Meininger State Theater
|Meininger State Theater|
|Architecture and history|
|Opened:||December 17, 1909|
|Description applies to the big house|
The Meiningen State Theater is a four-branch theater in the southern Thuringian district town of Meiningen . Until April 2017 the theater was called "Das Meininger Theater - Südthüringisches Staatstheater", since then the name "Staatstheater" has been integrated into the title.
The theater ensemble offers musical theater , drama , concert and puppet theater . The Meininger Hofkapelle is also connected to the theater . The traditional stage is supported by the State of Thuringia, the City of Meiningen and the District of Schmalkalden-Meiningen under the umbrella of the Meiningen-Eisenach Cultural Foundation .
The house is the cradle of the modern directorial theater that is still practiced today . At the end of the 19th century, as the Meiningen Court Theater of the Duchy of Saxony-Meiningen, it made this far-reaching theater reform known with numerous guest performances throughout Europe. This tradition and further heydays made the Meininger Theater an important stage not only in Thuringia and still secure a special position in the world of theater to this day. This continues to shape the self-image of the city of Meiningen as a theater city .
As of the 2019/20 season, the State Theater is directed by Ansgar Haag ( Artistic Director), Corinna Jarosch (Opera Director), Tobias Rott (Acting Director ), Maria C. Zoppeck (Director of the Puppet Theater), Philippe Bach (General Music Director), Gabriela Gillert (Citizens' Stage , Junge Bühne), Manuel Bethe (choir director) and Detlef Nicolmann (technical director).
The four branches of the Meiningen State Theater are:
- Music theater with opera, operetta and musicals
- Meininger Puppet Theater
- Concert performed by the Meiningen court orchestra
The offer is supplemented by ballet and drama performances by the Eisenach State Theater .
The state theater also includes:
- the choir of the Meininger Theater with 33 members (founded in 1946)
- the extra choir with around 30 members
- the "Ballet School at the Meiningen State Theater" founded in 2001
- the "Bürgerbühne Meiningen" created in 2014
- Large house with 726 seats (music theater, drama and concert)
- Chamber plays with 162 seats (puppet theater, chamber operas, plays, revue and ballet)
- Foyer in the Great House (foyer concerts, readings and matinees)
- Wartburg Eisenach (twice a year)
The first permanent theater venue in Meiningen was located in the "Giant Hall" of Elisabethenburg Palace , which was opened on June 5, 1776 with the tragedy "The Prince's Favor" by Christian Heinrich Schmidt. The stage was 15 m wide and 11 m deep. The auditorium was already divided into parquet, ground floor and a tier. Until the opening of the new court theater, the theater was initially played by the ducal lovers ' theater , which Duke Karl von Sachsen-Meiningen founded in 1774. Between 1776 and 1780, The Coffee House or the Scottish Woman by Voltaire , The House Father by Denis Diderot and Julius von Tarent by Johann Anton Leisewitz were performed. Subsequently, a civil amateur theater company as well as traveling actors showed their performances there.
From June 1801 the small comedy house and spa theater in Bad Liebenstein with 344 seats was available in the Duchy of Saxony-Meiningen , which Duke Georg I arranged for. In 1820 the Meiningen ducal house decided to build a new court theater in Meiningen. The start of construction was delayed due to financial bottlenecks and the reorganization of the duchy in 1826 to the year 1829. Under Duke Bernhard II. , According to plans by the Brunswick court building councilor Carl Theodor Ottmer and under the direction of court building councilor August Wilhelm Döbner, a modern and large building was created for this time Building with 600 seats and 160 standing places in the classical style. The main financier is Princess Adelheid von Sachsen-Meiningen , who later became Queen Adelaide of England, who with 25,000 Meissen guilders took on around a third of the costs. In total, the building devoured 70,000 guilders.
On December 17, 1831, the Meiningen Court Theater opened with the opera Fra Diavolo by Daniel-François-Esprit Auber . In the first few years, the seasons with the involvement of the Meiningen court orchestra were played by theater companies that were committed for one or more years. In 1860 the court theater got its own theater and opera ensemble . Karl Freiherr von Stein was appointed first director . The still young ensemble premiered the play “Frau Lucrezia” by Paul Heyse , who later won the Nobel Prize for Literature , in 1865 .
Hereditary Prince Georg, who later became Duke Georg II , had many years of extensive art training and began to exert a great influence on theater work during the reign of his father Bernhard II. His main interest was drama, especially the dramas by Shakespeare , Schiller , Kleist , Molière , Goethe and Lessing . Dissatisfied with the not very authentic performances of all German, even European theaters, which were common at the time, the artistic all-rounder designed historically correct costumes, sets and props himself and began to have the pieces performed true to the work and with a high degree of perfection.
After taking office in 1866, Georg II took over the artistic direction of the theater, dissolved the opera ensemble and concentrated the forces of the house on drama. The Duke introduced democratic methods of directing, in which discussions with the most important actors on the repertoire and problems of theatrical work were held. Thereupon he was known - at first rather mockingly, then with full recognition - as the "theater duke". In order to give the performances even more profile, he hired the well-known Shakespeare translator Friedrich von Bodenstedt as artistic director in 1867 . He was able to win the actress Ellen Franz for the court theater, who brought decisive impulses to the theater work. After initial success, the collaboration with von Bodenstedt failed due to differences of opinion in the directorial work. Thereupon Georg II appointed Karl Grabowsky as the new artistic director and the influential actor Ludwig Chronegk as chief director in 1869 . In the same year, both of them staged German premieres of the plays "Halte-Hulda" and "König Sigurd" by Norwegian Bjørnstjerne Bjørnson .
The theater reform
The reform of the directorial work and the staging style was not a one-off planned act, but a gradual process that took place mainly between 1866 and 1874 and was overdue due to the rapid political, social, artistic and technical developments at the end of the 19th century. It was reserved for a duke who, in addition to great artistic talents, a great love for the theater and a social enlightenment, possessed the necessary financial and political means and a powerful theater company to carry out this reform.
Duke Georg II and Chronegk now directed it together. They built the cooperation with the Coburg Theater painter Max Brückner out to the stage backdrops to improve so far until this an almost perfect illusion of reality evoked on stage. They also worked with theater specialists such as Ernst von Possart or the literature professor Karl Werder to create trend-setting models. In order to further increase the performance of the ensemble, outstanding actors were hired. These included Karl August Devrient and Ludwig Dessoir . The ensuing successes made the theater world sit up and take notice , the Shakespeare Society and reviewers of major newspapers took notice of the court theater.
Soon the idea of a guest performance in Berlin arose . The Franco-German War that broke out in 1870 initially prevented this project. In 1873 Georg II married the actress Ellen Franz, who from then on bore the name Helene Freifrau von Heldburg . At the theater she did the main work in the field of dramaturgy, in engagement and casting decisions as well as in the training and education of young students .
Georg II, his wife Helene and Chronegk developed a number of positions and innovations since 1866, which were called the Meiningen Principles and on which the theater reform was based.
These principles followed the artistic ideal of presenting theater in a historically accurate and stylish manner. This included an absolute adherence to the work and a priority in ensemble formation and mass direction. Each actor had to subordinate himself to this, who after a leading role also had to participate as an extra or choir member . Even the smallest roles had to be played with the utmost precision. Starry airs were rigorously stopped. Another innovation was the impressive crowd scenes, thought through down to the smallest detail, which had not previously existed on any theater stage. The stage design should always be historically correct and asymmetrical and the main actors were never allowed to linger in the center of the stage for long.
The Meiningen principles were adopted by many other theaters during the guest performance. Outstanding theater experts, directors and later also filmmakers such as Stanislawski , Max Reinhardt , Elia Kazan , Lee Strasberg , Erich Ziegel and Otto Brahm studied the Meiningen performances and used these principles in their work for theater and film.
The Meininger on their travels
Finally, on May 1, 1874, the ensemble of the Meininger Hoftheater performed with great success for its first guest performance in Berlin with Julius Caesar from Shakespeare . This was followed by an unprecedented 16-year tour with 81 guest appearances in 38 cities in Europe with 2591 performances, including in London , Vienna , Stockholm , Moscow , Saint Petersburg and Amsterdam . On these trips, the ensemble performed a total of 41 works under their new artistic director Ludwig Chronegk, in particular by Shakespeare and Schiller . Soon the newspapers and the theater world were calling the ensemble of the court theater only the Meininger .
The theater tour groups consisted of 70 to 80 participants. They carried 15 to 20 wagons with decorations, props and costumes. The splendid, historically authentic costumes and the elaborate backdrops that spread a new atmosphere caused a sensation at the guest performances . Today you can see part of these backdrops in a faithful presentation in the Meininger Theater Museum. A number of young and later famous actors began their careers during the travel time and received an excellent education at that time, including Josef Kainz . The guest performances ended on July 1, 1890 with the performance of Shakespeare's What You Want in Odessa .
Due to the good private contacts between the ducal couple and the authors, there were plays by Bjørnstjerne Bjørnson, Henrik Ibsen , Ernst von Wildenbruch and Paul Heyse at the Meininger Hoftheater while they were traveling . In 1876 “Die Kronprätendenten” and 1886 the ghosts by Henrik Ibsen were given their German premieres in the presence of the author; a world premiere took place in 1881 with the play “Die Karolinger” by Ernst von Wildenbruch.
1890 to 1920
After the travel time, the ensemble was reduced in size and the duke had operas performed again. The quality of the plays remained at a high level. Many well-known actors such as Gertrud Eysoldt and Hermann Thimig were engaged at this time.
The Meiningen court orchestra was always closely connected to the court theater, and between 1880 and 1914 they celebrated great successes in many European concert halls with Bülow , Strauss , Berger and Reger .
On March 5, 1908, the theater building burned down to the ground. As early as December 17, 1909, the new neoclassical court theater with Wallenstein's camp was inaugurated by Schiller in the presence of important general managers and other celebrities from culture and business from all over Germany. The architect was court building officer Karl Behlert . The new house now had 740 seats and a circular stage. Max Grube became the artistic director, and by the beginning of the First World War he had once again improved the quality of the ensemble.
Georg II died on June 25, 1914 at the old age of 88. The Meininger could only with great effort and strong protests prevent his successor, Duke Bernhard III. After the outbreak of the First World War, the theater and the court orchestra dissolved for financial reasons. After the duke had to abdicate on November 10, 1918 and the duchy was converted into a free state, the theater initially operated as the court and state theater in the Free State of Saxony-Meiningen , before it was supported by the newly formed state of Thuringia and the city of Meiningen from 1921 as the state theater . The court orchestra was given the new name Landeskapelle Meiningen .
The end of the empire brought about a great upheaval and renewal of art. Thanks to the progressive-thinking director Franz Ulbrich , this soon found its way into Meiningen. This was expressed, among other things, by the German premiere of Maxim Gorki's “Family Sydow” in 1920. Ulbrich initiated the founding of the Academy for Dramatic Art at the Meininger Theater in 1919 . The stage continued to develop into an important expressionist stage in Germany from 1919 onwards . Ulbrich had a whole series of new plays by avant-garde writers and dramatists performed, not a few of which were premieres in the presence of the artists. The best-known world premieres were “The Jewish Widow” by Georg Kaiser (1921), “Gobsek” by Walter Hasenclever (1922) and “Die Feindlichen” by Johannes Schlaf (1923). The theater ensemble worked closely with some authors such as Georg Kaiser or Anton Wildgans . Well-known actors from major stages, including Albert Bassermann and Maria Fein , gave several guest performances. This great period of Expressionism ended in 1926. Up to the end of the Second World War, the theater business ran without any further highlights.
1945 to 1990
Only slightly damaged in the war, the theater was reopened on June 2, 1945 with a dance show for American soldiers. On June 7th, Gerhart Hauptmann's play The Sunken Bell followed . From 1947 to 1954, Fritz Diez managed the house quite successfully as director. In 1952 the theater got a revolving stage. After the state of Thuringia was dissolved in 1952, the house was given the new name Das Meininger Theater , which it held until 2017. The Landeskapelle was renamed the orchestra of the Meininger Theater .
From 1956 to 1960 there was another heyday under the artistic director Alexander Reuter and the still young director Fritz Bennewitz , when they performed many works by Brecht and Meiningen in the GDR became the second Brecht stage in Berlin. The GDR premiere of the Threepenny Opera was of outstanding importance . From 1957 to 1991, the Meiningen Theater played in the newly built Steinbach-Langenbach Natural Theater in the Thuringian Forest in the summer months . The theater staged a highly acclaimed GDR premiere in 1972 with Napoleon or The Hundred Days by Christian Dietrich Grabbe . In 1986 the puppet theater was founded as a new division , initially with 16 members. The house now had the five branches of drama, musical theater, ballet, concert and puppet theater. The premises of the theater were no longer sufficient for the increased tasks. From 1987 to 1991, new, modern functional buildings were built with a rehearsal stage, a ballet hall and a restaurant.
During the political change in the GDR, Artistic Director Jürgen Juhnke organized three citizens' forums in his house at the end of October and beginning of November 1989, in which regional, predominantly SED leaders from the district and district of the population had to answer questions. Members of the theater who belonged to the citizens' movement “ Demokratie Jetzt ” organized on November 19, 1989 the largest demonstration in the city at this time not organized by the church with more than 10,000 participants. Starting at the theater and leading to the market, there were demonstrations for freedom of the press, freedom of expression and freedom of assembly (→ Wende in Meiningen ).
A new heyday
From 1990 to 2017 the Meininger Theater was run as the South Thuringian State Theater . In 1991 the theater people redesigned the new rehearsal stage into a second, smaller venue called Georgie's Off . The house flourished again in the next few years under the directors Ulrich Burkhardt , Christine Mielitz and Ansgar Haag . After the fall of the Wall, a number of well-known directors rediscovered the Meininger Theater in order to stage productions here, including Klaus Maria Brandauer , Loriot , August Everding , Brigitte Fassbaender and Angelica Domröse . The Greek Mikis Theodorakis premiered his piece Medea in Germany in 1995 . In the 1990s, a large regular audience was won, not only from Meiningen and the region, but also from Lower Franconia and Hesse . The production of Richard Wagner's Der Ring des Nibelungen in 2001 (director: Christine Mielitz, musical director: Kirill Petrenko ) attracted international attention . For the first time, the complete work, as requested by Wagner, but never achieved by himself, was played on four consecutive days. In the same year the "Ballet School at the Meininger State Theater" was founded.
After the departure of Christine Mielitz 2002 chose Cultural Foundation Meiningen with Res Bosshart from Hamburg Cultural Kampnagel a representative of modern, experimental theater to the director of the house. A merger with the Eisenach State Theater and the dissolution of the puppet theater planned by the Thuringian state government through an austerity course was successfully averted with demonstrations by theater employees in Meiningen and Erfurt. The closure of the ballet ensemble , which was also planned for 2004 , could not be prevented. During Res Bosshart's tenure, the number of visitors fell to an all-time low as part of the theater audience rejected his productions. The contract with Res Bosshart was then prematurely terminated by the cultural foundation.
Since 2005, the Meininger Theater has been managed by Ansgar Haag in the musical theater, drama and puppet theater categories . With a balanced mix of genres, he was able to achieve an increase in visitor and subscriber numbers again . As part of the theater's 175th anniversary in 2006, the orchestra was given back its original name, Meininger Hofkapelle . The court orchestra enriches the offer of the house with regular symphony, foyer and youth concerts. In early 2007, the department moved into box office to new premises in a renovated building next door, a former department store and school, the so-called chamber play. The theater bistro La musica and the municipal gallery ada were also set up there.
The plays Faust I and Faust II by Goethe, which were performed for the first time on two consecutive days in the Great House and in the adjoining English Garden on May 17 and 18, 2007, attracted great national attention . For this achievement, the Meininger Theater received the “Selected Location 2007” award from the “Germany - Land of Ideas” initiative. In summer 2008, ZDF filmed these productions for the German school media production. The recording is available as a double DVD at the theater. With "Elisabeth, Der Freikauf" by Herbert Meier and the youth play Asphalt Tribe by Morton Rhue , the theater brought two world premieres to the stage in 2007.
Present: Meiningen State Theater
On June 20, 2008 the opening of the Kammerspiele took place with the premiere of the drama project “Metamorphoses”. In this venue, which can hold between 116 and 162 spectators and is equipped with the latest theater technology, performances, projects and actions of experimental and avant-garde art are carried out, especially for the young and the young at heart.
The → Meiningen Puppet Theater, which is largely independent, is the fourth division and today consists of a tribe of six puppeteers under the direction of Maria C. Zoppeck, plus more than a dozen guest players. The venue is the Neue Kammerspiele. The repertoire includes pieces for children, young people and adults, written by contemporary authors or from the world of fairy tales and legends. The best-known pieces shown around the world are "Fastnachtspiele" by Hans Sachs , The steadfast tin soldier and the condom of horror . In addition to its home appearances, the ensemble undertakes a number of Germany-wide and international tours to individual guest performances and puppet theater festivals on four continents. Destinations were and are, among others, Japan, Australia, Korea and the USA.
From June 2010 to October 2011 a general renovation of the Great House was carried out, which made external alternative stages in Meiningen necessary as performance locations for this time. The renovation focused on the modernization and expansion of the stage building including all of the technology, which was extended by five meters and received new revolving stages as well as the color renewal and refurnishing of the auditorium. The reopening of the theater took place on December 9th, 2011 with Shakespeare's Measure for Measure in the presence of Prime Minister Christine Lieberknecht . Since the 2014/15 season, the Meiningen Bürgerbühne has existed at the theater under the direction of Gabriela Gillert. People from Meiningen and the region have the opportunity to be on stage themselves. They produce three productions per season, which are performed in the Kammerspiele.
The Meininger State Theater (the new name since 2017) has around 300 employees. In addition to artistic director Ansgar Haag, it is managed by general music director Philippe Bach , the director of the puppet theater Maria C. Zoppeck, the acting director Tobias Rott, the chief dramaturge Corinna Jarosch, the technical director Detlef Nicolmann and the administrative director Karolin Loh (since 2018).
The Meininger Theater is located north of the old town on the representative Bernhardstraße , behind the theater buildings the English Garden extends . Structurally, the theater consists of a building complex made up of the Great House, the functional buildings with rehearsal stages and a restaurant, and the New Kammerspiele. All buildings are connected with glazed passages. The complex is complemented by the somewhat secluded set house with theater workshops and vehicle hall.
The building owner for the Great House was Duke Georg II of Saxony-Meiningen, who financed the building himself with 1.5 million marks from his private assets. On his behalf, court building officer and architect Karl Behlert built the theater in just 20 months from 1908 to 1909, which was opened by Friedrich Schiller on December 17, 1909 with Wallenstein's warehouse . The neoclassical building replaced the first classical court theater , inaugurated in 1831 and burned down on March 5, 1908 .
The big house takes up an area of 2304 m². The west facade on Bernhardstrasse is characterized by a vestibule, the classicist gable of which is supported by six Corinthian columns and just as many Corinthian pilasters . In the tympanum field of the gable, the inscription “Georg II Dem Volke for Joy and Elevation” is affixed with gold letters. A wide staircase and two access ramps lead to the lobby. The walls to the left and right of the vestibule are occupied by two large reliefs depicting Thalia , the cheerful muse , and Melpomene , the serious muse . These were created based on a design by Prince Ernst von Sachsen-Meiningen . Behlert stylized the east facade of the stage house on the park side with the preserved Ionic pilasters of the first court theater. They serve as a reminder of its great tradition in the 19th century. The outer structural shell of the theater is made of solid, light-colored sandstone.
Five double-leaf entrance doors lead into the Empire- style vestibule of the Great House. On the middle door there are two bronze knockers in the form of the comic and the tragic mask. The hall on the right wall is adorned with the relief of the director and artistic director Ludwig Chronegk . On the left wall and the pillars are the busts of Otto Ludwig , Franz Grillparzer and Richard Wagner , which were closely connected to the court theater. On the left is the till that is no longer used today. A row of columns clad with Greek marble leads to the inner vestibule, which surrounds the auditorium on three sides. The floor falls in the same way as the auditorium in the direction of the stage. The cloakrooms and the stairwells with access to the foyer and the upper tiers are located here. The foyer of the house, also in Empire style, is located above the entrance hall in the first tier. The walls of the foyer are clad with yellow silk damask , the ornaments of the other white interior design are gilded. The marble busts of Duke Georg II, Goethe , Schiller, Mozart , Johann Sebastian Bach , Lessing , Kleist , Brahms and Beethoven are lined up on the walls on gray marble pedestals . The auditorium, whose walls are covered with silk fabric, the parapets and ceilings are decorated with subtle gold jewelry, is spanned by a flat dome, in the middle of which the lighting is attached in concentric circles. The stage is 21 m wide, 15.50 m deep and 16.50 m high up to the Schnürboden . The size of the playing area is 14.50 × 14 m. Among other things, it is equipped with a turntable with a diameter of 11.50 m and six footbridges and can be lowered in its entire depth at intervals of two meters. The total height of the stage is 22 meters. The main curtain with the motif "The Parnassus " after Raphael is a foundation and the last work of the painter and poet Arthur Fitger . The house has a capacity of 726 seats, which are distributed over the parquet and three tiers . These include two ducal boxes on the proscenium with a total of eight seats and the prince or ducal box in the first tier with 30 seats.
The Kammerspiele opened on June 20, 2008. The building that houses the Kammerspiele is right next to the Great House in the direction of the old town and was built in 1833 as a Jewish department store. A few years later, it was used as a school building until the 1990s. The Kammerspiele occupy the north wing of the large building, the south wing is occupied by the “ada” gallery and an educational institution. The house with its classical facade has been extensively renovated, whereby only the facade of the wing with the chamber plays has been preserved. Behind it is a compact, newly built, ultra-modern theater building. The stage and auditorium are mostly black. Variably usable grandstands allow different room layouts that offer space for 116 to 162 visitors. The Kammerspiele replace the studio and rehearsal stage “Georgie's Off” as a venue, which is located in a functional building. The small number of seats there of 90 and the overload as a rehearsal stage and performance venue made this necessary.
Scenery house and functional building
The Kulissenhaus is a modern building that was built in 1995 in place of the old theater workshops. It has a steep hipped roof and a dominant central projection , which offers enough space for the painting room located there. Further workshops and the vehicle fleet are housed in the building. The functional buildings were erected from 1988 to 1991 in modern architecture using panel construction. Two of the three buildings are four-story, have brown-tinted glazing and are connected by a glazed bridge. Further transitions lead from there to the Great House and the Kammerspiele. In addition to the theater management, these two functional buildings also house a ballet hall, magazines and the “Herzog Georgs Inn” theater restaurant. The rehearsal stage is connected to one of these houses as the third building with a ground-level connecting corridor. The rehearsal stage offers a stage area 16 m wide and 10 m deep.
Every two years in January or February, the theater organizes the Meininger Stage Ball on two days , which has developed into a major social event in Thuringia. The festival is the meeting point for prominent people from the South of Thuringia from culture, politics and business and attracts numerous guests from near and far.
At the end of the season, the summer festival of the Meininger Theater takes place around the Great House and in the English Garden, alternating with the stage ball .
Once a month on a Sunday morning, especially young guests can get to know the theater with the theater mouse, gain insights into new plays and take part in games and other activities.
- 1845- ?? Heinrich Otto Stotz
- 1860–1863 Baron von Stein
- 1863–1867 Karl Grabowski
- 1867–1869 Friedrich von Bodenstedt
- 1869–1880 Carl Grabowski
- 1884–1891 Ludwig Chronegk
- 1891–1906 Paul Richard
- 1906–1909 Otto Osmarr
- 1909–1913 Max Grube
- 1913-1919 Otto Osmarr
- 1919–1924 Franz Ulbrich
- 1924–1926 Franz Nachbaur
- 1927–1934 Willy Loehr
- 1936–1940 Rolf Prasch
- 1945–1946 Friedrich Tartler
- 1947–1954 Fritz Diez
- 1954–1969 Alexander Reuter
- 1969–1974 Albert Bussmann
- 1974–1981 Wilhelm Thielmann
- 1981–1990 Jürgen Juhnke
- 1990–1997 Ulrich Burkhardt
- 1998–2002 Christine Mielitz
- 2002-2005 Res Bosshart
- 2005–2021 Ansgar Haag
- from 2021/22 Jens Neundorff von Enzberg
In the long history of the stage, numerous well-known actors have been engaged or guest roles at the Meininger Theater. At the end of the 19th and beginning of the 20th century, in particular, famous mimes began their careers here as pupils or debutants. They included Josef Kainz (1877–1880), Albert Bassermann (1890–1894) and Helene Thimig (1908–1911).
The → list of well-known actors at the Meininger Theater includes a selection of other actors, singers and dancers.
The statistics show the total number of visitors to the Great House, the Kammerspiele and guest performances, the occupancy rate in the Great House and the number of performances since the 1993/94 season. For the years 2017 to 2021, the annual grant from the Free State of Thuringia is 13.77 million euros. The district of Schmalkalden-Meiningen and the city of Meiningen are each contributing 1.72 million euros.
Sources: seasons from 1993/1994 to 2004/2005 Deutscher Bühnenverein, seasons 2005/2006 ZDF Theaterkanal, seasons 2006/2007 to 2015/2016 Meininger Tageblatt and from 2016/2017 Meininger Staatstheater.
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