Meininger principles

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The Meininger Principles are the significant innovations made by Meininger in theater and orchestral work, which were carried out at the end of the 19th century with a far-reaching reform that is still effective today. They are still part of the curriculum at drama schools today.

background

Duke George II
Ellen Franz, from 1873 Helene Baroness von Heldburg
Ludwig Chronegk
Hans von Bülow

The theater reform became necessary because, until the end of the 19th century, little attention was paid to faithfulness to the work, authentic stage sets and costumes in theater performances . Starry airs and self-portrayals shaped the theater work and directing hardly played a role. The same applied to orchestral work. The rapid social and technical development from the middle of the 19th century also called for a renewal and an increase in the quality of the arts. These were developed and carried out at the court theater of the royal city of Meiningen using the Meiningen principles . For a number of outstanding directors, authors, theater directors and filmmakers, the Meiningen Principles later formed the basis for their work, including Stanislawski , Max Reinhardt , Otto Brahm , Elia Kazan and Lee Strasberg .

Emergence

The reigning and art-loving Duke Georg II of Saxony-Meiningen has been asking for the renewal of theatrical art since his youth. The artistic all-rounder designed historically correct costumes and sets with his own hands at an early stage and began to influence the directorial work. After his ducal accession to power in 1866, he also became artistic director of the Meiningen court theater . Due to his personality and social standing, he developed the innovations together with his wife Helene Freifrau von Heldburg, the former actress Ellen Franz , and the actor, director and artistic director Ludwig Chronegk, mainly in the years up to 1874 and brought them to the Meiningen stage. George II achieved a strong echo in the theater world and among the reviewers of major newspapers. With a large-scale tour activity from 1874 to 1890 with 81 guest tours and over 2500 performances in numerous cities in Europe, the reform was then made known (→ see Meininger ). The Meiningen principles were then adopted by many European theaters.

From 1880 the conductor Hans von Bülow resorted to the Meiningen principles and applied them first in his orchestral work with the Meininger court orchestra and later with the Berlin Philharmonic , which he thus formed into the elite orchestras of his time.

The principles

The Meininger principles are essentially summarized in twelve points.

  1. The ideals of art are to be represented historically correct and as detailed as possible in theater performances.
  2. The art of theater should contribute to the development of the awareness of values, aim at a constant cultivation of the human being and not serve primarily commercial interests.
  3. As a reproducing cultural institution, the theater completes the creative work of the playwright. The performer has to serve this and virtuosity has to be suppressed.
  4. Only the poetic original texts are decisive for the work of the directors, dramaturges and stage designers. The character of the piece must not be blurred.
  5. Contemporary theater is directorial theater in which the director bears the main responsibility for the performance. It combines the literary, acoustic and visual into a total work of art.
  6. All the arts involved in the theater are brought together in the performances through a uniform style. This style is made visually evident by the equipment such as the set, costumes, props and interior.
  7. Ambitious theater is not based on the performance of a star, but on that of the ensemble. Role monopolies are to be rejected, the actors should be universally applicable, also for extras.
  8. A premiere is preceded by an intensive rehearsal phase that lasts until the most effective expression of a piece has been achieved. Role training of the actor and ensemble rehearsals form the basis here.
  9. Mass scenes should be individually designed and precisely rehearsed as scenes with individual actors. The extras are to be divided into groups led by experienced actors.
  10. Symmetry, parallelism and central perspectives are to be avoided in the stage design. With the “Meininger Contrast Technique” a changing mood is made visible, the “Meininger Zimmer” are practically furnished rooms, and the “Meininger Braun” with its warm earthy tint is particularly suitable for stage sets. Pale colors in decorations and costumes should only be used very subtly.
  11. The theater financing is the duty of society, artistic and financial success are to be achieved equally.
  12. The great ideal of theatrical art demands dignity and solemnity and includes a missionary aspect.

literature

  • Alfred Erck, Das Meininger Theater [ed.]: History of the Meininger Theater , Resch-Druck Meiningen 2006.
  • Kuratorium Meiningen (Hrsg.): Lexicon for the history of the city of Meiningen. Bielsteinverlag, Meiningen 2008, ISBN 978-3-9809504-4-2 .