Meldorfer style of play

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The Meldorfer Spielweise has been describing the " performing game " in its form of the "movement game " since 1950 as a special style of amateur play by the German reform educator , bard , theater maker and writer Martin Luserke , as he did after more than four decades of mature theory and practice at the im School of learning ( grammar school ) founded in 1540 in Meldorf ( Holstein ). The introduction of this "performing game" into school and youth work is considered to be Luserke's outstanding educational and artistic achievement. This was also taken over by the youth movement ( Bündische Jugend ). His “performing game” is characterized as a holistic “movement game”, which consists of the elements language, movement, music, shape and color formed into a unit, resembles the all-round theater according to William Shakespeare , but differs from professional theater on this wants to act. In the course of the action, these elements increase each other and are closely coordinated. The participants all act equally; only the person in charge corresponds to a primus inter pares .

Prelude

Luserke started the development of its "Performing the game" as "motion" on the he co-founded and at times led educational reform boarding school Free school community Wickersdorf at Saalfeld in Thuringia Forest , where he in 1906 with his on William Shakespeare's Hamlet ajar grotesque blood and love reüssierte. He is considered one of the most important German reform educators.

From 1925 he continued his "Performing Game" in the Loog on the North Sea island of Juist with students from the reform pedagogical school by the sea , which he founded. With the active support of the Schule am Meer Foundation , he succeeded in building the only theater hall of a German school at the time . It was designed specifically for amateur play in schools and was used by the Prussian State Ministry for Science, Art and National Education under Adolf Grimme (SPD) and the Berlin Central Institute for Education and Teaching under Ludwig Pallat and Franz Hilker as a central venue and as a training facility for amateur play teachers intended.

From around 1940 Luserke resumed his "Performing Game" with the Meldorfer BDM group.

Execution method

Luserke integrated expressionistic expressive dance into his “Performing Game” , which took up elements of eurythmy . He did not use music additively, but as an elementary component that "appears in the piece".

"Movement play now means that we understand the drama as a polyphony of processes, namely in such a way that all the processes that appear during the actual performance, the text and facial expressions , coming and going on the stage, like the sound, are interrelated streams of processes are. Even if they are not considered to be of equal value, they are still considered to be equally real, 'voices' arranged next to one another, as in the polyphony of music. "

- Martin Luserke

Leopold Klepacki wrote about school theater in his work : “In contrast to additive music, which can be played relatively easily using sound carriers, when describing the role of music in the piece, it is assumed that it will be played live. The musicians are therefore also to be counted among the actors who have a necessary communicative relationship with the actors, dancers and singers on stage. Music that is part of a staged presentation on the stage would never be able to be dynamically and precisely synchronized with the events on the stage in the form of playback recordings. The representation would be destroyed, however, if metric shifts occurred in the connection of language or movement with music. "

A high school graduate from the Juister Schule am Meer , Hildegard Paulsen, daughter of the architect Friedrich Paulsen (1874–1947), who lived in Wedel in Holstein, wrote about this in her 1931 article Polyphonic music - a reflection of the new community. A member of the youth movement speaks for the Austrian magazine Anbruch : "Here at school it became very clear to me what I had only felt earlier: that it is in the nature of polyphonic music that it demands an active community."

Luserke himself characterized the Meldorfer style of play as a special style of amateur play. Backdrops only need "a fool". In this way of playing, neither the music sets a finished text to music, nor does the actor embody a finished piece of literature. Instead, all those involved are actors in a construction hut from the start , who write together, create a piece and develop it in joint work, each according to their individual talents. This self-discovery and self-realization through self-activity - “agitur ergo sum”, had proven to be incompatible with National Socialism during the Third Reich .

The personality of each individual student should contribute to the idea of ​​the piece, as a musician , performer , prompter , lighting technician or outfitter . The Meldorfer way of playing means that a musician does not sit in the orchestra pit or in the background, but rather acts actively in the piece. A prompter does not sit in the prompter box , but moves on the stage or around it. A lighting technician or best boy also aligns his lighting technology or spotlights during the performance, so that the audience remains visible at all times. An outfitter can be recognized during the demonstration, if necessary readjust or redecorate.

Musical exercises

The introduction to the performing game was evidently formed by musical exercises that, for example, included several school hours that Luserke gave during the entrance exams for the fourth.

Crash course drama

On the blackboard in the classroom, Luserke presented in detail the essence of the drama and its structure as well as the characters of classic protagonists and antagonists over about two to three school hours in order to explain the common working basis to the students.

Track selection

The selection of the pieces to be performed was partly left to the students themselves. Luserke sent her to the school library with the task of choosing titles from Grimm's fairy tales that interested her in view of a performance. The discussion about the selection was therefore also in the hands of the students. As a result, they helped to determine, while Luserke took on the task of rewriting these titles in a way that was suitable for performance or playable. However, the fairy tales were not rehearsed and performed as trivialized fairy tales after the Brothers Grimm, but condensed to the original content of the stories.

Fax rates

The so-called “faxing guess” was an important preliminary exercise. The "faxes" consisted in the fact that they were constructed like a dramatic play off the cuff. The task was to develop a story around a single term that was initially only known to the actors, which was then condensed into a drama in a further step. In the game plot, which was presented in an entirely improvised manner, the actors were free, but had to observe one rule: the term could never be mentioned. The audience should, however, be able to guess which concept the game was about through a correspondingly impressive lecture.

To do this, about three students went to the door of the classroom to discuss things and, if necessary, to rehearse briefly. When they returned to class, they played a short improvised scene with assigned roles. Through this “faxing guess” Luserke got a first impression of the acting and advising acting students, which allowed first conclusions about possible talents and aptitudes. Conversely, all students received their own feeling of an improvised performance in which they were actively involved.

Construction hut

The central element of the "Performing Game" Luserkes is a building shed, based on the medieval model . There, for example with the huge European cathedral buildings , all guilds involved contributed their expertise , discussed and looked for solutions to master the numerous and often very different challenges of a complex project. The masters of the guilds, on the other hand, were required to make their specialist knowledge and talents available to the cooperative within the Bauhütte . In the interdisciplinary team that was formed, they had to take into account the various demands and requirements, including the preparatory work required by the trades . In this way, thinking in an interdisciplinary manner became the norm and resulted in highly impressive buildings that were structurally far ahead of their time and are still considered masterpieces today.

Luserke's approach can be described as youth-driven - reform pedagogy and craftsmanship. Comradeship or community spirit (today: team spirit) is just as important an aspect as project-oriented and goal-oriented work. Comradeship stands for friendship or friendliness. Luserkes Bauhütte therefore includes largely equal participants: schoolchildren and educators. Each of these participants has talents, some of which are still undiscovered, knowledge, experience and some expertise. This involves, among other things, manual, artistic and technical skills, creative design, linguistic-poetic, musical-dance or mimic-representational skills.

Introduced into the construction team and constantly discussed, rehearsed and further developed, the result is the “movement games” that characterize his “performing game”, successively developing pieces that leave room for improvisation as well as individual interpretation of the characters, the decoration, the costumes, the Effects of space, light, shape and color.

Work at the Meldorfer School of Academics

After the end of the war, the continued existence of the more than 400-year-old Meldorfer School of Academics was endangered; the teachers' conference therefore discussed in 1946 with the headmaster Karl Körner († 1976) an effective measure to raise the profile of the grammar school . The pedagogue Hugo Herrmann (1898–1984) was ultimately the one who suggested a musical direction and advised to recruit the local reform pedagogue and amateur play specialist Martin Luserke. At the end of 1938 he had settled in Meldorf after years of sailing trips with the Krake Blazer, which he used as a floating poet's workshop . Both Luserke and the Ministry of National Education (later: Ministry of Culture) in Kiel agreed; the latter approved a teaching position, which he held from 1947 to 1952. He subsequently regarded the school as his "work laboratory".

“A five-year, extremely happy and fruitful phase [...] that triggered positive developments among the students. These five years with Luserke were a godsend for the school. "

- Gertrud von Hassel

A team of pedagogues was formed which, in addition to Luserke, included the headmaster Karl Körner, who was characterized as an art-loving teacher, the music, mathematics and philosophy teacher Heinrich Lohse (1907–1998), and the art and craft teacher Gertrud von Hassel (the sister of the later Minister-President of Schleswig-Holstein, Kai-Uwe von Hassel ), and as technical director the sports, chemistry and physics teacher Hans Gelhaar († 1988) included. Later, Erika Gelhaar and the music teacher Hans Millies (1923-2016) from Lübeck also joined.

Luserke described himself as "uncomfortable", as a "task man", who trusted himself and others to cope with tasks and tackled them. He saw his task in exemplifying and illustrating insights and knowledge without taking himself into account. He didn't like looking back; he was always forward-looking. He viewed the past as stages of development on his way. It was his pedagogical conviction that the pupils need an impetus for self-discovery and self-realization through self-activity (“agitur ergo sum”). He saw his “movement game” or “performing game” as an approach through which the acting pupils have to represent a character that is foreign to them, to empathize with him. In this way, through this role-play, they could “face themselves and find the formation and freedom of their own personality”, to “in the adventure of life, with the Prometheus spark of creative power within themselves”, but at the same time with “shy respect for living things “To set your inner self in motion.

An essential prerequisite for this was Luserke's work with an entire class in order to avoid star or title roles and thus avoid highlighting individuals. Luserke continued the creative collaboration with his students and colleagues within the Bauhütte in the evening in his private study on Meldorfer Jungfernstieg in the light of the anchor lamp of his octopus , in order to discuss details and then to become active as a poet himself again in a retreat .

Within a year he completed a further development together with every school class: starting with joint technical exercises ("faxing guessing"), a charade as a short form of a game, followed by a fairy tale , he finally developed a Shakespeare play. Luserke is said to have had "a particularly happy and sure hand" with regard to the selection of actors for the individual roles. On the one hand, he observed the students “intensely and attentively” from the preliminary phase, but left them with “open, relaxed and foresighted” personal freedom in expressing their game.

“In an almost unbelievably short time: an astonishing growth of the players from the rehearsals to the presented game, an awakening of talents, a self-liberation of the young people, for which they will thank for life. This play was a highly educational matter: in the experience of a poetry, the experience of the possibilities of one's own inner being, the experience of the wide, true world. It radiated, the audience had to grasp it. "

- Reinhold Netolitzky

Even with the creation of symbolic props and noises as well as choreographically, Luserke's imagination was "inexhaustible". The students are said to have reacted with enthusiastic devotion, also to Luserke's charisma, which fascinated them and which even influenced the parenting of the school.

The music teacher Heinrich Lohse evidently proved to be a congenial partner of Luserke, who composed the desired moods within the pieces in Orff's manner and set them to music appropriately.

Analysis and adaptation

It did not stop there, however, because the effect of Luserke and his "Performing Game" extended far beyond Meldorf. Educators from many parts of Germany took part in the state government's “musical conferences” at the Meldorfer School of Academics . Characteristic scenes of individual pieces were played and then discussed in lengthy debates. The Meldorfer way of playing was adapted by other educators in other places, for example by Herbert Giffei in Oldenburg i. O. , in the Jugendhof Barsbüttel and later at the Walddörferschule in Hamburg - Volksdorf .

Students from the Meldorfer School of Academics also performed pieces at the University of Education in Flensburg and the University of Education in Hanover , at least some of which were recorded or broadcast by the North German Radio .

Together with Heinrich Lohse (1907–1998) Luserke founded the “Musical Holiday Courses” in Nehmten Castle on Lake Plön , in which pupils from different educational institutions in Schleswig-Holstein took part every year in order to further educate themselves musically and dramatically. The participants there included, for example, Bernd Rohwer and Friedemann Rohwer, two sons of Jens Rohwer .

In 1954, Luserke received the Federal Cross of Merit for his services to amateur play .

Performances (selection)

  • Martin Luserke: Wippwapp, a game of life's ups and downs, winter 1947/48, based on Dat Erdmänneken ( Brothers Grimm )
  • Martin Luserke: Knight Ruthland and the horror of Lüth (Luserke; including Pavane by William Byrd ); however, the choir director, Mr Berger, was not allowed to rehearse on the instructions of the British military government.
  • Martin Luserke / Heinrich Lohse: The devil with the three golden hairs (Brothers Grimm); Performed several times in 1950, including in the presence of the Schleswig-Holstein Minister for National Education, Wilhelm Siegel
  • This: A Midsummer Night's Dream (William Shakespeare); First performance on the occasion of the 400th anniversary of the Meldorfer School of Academics, only celebrated in 1950 because of the Second World War
  • This: Grugen Kreefte or König Peer Spielmann's bass violin ; freely based on Die Wandergesellen (Brothers Grimm)
  • This: the adventure in Tongking
  • This: blood and love (Luserke; freely based on Hamlet by William Shakespeare ); the piece was also performed very successfully in Büsum and Wesselburen .
  • This: The Blue Light , 1952 (Brothers Grimm)
  • This: Pyramus and Thisbe (after Ovid )
  • This: Die arge Kattegüllen (= The bad Katzengoldene ), 1953 after Snow White (Brothers Grimm)
  • This: The Storm (William Shakespeare)

Well-known actors

  • Herbert Giffei (1908–1995), pedagogue and theater maker, worked on a construction site at the Meldorfer School of Academics . He adapted the Meldorfer style of play for his school in Oldenburg i. O., later in the Jugendhof Barsbüttel and at the Walddörferschule in Hamburg - Volksdorf . He also emerged as an author on school theater.
  • Gertrud von Hassel (1908–1999), teacher and painter, was particularly active in furnishing the building huts .
  • Martin Luserke (1880–1968), reform pedagogue, bard, theater worker and writer, worked between 1947 and 1952 at the Meldorfer School of Academics with a teaching position for amateur play.
  • Karl-Ulrich Meves (* 1928), actor and voice actor from Hamburg, was a student at the Meldorfer School of Academics and an actor at Luserkes Bauhütten . In Shakespeare's The Tempest , he played the role of Trinculo. Luserke “[...] put the locomotive of my professional life on the right track. [...] That is why Lu has a place in my heart. "

Works

  • Martin Luserke / Heinrich Lohse: The adventure in Tongking . A wildly romantic movement game . Verlag Meldorfer Spielweise Adolf Heesch, vol. 1. Meldorf in Holstein 1950. OCLC 612976509
  • Martin Luserke / Heinrich Lohse: Music for Martin Luserke: The Adventure in Tongking (score). Publishers Meldorfer Spielweise Adolf Heesch, Vol. 2. Meldorf in Holstein 1950. OCLC 612844652
  • Martin Luserke / Heinrich Lohse: Knight Ruthland and the horror of Lüth. Dramatic dance on a Pavane by William Byrd . Publishers Meldorfer Spielweise Adolf Heesch, Vol. 3. Meldorf in Holstein 1951. OCLC 612976987
  • Martin Luserke / Heinrich Lohse: The devil with the three golden hairs. Based on the Grimm fairy tale . Verlag Meldorfer Spielweise Adolf Heesch, Vol. 4. Meldorf in Holstein 1951. OCLC 612977083
  • Martin Luserke / Heinrich Lohse: Grugen Kreefte or King Peer Spielmann's bass violin. A legend from the Wadden coast . Using the Grimm fairy tale The Wanderers . Verlag Meldorfer Spielweise Adolf Heesch, vol. 5. Meldorf in Holstein 1952. OCLC 612977315
  • Martin Luserke: Faxing guessing - A preliminary exercise for dramatic organization in the style of (Shakespearian) all-round theater . Verlag Meldorfer Spielweise Adolf Heesch, vol. 6. Meldorf in Holstein 1952. OCLC 258488034

literature

  • Martin Luserke: youth and amateur stage. A derivation of the theory and practice of movement play from the style of Shakespearian drama . Angelsachsen-Verlag , Bremen 1927. OCLC 13150784
  • Martin Kießig : Martin Luserke. Shape and work. Attempt to interpret the essence . Phil. Dissertation, University of Leipzig 1936. OCLC 632234871
  • Walter Jantzen: 50 years of amateur play - Gottfried Haaß-Berkow, Martin Luserke, Rudolf Mirbt. In: Education and Upbringing. Edition 9, Böhlau-Verlag, Vienna / Weimar 1956, pp. 245–256.
  • Franz L. Pelgen: The amateur play and the way of playing Martin Luserkes . Phil. Dissertation, Ludwig Maximilians University, Munich 1957. OCLC 28919308
  • Martin Luserke: Pan-Apollon-Prospero. A midsummer night's dream, the winter saga and storm. On the dramaturgy of Shakespeare plays . Christians, Hamburg 1957. OCLC 73551159
  • Alfred Ehrentreich : Martin Luserke's vision of the Shakespeare theater . In: Bildung und Erbildung, 18 (1965), pp. 284–295.
  • Jürgen Koeppen: The educational intentions in Martin Luserke's school games . Phil. Dissertation, Pedagogical Institute of the University of Hamburg, 1967. (only via the institute library)
  • Jean F. Nordhaus: The Laienspiel Movement and Brecht's Lehrstuecke . PhD diss. Yale University 1969. OCLC 632102815
  • Herbert Giffei : Martin Luserke and the theater . (= Help for game leaders. Volume 18). State working group for game and amateur theater in North Rhine-Westphalia (ed.). Doepgen, Bergheim 1979.
  • Friedrich Merker: The meaning of the musical in the pedagogy of Martin Luserkes . In: Pädagogische Rundschau , 34 (1980), pp. 595-601.
  • Kurt Sydow : The life journey of a great storyteller - Martin Luserke (1880–1968) . In: Yearbook of the Archives of the German Youth Movement. 12, 1980.
  • Cornelia Susanne Anna Godde: The amateur play as an educational reform element. The importance of Martin Luserke for today's education system . M. Wehle Verlag, Witterschlick / Bonn 1990, ISBN 3-925267-38-7 .
  • Monika Baltes: The amateur play education of Martin Luserkes (1880–1968). A contribution to the search for traces of action and experience-oriented German lessons . Knowledge Hausarb., Philipps-Universität Marburg, 1994. OCLC 256685662
  • Leopold Klepacki: School theater - theory and practice . (= Erlanger contributions to pedagogy, volume 1) Waxmann-Verlag, Münster 2004. ISBN 978-3-8309-1416-7 .
  • Gudrun Wilcke : The children's and youth literature of National Socialism as an instrument of ideological influence. Song texts - short stories and novels - school books - magazines - stage works . (= Children's and youth culture, literature and media) Peter Lang Internationaler Verlag der Wissenschaften, Frankfurt am Main 2005. ISBN 978-3631541630 .
  • Leopold Klepacki: Tanzwelten - On the anthropology of dance . (= Erlanger contributions to pedagogy, volume 6) Waxmann-Verlag, Münster 2008. ISBN 978-3-8309-2033-5 .
  • Leopold Klepacki, Andreas Schröer, Jörg Zirfas (eds.): The everyday life of cultivation - studies on school, art and education . (= Erlanger Contributions to Pedagogy, Volume 8) Waxmann-Verlag, Münster 2009. ISBN 978-3-8309-2087-8 .
  • Tanja Klepacki: Educational Processes in School Theater - An Ethnographic Study . (= Erlanger contributions to pedagogy, Volume 16) Waxmann-Verlag, Münster 2016. ISBN 978-3-8309-3474-5 .
  • Leopold Klepacki: The Aesthetics of School Theater - Educational, Theatrical and School Dimensions of an Independent Art Form . Beltz Juventa, Weinheim 2007. ISBN 978-3-7799-1266-8 .
  • Barbara Korte: Texts for the drama of children and adolescents in the Third Reich - An exemplary study of various series of plays . Phil. Dissertation, Georg-August-Universität Göttingen 2017. OCLC 986233852

Individual evidence

  1. ^ Leopold Klepacki: School theater. Theory and practice . (= Erlanger contributions to pedagogy, vol. 1, edited by Michael Göhlich / Eckart Liebau). Waxmann-Verlag, Münster 2004, ISBN 978-3-8309-1416-7 , p. 58.
  2. ^ New German Biography , Volume 15. Bavarian Academy of Sciences. Historical commission. Duncker & Humblot, Berlin 1987, ISBN 978-3-428-00196-5 , p. 533.
  3. ^ Fritz Winther: Body education as art and duty . Delphin-Verlag, Munich 1920, p. 21.
  4. ^ Hans Brandenburg : The modern dance . Georg Müller Verlag, Munich 1923, pp. 146–157, quoted from Ulrich Schwerdt: Martin Luserke (1880–1968). Reform pedagogy in the field of tension between pedagogical innovation and culture-critical ideology. A biographical reconstruction . Peter Lang Internationaler Verlag der Wissenschaften, Frankfurt am Main et al. 1993, ISBN 3-631-46119-4 , p. 100.
  5. ↑ Movement game . In: Walther Hofstaetter / Ulrich Peters (Hrsg.): Subject dictionary for German studies . BG Teubner Verlag, Leipzig 1930, vol. 1, p. 146.
  6. ↑ Bund for the new theater (ed.), Martin Luserke: Shakespeare performances as movement games . Verlag W. Seifert, Stuttgart / Heilbronn 1921.
  7. ↑ a b c Dieter Rudolph: Time of the Fleas - Time of the Head - Time of the Soul , in: Mitteilungen 83 (1993), Association of Former Students and Teachers of the Meldorfer Gelehreenschule e. V. (Ed.), Meldorf 1993, pp. 16-25.
  8. ↑ Mirona Stanescu: from community theater to theater education. A historical development of theater education in Germany . In: New Didactics. 1, 2011, pp. 11-29.
  9. ↑ Werner Kohlschmidt, Wolfgang Mohr (Ed.): Reallexikon der deutschen Literaturgeschichte , Vol. 2 L - O. Walter de Gruyter, Berlin 2001, ISBN 3-11-017252-6 , p. 3.
  10. ^ Heike Heckelmann: School theater and reform pedagogy . Narr-Francke-Attempto, Tübingen 2005, ISBN 978-3772080715 , p. 303.
  11. ^ Cornelia Susanne Anna Godde: The amateur play as an educational reform element. The importance of Martin Luserke for today's education system . M. Wehle Verlag, Witterschlick / Bonn 1990, ISBN 3-925267-38-7 .
  12. ↑ Blood and Love : First performance in 1906 . From: luserke.net, accessed July 8, 2017.
  13. ↑ Martin Luserke: Blood and Love. A knight and shower drama . In: Five comedies and carnival games from the Free School Community of Wickersdorf . EW Bonsels Verlag , Munich 1912. (New edition: ISBN 978-3-7695-2509-0 )
  14. ↑ Blood and Love . In: Deutscher Theaterverlag. From: theatertexte.de, accessed on July 8, 2017.
  15. ↑ Luserke, Martin , in: German Archive for Theater Education , on: archiv-datp.de , accessed on September 29, 2017.
  16. ^ Luserke, Martin - School by the Sea Foundation, Juist / Ostfriesland . In: Secret State Archives Prussian Cultural Heritage, VI. HA, Nl Grimme, A., No. 2058, from: deutsche-digitale-bibliothek.de, accessed on July 8, 2017.
  17. ↑ Thomas Aititsch: A school by the sea… In: Schule 225, Landesschulrat für Steiermark. Graz, November 2010, p. 6.
  18. ↑ Martin Luserke: To conclude - To the members of our outer community , October 15, 1934. In: Leaves of the outer community of the Schule am Meer Juist (North Sea), no. Year, no. No., November 1934, pp. 1-3 .
  19. ↑ bkb (Klaus Behrends): Martin Luserke - His way of Wickersdorf to Meldorf in: Communications, 3 (1953), an association of former students and teachers of meldorfer gelehrtenschule (eds.), Pp 6-8.
  20. ^ A b Herbert Giffei: The musical movement game . In: Körber Foundation (ed.): Theater in the school . Pp. 38-44.
  21. ^ Martin Luserke: Youth and amateur stage . Angelsachsen-Verlag , Bremen 1927, p. 24.
  22. ^ Leopold Klepacki: School theater. Theory and practice . (= Erlanger contributions to pedagogy, vol. 1, edited by Michael Göhlich / Eckart Liebau). Waxmann-Verlag, Münster 2004, ISBN 978-3-8309-1416-7 , p. 57.
  23. ↑ Hildegard Paulsen: Polyphonic music - an image of a new community. A member of the youth movement speaks . In: Anbruch 13, Issue 2/3 (February / March 1931), p. 55ff., Quoted from: Stefan Weiss / Jürgen Schebera (eds.): Street Scene. The urban space in the music theater of the 20th century (= publications of the Kurt-Weill-Gesellschaft Dessau, vol. 6), Waxmann Verlag, Münster 2006. ISBN 978-3-8309-1630-7 .
  24. ↑ a b c d e Radio interview on the Meldorfer style of playing with Martin Luserke, MGS Priman Alice Witt, OStD Dr. Kurt Reiche (Meldorfer School of Academics), Prof. Otto Haase (Schleswig-Holstein Ministry of Education), Dr. Herbert Giffei (Oldenburg i. O.), Norddeutscher Rundfunk 1952, 9:53 min.
  25. ^ Monika Baltes: The amateur play pedagogy Martin Luserkes (1880-1968). A contribution to the search for traces of action and experience-oriented German lessons . Knowledge Hausarb., Philipps-Universität Marburg, 1994.
  26. ↑ Martin Luserke: Pan-Apollon-Prospero. A midsummer night's dream, the winter saga and storm. On the dramaturgy of Shakespeare plays . Christians, Hamburg 1957.
  27. ↑ a b c d e Heinke Brandt: Martin Luserke , in: Meldorfer Gelehreenschule , 11 (1957). Ed. Meldorfer Gelehreenschule, state modern language and mathematical and natural science high school for boys and girls, Meldorf, 1957, pp. 7–9.
  28. ↑ Jürgen Koeppen: The educational intentions in Martin Luserkes school games . Phil. Dissertation, Pedagogical Institute of the University of Hamburg, 1967.
  29. ↑ Martin Luserke: Faxenrates - A preliminary exercise for dramatic organization in the style of (Shakespearean) all-round theater . Verlag Meldorfer Spielweise Adolf Heesch, vol. 6. Meldorf in Holstein 1952.
  30. ↑ a b c Heinke Baumgartner-Brandt: Memories of the Luserke time , in: Mitteilungen 82 (1993), Association of Former Students and the Teachers of the Meldorfer Gelehreenschule e. V. (Ed.), Meldorf 1993, pp. 6-8.
  31. ^ A b c Hans-Christian Gutknecht: Hans in luck . Edition Pauer, Kelkheim 2016. pp. 51–52.
  32. ↑ Martin Luserke, radio interview on VHS storytelling evenings in Meldorf, Norddeutscher Rundfunk 1962, 3:22 min.
  33. ^ The Meldorfer School of Academics after 1945 . From: mgs-meldorf.de, accessed on July 8, 2017.
  34. ↑ a b old master Martin Luserke died on Whitsun Saturday - the narrator, educator and researcher was 88 years old , in: Dithmarscher Landeszeitung, June 4, 1968.
  35. ^ A b c Kurt Reiche: Martin Luserke zum Gedächtnis , in: Mitteilungen 33 (1968), Association of Former Students and the Teachers of the Meldorfer Gelehreenschule e. V. (Ed.), Meldorf 1968, pp. 13-17.
  36. ↑ a b c d Peter Lambrecht, Henning Landgraf, Willi Schulz (eds.): Meldorfer learned school 1540 to 1990 - "A common school in front of the Joget des gantzen country" . Westholsteinische Verlagsanstalt Boyens & Co, Heide 1990. ISBN 3-8042-0500-3 , pp. 289-295.
  37. ↑ Peter Lambrecht: Luserke-Gedenken - Welcoming the guests and opening the exhibition , Mitteilungen 83 (1993), Association of Former Students and the Teachers of the Meldorfer Gelehreenschule e. V., Meldorf 1993, pp. 9-15.
  38. ↑ Hubert H. Kelter : Martin Luserke , Festschrift on the eve of Martin Luserke's 89th birthday (posthumously) on May 2, 1969 in the Curiohaus in Hamburg, Hamburg 1969, pp. 3-4.
  39. ↑ Karl Körner: Martin Luserke, appreciation for his 80th birthday , in: Communications of the Association of Former Students and Teachers of the Meldorfer School of Academics, double issue 19/20 (December 1960), pp. 5-7.
  40. ↑ Jan Herchenröder : The storyteller of Meldorf - A visit to the old Luserke . In: Frankfurter Allgemeine Zeitung , No. 1 (1962), January 2, 1962.
  41. ↑ a b Reinhold Netolitzky: Martin Luserkes Sturm in Meldorf , in: Mitteilungen 58 (1981), association of former students and the teachers of the Meldorfer Gelehreenschule e. V. (Ed.), Meldorf 1981, pp. 32-34.
  42. ↑ Interview with Hans-Christian Gutknecht from October 19, 2017, Association of Former Students and the Teachers of the Meldorfer Gelehreenschule e. V., Meldorf in Holstein.
  43. ↑ a b c d Karl Körner: Martin Luserke , in: Meldorfer Hausfreund - Official newspaper for the announcements of the authorities of the city of Meldorf and the Meldorfer economic area , 7th year, No. 37, May 10, 1955, p. 4.
  44. ↑ a b Karl-Ulrich Meves : Martin Luserke , in: Mitteilungen 108 (2006), Association of Former Students and Teachers of the Meldorfer Gelehreenschule e. V. (Ed.), Pp. 33-41.
  45. ↑ (Martin Luserke) Grugen Kreefte or King Peer Spielmann's bass violin. A legend from the Wadden coast. Using the Grimm fairy tale The Wanderers . Retrieved July 8, 2017 from worldcat.org.
  46. ↑ Mitteilungen, 3 (1953), first performance Die arge Kattegüllen on the occasion of the school festival on September 24, 1953, 29:00. P. 3.
  47. ^ Giffei, Herbert , in: German Archive for Theater Education , on: archiv-datp.de , accessed on September 29, 2017.