missing.

1972/73 season

Information about the productions is missing.

1973/74 season

Further details are missing; but the following were listed:

End and transition

At the beginning of the 1970s the subsidies to be paid reached a level that the city of Rendsburg could no longer bear. On June 3, 1974, the contract was signed that laid the foundation for today's Schleswig-Holsteinische Landestheater und Sinfonieorchester GmbH , connected with the Nordmark Symphony Orchestra . Partners were a total of 20 cities and districts. Locations were and still are in Flensburg, Schleswig and Rendsburg. The music theater including the orchestra was based in Flensburg, the drama was assigned to Schleswig and Rendsburg, and the administrative center was in Schleswig. Horst Mesalla became the general director and sole authorized signatory .

literature

  • Director of the Landesbühne Schleswig-Holstein (Ed.): 10 years Landesbühne , Darmstadt: Mykenae-Verlag o. J. (1959).
  • Landesbühne Schleswig-Holstein (Ed.): 20 years Landesbühne Schleswig-Holstein , Rendsburg: Albers o. J. (1969).
  • Rolf-Peter Carl: Curtain up! Theater in Schleswig-Holstein , Heide: Boyens 2008.
  • Siegfried Lenz : Landesbühne. Novelle , Hamburg: Hoffmann and Campe 2009 (Munich: dtv 2nd edition 2011).

Web links

Individual evidence

  1. ↑ a b City Theater in Rendsburg. Retrieved June 9, 2020 .
  2. ↑ Das Schleswiger Theater 1840 - 1974. Retrieved June 9, 2020 .
  3. ↑ Rolf-Peter Carl: Curtain up! ... , 2008, p. 7.
  4. ↑ Joachim von Groeling. Retrieved June 9, 2020 .
  5. ↑ way up . In: Der Spiegel . No. 28 , 1970, pp. 115 ( online - July 6, 1970 ).
  6. ↑ a b Hans Thoenies. Retrieved June 9, 2020 .
  7. ↑ Map of the venues
  8. ↑ a b c d e f g h i j k l m n o Landesbühne Schleswig-Holstein (ed.): 20 years Landesbühne Schleswig-Holstein , Rendsburg: Albers o. J. (1969).
  9. ↑ His own wingman . In: Der Spiegel . No. 42 , 1949, pp. 37 f . ( online - October 13, 1949 ).
  10. ↑ DNB 57813425X
  11. ↑ Erich Paetzmann: The sign of Jonah. In: Die Zeit 47/1949. November 24, 1949. Retrieved May 5, 2019 .
  12. ↑ a b c d 10 years of the Landesbühne , p. 6
  13. ↑ Clarissa (Miss Sarah Sampson) - Lessing, Gotthold Ephraim. Retrieved June 9, 2020 .
  14. ↑ 10 years Landesbühne , pp. 6 and 8
  15. ↑ OCLC 4538903
  16. ↑ 10 years of the Landesbühne , p. 8
  17. ↑ 1958 filmed: The high school graduate in the Internet Movie Database (English)
  18. ↑ 10 years of the Landesbühne , p. 8 f.
  19. ↑ GND 119431629
  20. ↑ a b 10 years of the Landesbühne , p. 9
  21. ↑ 1963 on television in the GDR: http://www.fernsehenderddr.de/index.php?script=dokumentationsblatt-detail&id1=13374
  22. ↑ Gustav Raeder. Retrieved June 9, 2020 .
  23. ↑ 1974 on the television of the GDR: http://www.fernsehenderddr.de/index.php?script=dokumentationsblatt-detail&id1=15099
  24. ↑ The funny women of Kyritz - Wilken, Heinrich / Justinus, Oscar. Retrieved June 9, 2020 .
  25. ↑ Do you know the Milky Way? - Wittlinger, Karl. Retrieved June 9, 2020 .
  26. ↑ Kaulla, Guido and Thekla from : King Drosselbart. Fairy tale game . Published by Wiesbaden, Steyer, 1954
  27. ↑ DNB 973597321
  28. ^ Antigone - Jens, Walter / Sophocles. Retrieved June 9, 2020 .
  29. ↑ DNB 453462650
  30. ↑ DNB 910908419
  31. ↑ GND 111672510X
  32. ↑ Devil's Trail by Yves Jamiaque. Retrieved June 9, 2020 .
  33. ↑ Classics: Joseph Haydn (1732-1809): L'Infedeltà delusa. Retrieved June 9, 2020 .
  34. ↑ Regina Werner sings "I'm so good-humored today" from "Die loose Odette" by J. Offenbach on YouTube , accessed on May 5, 2019.
  35. ↑ DNB 455531625
  36. ↑ The Gramophone Shop on YouTube , accessed May 5, 2019.
  37. ↑ DNB 457505907
  38. ↑ hans_im_glueck.pdf. (No longer available online.) Formerly in the original ; accessed on June 9, 2020 .  ( Page no longer available , search in web archives )@1@ 2Template: Toter Link / www.theaterluebeck.de
  39. ^ History . Theater of the City of Wolfsburg GmbH. Retrieved July 11, 2019.
  40. ↑ LN online from September 20, 2019: Obituary: Former Lübeck director Hans Thoenies is dead , accessed on September 20, 2019