Theater Dortmund

from Wikipedia, the free encyclopedia
Old Dortmund City Theater on a historical postcard

The Dortmund Theater has its origins in 1904 and is one of the largest theaters in Germany with over 500 employees (as of 2010). The theater is divided into the six sections concerts , music theater , drama , ballet, children's and youth theater and the Academy for Theater and Digitality, each of which is under its own artistic direction.

history

prehistory

Theater bill from 1807

The first theater activities in Dortmund can be traced back to the end of the 15th century: in 1498 a representative St. John's play was staged at great expense . Performances of classical Greek and humanistic dramas by the Dortmund high school are recorded for the 16th century. In 1582 there was a major performance of Johann Rasser's Comoedia about the king who is marrying his son . These early theatrical impulses in a prosperous city came to an end for a long time during the Thirty Years' War , and Dortmund sank into insignificance in terms of cultural politics. A new beginning could only be recorded in 1806, when Dortmund, in cooperation with Essen , experienced the national theater of the first governorate as part of the French administration. But this theater initiative also failed in 1815 when Dortmund became Prussian.

When in 1830 the beginnings of a middle-class theater life finally developed in Dortmund, there was no possibility of any connection. There were neither buildings nor traditions from the time of courtly theater, the Enlightenment or the Weimar Classic. It was therefore initially rifle tents or catering establishments where theater troupes made guest appearances. Since 1837 the innkeeper Karl Kühn has regularly made his garden hall available for theater performances - Dortmund had its first regularly used venue.

Due to the lack of a feudal or bourgeois theater tradition, the Dortmund theater was only established as an official institution in the second half of the 19th century. “It was only with the economic development of the coal and steel industry in the imperial era that the booming communities developed the need to systematically support or counter the Clondike model of culture and amusement.” In the course of industrialization, the population and economic opportunities grew rapidly, and with it that too Interest in own theater. The theater in the Brüggman'schen Zirkus was the first attempt in 1872 to establish a Dortmund city ​​theater in the form of a stock corporation . This first attempt at founding failed in 1875 and went bankrupt . The Philharmonic Orchestra (in the 21st century: Dortmunder Philharmoniker ) was founded in 1887, but did not have its own venue at the time it was founded.

Official founding of the Dortmund City Theater

Theater ticket for the opening in 1904
Old City Theater, 1905

The actual establishment of the city theater came about on the initiative of some industrialists and patrons who started collecting money in 1887. The initiators were Albert Hoesch , Friedrich Denninghoff, Heinrich Bömcke and Julius Overbeck. A city theater commission was formed. Construction of the building designed by architect Martin Dülfer began on July 1, 1902, and 1,238,000 marks were invested. The theater building at Hiltropwall 15 was opened on September 17, 1904 with the performance of Richard Wagner's opera Tannhäuser . The first director of the Dortmund City Theater was Hans Gelling , cooperation partner until 1907 with the city of Essen . On the tympanum above the entrance one could read: "Never miss the aspiring city of the ennobling arts, self-sacrificing spirit built this home for the muses."

Despite the success of the sold-out opening event, the average space utilization of only 56 percent in the first season was disappointing, which corresponds to 137,560 visitors. The city countered these initial problems by, among other things, focusing on music theater and there on representative performances and works, for example by Richard Wagner and Richard Strauss . The spectacle met with little interest. "You were proud to have a theater, so you didn't have to go there." The failed cooperation and the financing problems opened up a problem area that has occupied the Dortmund theaters as well as other theaters in the Ruhr region ever since. During the Weimar period, responsibility for the theater was increasingly passed on to the municipalities, among other things through a withdrawal of patrons, which brought Parent back to the distance between large industrialists and the Weimar Republic .

Bandstand at the old city theater

In addition to the theater building, the cultural site received an extension in 1909 that was used as a foyer and restaurant: a music pavilion and music temple , also designed by Martin Dülfer. The two-story connecting structure could be used by choirs or musicians.

The first director employed by the city was Alois Hofmann , who, in addition to tradition, also brought contemporary works of naturalism to the stage. However, Alois Hofmann came under criticism because of his elaborate and expensive performances. Under his successor Hans Bollmann, the Dortmund theater survived the First World War without drastic cuts. In 1919 Johannes Maurach became the first theater director, officially bearing the title of artistic director . Maurach staged all Wagner operas of his maturity, in the plays Hebbel , Ibsen , Wedekind , Sternheim and Strindberg . He was considered an advocate of an expressionist theater style.

From 1927 Richard Gsell headed the Dortmund house. In acting and music theater, Gsell placed a strong emphasis on theater and music of the time. He brought Brecht onto the stage ( Saint Johanna ) and Tretyakov's “Brülle China!”. In the music theater he brought Hindemith , Krenek , Weill Wellesz and Dohnányi to be heard. Wilhelm Sieben became the opera conductor . The Dortmund theater grew into a critical authority with artistic demands. However, this was not only assessed positively in the publication for the 25th anniversary of the house. There was a tension between audience expectations and artistic ambitions. Richard Gsell defended his ambitious game plan:

“As far as raising income is concerned, the main focus is on designing the schedule to be as audience-friendly as possible. Audience-safe - of course, that means not responding to the lesser instincts of individual audiences. The audience even wants to be strained, they want to get excited about topics that concern them as a mass. And of course everything that intervenes from the stage on the questions that stir the present has always shaken up the masses. No, the dramatist must really be captured by the forces that stir time, he must be a poet through whom the currents of time shoot through. "

time of the nationalsocialism

During the National Socialist era , the Dortmund theater was also brought into line. First, the Jewish performers and musicians were systematically harassed and ostracized. The talented singer Ruth Wolffreim had been a member of the Dortmund ensemble since 1927 . Celebrated by the audience on New Year's Eve 1932/33 as “Rosalinde” in “Fledermaus”, as a Jew she was no longer allowed to play the role of “Eva” in the planned “Meistersinger” performance in the spring. “In 1936 the singer's tracks are lost.” In May 1933, the drama Schlageter by the Nazi poet Hanns Johst was performed in Dortmund, opened by a performance by the Nazi student union .

Initially, Bruno Schüler was responsible for the implementation of the National Socialist ideology in Dortmund, State Commissioner for the City of Dortmund since March 24, 1933, Director of the Dortmund Union Brewery , and later Mayor and Theater Deputy. An accountability report dated April 24, 1933 to the Prussian Minister of the Interior documents the anti-Semitic activities of Schülers, who initially had “non-Aryans” ousted from all public positions. As in all of Germany, the Jewish members of the Dortmund theater were deprived of their livelihoods.

A “ Meistersinger ” performance planned for March 11, 1933 is an example of the totalitarian action taken against the Dortmund City Theater . The “Rote Erde”, a publication of the South Westphalian NSDAP, which appeared in Bochum, wrote on March 11, 1933: “In view of the fact that in this core German opera by a German composer who has declared in his writings that the Jews are incapable of To interpret his works, five Jews should perform, we felt compelled to protest against the cast. (...) Since a regulation could not be made for the time being, the opera was temporarily removed from the program. ”State commissioner Bruno Schüler then “ put on leave ”Kapellmeister Felix Wolfes and the soprano Ruth Wolffreim, the lyric tenor Bruno Ucko, baritone Armin Weltner and the Bass Ludolf Bodmer. On March 15, the opera was performed without any Jewish ensemble members.

Opera conductor Felix Wolfes had initially withstood the threats from the National Socialist press. According to contemporary witnesses, he was then forcibly taken from the orchestra pit by an SA troop during rehearsals for the Meistersinger. After March 15, the SA tried repeatedly and in vain to arrest Wolfes, who, according to the files of the city of Dortmund, was hidden by ensemble member Fritz Volkmann at that time. Although the composer Hans Pfitzner , whom Wolfes valued as one of his teachers, who was popular with Nazi leaders, stood up for him, there were no more career opportunities for Wolfes in Germany. Wolfes emigrated to the USA via Paris, where he was successful as a conductor.

Intendant Gsell was replaced by Bruno Bergmann and Opera Director Georg Hartmann, Intendant from 1935. Hartmann mainly stages Wagner, alongside Mozart, Strauss and Verdi. The opera of the time disappeared from the program except for partisans of the Nazi regime, such as Hansheinrich Dransmann's “Münchhausen's Last Lie” (May 1934). On May 17, 1936, the power through joy operet "The happy ship" was premiered in Dortmund. Especially in the field of operetta there was a lack of pieces that were considered playable during the Nazi era. The operettas of the Weimar period were regarded as “a downright runaway affair”, and the authors or composers were often of Jewish descent. Arthur Mämel , main author of the jubilee publication of the Dortmund theater from 1979 and chief dramaturge of the municipal theaters after the Second World War , wrote in the "Mitteilungen der NS-Kulturgemeinde" that the theater has the task of promoting the "healthy part of humanity, the (.. .) to bring pure and unconsumed people of our race to the periphery of the beautiful and the great ”.

From 1937 to 1944, the National Socialist Peter Hoenselaers , a “uniformed functionary” and “holder of high party offices” of the NS regime - he was SA Storm Leader - “general manager”, there are anti-Semitic incidents. Like Saladin Schmitt in the neighboring city of Bochum , Hoenselaers is a representative of a representative, conservative theater. For him, the theater is in the service of “Greater Germany”: “Even the simplest national comrade should have the impression and feeling that even more difficult literary works are brought so close to him that they can have an uplifting and edifying effect on him and that they are above all intellectual Giving strength to grow into the artistic future of our people. ”(Signed“ General director Peter Hoenselaers / SA-Sturmbannführer / member of the culture group of the SA ”) Hoenselaers continued the Wagner tradition and consistently followed the guidelines of the Nazi ideology. One element of the program was the opera by the political partner of the Nazi regime, the axis power Italy.

The theater was hit by bombs for the first time on March 1, 1943, and the entire collection was destroyed. At first they continue to play in the foyer, in the Café Corso, in the Olympia-Theater, in the casino that has been named "New Theater", but one alternative location after the other is destroyed by bombing, the theater closes like all other theaters in Germany on September 1st, 1944 by order of the Reich Propaganda Ministry. On October 6, 1944, the remains of the Great House were also destroyed in a bomb attack. In April 1945, Dortmund was reached by American troops.

Post-war period - personal continuity

As in Bochum, management and staff from the Nazi era were entrusted with the new beginning after the war. In a restaurant in Dortmund-Marten, the Bramann'schen Saal am Bärenbruch, Willem Hoenselaars became the first post-war director with the consent of the military government . He opened on October 6, 1945 with Hugo von Hofmannsthal's Der Tor und der Tod and played Claudio himself. In addition to continuing the mix of classical music and entertainment, he tried to set signals in the direction of a new beginning by including classics that were ostracized during the Nazi era, such as Lessing's Nathan the Wise , a typical approach in many theaters of the post-war period. Later the personnel structure was changed, under the direction of Herbert Junkers, dramaturge of the house 1936-1937, Hoenselaars became theater director.

Most authors attributed the continued employment of staff from the Nazi era through British occupation and local politics to a certain understanding of culture: They did not seek aggressively to differentiate themselves from the Nazi era, but instead developed a depoliticized understanding of cultural work and tried to link it to the greats German cultural history. “Regarding the question of human resources policy in the cultural sector, the city council declared that it was in the nature of the real artist to think and act apolitically. Essentially, therefore, no measures to purge the artists have become necessary. In addition, the understanding attitude of the military government towards the artists in particular promotes the cultural development work. "

The Westdeutsche Tageblatt in Dortmund conducted a survey of various daily newspapers about what was the most important cultural event of the post-war period. Were called in the first place Jean-Paul Sartre's play The Flies and Carl Zuckmayer's drama The Devil's General . Willem Hoenselaars played General Harras at the performance in Dortmund.

Former educational academy, used as a city theater after 1947, today the design department of the Dortmund University of Applied Sciences

Post-war venues and programs

Due to the inadequate possibilities in Marten, it was decided to convert the auditorium of the educational academy on Lindemannstraße into a theater. However, the premises in Marten had already been given up before the renovation was completed. In the seasons 1945 to 1947, the city theater was turned into a traveling stage, with performances in numerous locations in Dortmund and the surrounding area as far as Soest , Lippstadt and Arnsberg . In addition to attempts at political compromise, the limited technical possibilities influenced the selection of the pieces. On September 17, 1947, the venue on Lindemannstrasse was opened by Mayor Fritz Henßler , Herbert Junkers replaced Hoenselaars as director, who, however, remained active as an actor, director of the theater and later as a director until the end of the 1960s.

First reforms under General Director P. Walter Jacob

On March 7, 1950, Paul Walter Jacob, a Jewish emigrant, took over the management of the house. Jacob was hired as an opera and operetta director in Essen for the 1932/33 season and was given leave of absence in March 1933 after attacks by the Nazi press. He had already emigrated via Amsterdam in April 1933 and founded the “ Free German Stage ” in Buenos Aires in 1940 . Like other emigrants, Jacob had tried in vain for a long time immediately after the war to gain a foothold in Germany. So he directed in Buenos Aires until 1949, among others with Viktor de Kowa .

After his engagement in Dortmund, Jacob tried to modernize the repertoire, which was not always easy to implement. Jacob was a multi-talent, conducting, directing drama, authoring books and reviews and also stepping on stage himself. In addition to the great classics, Jacob also repeatedly performed pieces ostracized by the Nazis in the 12 years of his directorship. On September 12, 1950, the new, inner-city building on Hiltropwall, today's theater, was opened with Beethoven's Fidelio . The drama initially stayed in Lindemannstrasse, with another auditorium on the east wall as a venue.

Jacob continued a Dortmund tradition with his Wagner productions. Jacob had published on Wagner himself and in his first season he staged Lohengrin as a director and conductor. The following year he conducted “Die Meistersinger” in a production by Peter Funk. Jacob's search for interesting, newer musical works didn't stop at partisans of the Nazi regime, for example, he staged Hans Pfitzner's opera “Das Herz”. To introduce the Nelly Sachs Prize , Jacob then staged the drama " Eli " by Nelly Sachs .

In 1954 the staged world premiere of the comedy with music The silent Serenade by Erich Wolfgang Korngold took place at the Dortmund theater .

In 1955 the plans to build a new opera became more concrete, the remains of Dülfer's opera were removed. Jacob directed Franz Werfel's drama Jacobowsky und der Oberst , a play for which he was also responsible for the world premiere in Argentina in 1945 and played the leading role himself. Jacob was considered to be an extremely thrifty theater director and, despite the tight budget, launched a large number of productions. When his contract was not renewed in 1962, Jacob was deeply affected.

Jacob also earned services to the Dortmund theater by building up the children's theater and setting up the first pre-rental for children's theater in Germany. Jacob was also active in other fields of cultural policy. Among other things, the Dortmund International Culture Days go back to his suggestion. Jacob had the impetus for the international Dortmund culture festival through "International Theater-Culture Weeks", u. a. with Holland and Spain. He was also one of the pioneers for the Nelly Sachs Prize . In 1969 Jacobs received the Federal Cross of Merit , later the city named him an "honorary member of the municipal theaters".

The big house - new building of the opera 1966

northern abutment of the dome
Transverse structure behind the dome, terrace

When looking at the opera house, built from steel, glass and concrete between 1958 and 1965, the first thing that catches the eye is the large dome over the auditorium. Three abutments support three 70 centimeter wide concrete arches, between which the 8.5 cm thick, rather flat concrete dome is stretched. The apex of the dome is 16.90 m high, a circle around the abutments would have a diameter of 62.36 m. The dome is covered with triangular copper plates. The sides spanned by the arches are glazed, so that the foyer and stairways can be seen at all times.

Behind the dome rises the crossbar with the stage structure and functional rooms. The roof of the rectangular foyer is designed as a terrace that surrounds the dome.

Head of the cultural department Alfons Spielhoff - criticism of the representative theater

In the years after 1968 the cities looked for a cultural-political reorientation. In particular Alfons Spielhoff , Dortmund's head of culture, elected in 1962, called for a move away from the expensive and passive consumption of culture in traditional theater towards socio-cultural engagement. His criticism of the opera house, which opened in 1966, the representative heart of image-oriented cultural policy, led to violent disputes. In a paper entitled "Exposé II" for the SPD parliamentary group in the council, he called for the highly subsidized Philharmonic Orchestra to be abandoned. The play was to be preserved, supplemented by a commercial "Olympia-Theater-GmbH" for the organization of musicals. Spielhoff wanted to compensate for the loss of his own musical theater with guest performances and festivals. Spielhoff wanted to convert the Great House into a socio-cultural center with a wide variety of activities. A small orchestra was to be preserved and the drama managed as a democratically structured GmbH. As a result of this restructuring, Spielhoff calculated savings of 11,847,900 DM, which were intended to finance a reorientation of Dortmund's cultural policy and the renewal of the existing cultural institutes.

The debate initiated by Spielhoff was conducted publicly until 1974, in heated discussions and demonstrations, employees of the municipal theaters and Dortmund citizens campaigned for the preservation of the theater. Finally the council rejected the proposals, Spielhoff retired on December 31, 1974 after the end of his service. In downtown Dortmund, the space between the Fletch Bizzel off-theater and the Taranta Babu cultural center was later renamed “Alfons-Spielhoff-Platz”.

Opera

The opera house of the Dortmund Theater

The opera in Dortmund was directed first by Paul Hager and finally by Horst Fechner and John Dew . The opera house houses the theater's ballet ensemble , was the venue for the Philharmonic Concerts of the Dortmund Philharmonic Orchestra (today Dortmund Concert Hall ) and offers space for around 1170 spectators. The opera was directed from 2002 to 2010, and from 2007 to 2010 under the direction of Christine Mielitz . Jens-Daniel Herzog took over the management on August 1st, 2011. In April 2014, his contract was extended until July 31, 2021. At the beginning of March 2016 it was announced that Herzog is leaving Dortmund for the 2018/2019 season and will become General Director of the State Theater in Nuremberg .

The more than 100 musicians of the Philharmonie played from 2002–2007 under the direction of General Music Director (GMD) Arthur Fagen , and from the 2008/09 season to summer 2013 under the direction of GMD Jac van Steen . He was succeeded as GMD at the beginning of the 2013/2014 season by Berlin-based Gabriel Feltz . Wang Xinpeng has been responsible for the direction and choreography of the ballet since 2003 .

After the opera house was destroyed in World War II, the opera found its temporary new venue in the building on Hiltropwall, which was completed in 1950. In 1966, the opera moved into the newly built and still current opera house on the square of the old synagogue, which was inaugurated under General Music Director Wilhelm Schüchter with the performance of Rosenkavalier by Richard Strauss .

As of May 2008, the opera will have another venue for around a hundred visitors in a new building in the immediate vicinity of the theater on the corner of Hiltropwall / Hövelstrasse, the children's opera.

At the beginning of the 21st century, the opera crisis in Dortmund intensified again. On average, less than half of the seats were sold (46.1 percent without free tickets) - which undercut the poor occupancy rate of the music theater in 2009/10 with 50.3 percent. Under the new management of Herzog, the opera has again acquired new audiences with works such as Claudio Monteverdi's Coronation of Poppea or the German premiere of Mark-Anthony Turnage's opera Anna Nicole . In the 2013/2014 season, the occupancy rate was 69 percent.

From the 2018/2019 season, Heribert Germeshausen became director of the opera division at Theater Dortmund.

play

Drama Dortmund
Sculpture on the south facade of the theater

Since 1968, the Dortmund theater has played its own venue in the converted former opera house on Hiltropwall. Several venues can be found under the term Schauspielhaus. With the stage of the playhouse, the studio and small side stages such as the lower stage and the lion walkway, the play holds almost 600 spectators. The former drama café was equipped with wooden interior cladding at the beginning of the 2010/11 season and renamed the Institute. It offers space for readings, concerts, theater, matinees and introductions.

Guido Huonder was acting director in Dortmund from 1985 to 1991.

Prof. Michael Gruner became Drama Director in Dortmund in 1999 and celebrated his departure in June 2010. Under Gruner's direction, the theater events “Fest der Romantik” 2003, the “Sternstunden des Expressionismus” 2004 and the German one met with great national media and audience interest First performance “In Search of Lost Time”, dramatized by Harold Pinter and Di Travis based on the “Opus magnum” by Marcel Proust. The Dortmund production was awarded the 1st prize at the NRW-Theatertreffen 2004.

In the 2006/2007 season, which was successful with the public and the press, the focus was on bourgeois society, with all its temptations and abysses. The production of “Buddenbrooks” (John von Düffel based on Thomas Mann) by Hermann Schmidt-Rahmer and Philipp Preuss' interpretation of Henrik Ibsen's “Hedda Gabler” met with great national interest . "Buddenbrooks" was invited to the NRW-Theatertreffen in Bonn, Philipp Preuss was awarded the sponsorship award of the state of NRW for his "Hedda Gabler".

The director Carolin Mader received another award with the award for female artists of the state of North Rhine-Westphalia. During this season she is directing Brecht's “In the Thicket of Cities” at the Dortmund Theater.

Director of Kay Voges

Poster at the Schauspiel Dortmund, 2016

Kay Voges has been director of the acting division since the 2010/11 season . When he took office, almost the entire acting ensemble, which had been active in Dortmund for a long time, was not renewed. In its first season, Kay Voges caused a national sensation in particular with the series “Stadt ohne Geld” (director: kainkollektiv & sputnic) and the staging “Heimat unter Erde” (director: Stefan Nolte) and received national attention in the NRW critics' survey by the theater The specialist magazine theater pur has been rated “theater on the rise” seven out of ten times.

Since 2013, the Schauspielhaus has been developing productions that are committed to the spirit of the specially designed DOGMAS 20_13 . It advocates closer and more direct interlinking of the theater and film worlds. For the first of the DOGMA 20_13 productions, Das Fest , Kay Voges was nominated for the German theater award “Der Faust” 2013 in the category “Best Director”.

The Dortmund Schauspiel has been cooperating with Peng! under the logo Die Populisteninnen and realizes campaigns and actions together with them . The action art group Center for Political Beauty also staged its first play in 2015 at the Dortmund Theater, 2099 . Because of a major renovation of the theater workshops, the Dortmund theater has also moved its replacement venue, the so-called "Megastore", to Phoenix-West since December 2015 .

In 2016, the Schauspiel Dortmund was named the best theater in North Rhine-Westphalia in the critics' survey of Welt am Sonntag , the world premiere of " The Borderline Procession " as the best staging of contemporary material. In addition, it received the second most nominations as the best theater in German-speaking countries in the 2016 critics' survey conducted by the specialist journal Theater heute .

With the play The Borderline Procession by Kay Voges, Schauspiel Dortmund was invited to the 2017 Theatertreffen . The social sculpture Die Spiegelbarrikade received the BKM Prize for Cultural Education in 2017 .

In August 2018, the Schauspiel Dortmund was named the best playhouse in North Rhine-Westphalia for the third time in a row in the critics' survey of Welt am Sonntag .

At the beginning of the 2020/21 season at the Dortmund Theater, the young theater director Julia Wissert will be the successor to the long-time acting director, who will then be able to manage the affiliated academy to the full. She was previously at the Maxim Gorki Theater in Berlin, the Lucerne Theater, the Bochum Theater and the Czech National Theater in Brno.

Children's and youth theater

The children's and youth theater is under the direction of Andreas Gruhn . It has its permanent location outside the city center on Sckellstrasse and offers 150 spectator seats there. The children's and youth theater was founded in 1953, making it one of the oldest theaters in Germany with a program aimed exclusively at young audiences. Between 1986 and 1993 it was also involved in productions “Theater im Zug”, which were performed in railroad cars.

On May 5, 2008, the Dortmund Children's Opera opened not far from the opera house . The 100-spectator facility cost 450,000 euros and was financed entirely from donations.

Academy for Theater and Digitality

As the future sixth division of the Dortmund Theater, the Academy for Theater and Digitality advanced training facility began operations at the end of March 2019 after a development phase of one and a half years. The long-term "model project for digital innovation, artistic research and technology-oriented education and training" is financed with funds from the city of Dortmund, the state of North Rhine-Westphalia and the Federal Cultural Foundation . The Dortmund director Kay Voges is the founder and founding director until the end of his directorship. Operative artistic director is director Marcus Lobbes as well as the advisor Veronika Ortmayr, the commercial administration is responsible for operations director Kai Festersen. As long as the new building advertised by the city of Dortmund as part of the planned Dortmund Digital Campus has not yet been completed, the academy will be housed in the former joinery of the Dortmund Theater. That is 800 square meters that are equipped with the latest digital technology. The first of a total of 54 scholarships have been announced. Applications are possible until April 28, 2019. Starting in early summer 2019, workshops , seminars and advanced training for professions in theater technology will be offered in close cooperation with the German Theater Technology Society and the German Stage Association .

literature

  • Mathias Bigge: Cultural Policy in the Ruhr Area. In: Rainer Bovermann, Stefan Goch, Heinz-Jürgen Priamus (eds.): The Ruhr area. A strong piece of North Rhine-Westphalia. Politics in the region 1946–1996. Essen 1996, ISBN 3-88474-524-7 .
  • Directorate of the municipal theaters (ed.): 75 years of municipal theater in Dortmund. Dortmund undated (1979).
  • Günther Högl: The Dortmund theater during the Nazi era. Synchronization and totalitarian execution at the Dortmund City Theater. In: Franz-Peter Kothes (Red.): 100 Years Theater Dortmund.
  • P. Walter Jacob, Uwe Naumann (Ed.): In the spotlight. Essays and reviews from 5 decades. Kabel, Hamburg 1985, ISBN 3-921909-83-X .
  • Sigrid Karhardt: Risen from the rubble. The interim period of the Dortmund theater after the war. In: Franz-Peter Kothes (Red.): 100 Years Theater Dortmund. Pp. 129-135.
  • Renate Kastorff-Viehmann: The big house. A feat. The new Dortmund theater building from 1966. In: Franz-Peter Kothes (Red.): 100 Years Theater Dortmund. Pp. 143-147.
  • Franz-Peter Kothes (Red.): 100 Years Theater Dortmund. Retrospect and Prospect. Harenberg, Dortmund 2004, ISBN 3-611-01269-6 .
  • Dieter Knippschild: Wolfes, Felix. In: Hans Bohrmann (Ed.): Biographies of significant Dortmunders, Volume 2. Klartext, Essen 1998, ISBN 3-88474-677-4 , p. 151 ff.
  • Karl Lauschke: Jacob, Paul Walter. In: Hans Bohrmann (Ed.): Biographies of significant Dortmunders, Volume 2. Klartext, Essen 1998, ISBN 3-88474-677-4 , pp. 70 ff.
  • Gustav Luntowski, Günther Högl, Thomas Schilp, Norbert Reimann: History of the city of Dortmund. Dortmund 1994, ISBN 3-611-00397-2 .
  • Uwe Naumann (Ed.): A theater man in exile. P. Walter Jacob. Hamburg 1985.
  • Thomas Parent: Theaters and Museums. On the history of communal culture in the district. In: Wolfgang Köllmann and others (ed.): The Ruhr area in the industrial age. History and Development. Volume 2, Düsseldorf 1990, ISBN 3-491-33206-0 , p. 361 ff.
  • Henning Rischbieter (Ed.): Theater in the "Third Reich". Theater politics, program structure, Nazi drama. Leipzig 2000.
  • Municipal traffic and press office / municipal theaters Dortmund (Hrsg.): Theater of an industrial city. 50 years of Dortmund City Theaters. Klöpper, Dortmund undated (1954). (on the occasion of the 50th anniversary of the Städtische Bühnen and the annual general meeting of the German Theater Association)
  • Karin Vivian Wolfgang: Paul Walter Jacob and the Free German Stage in Argentina. Dissertation, University of Vienna, 1980.
  • Meinhard Wagner: Municipal theaters of Dortmund. For the opening of the new house 3 March – 10 March 1966. Wulf, Dortmund 1966.
  • Jürgen Dieter Waidelich : Director Hans Gelling and the Essen-Dortmund Theater Union. In: Jürgen Dieter Waidelich: Essen plays theater. 1000 and one hundred years. For the 100th birthday of the Grillo Theater. Düsseldorf u. a. 1992, p. 121 ff.
  • Eva Weiler: Eliminated! The Lexicon of the Jews in Music and its Murderous Consequences. Cologne 1999.

Sources and individual references

  1. a b c Detlef Brandenburg: City theater between provinces and emancipation, On the history of ideology of a German theater form , in: 100 Years Theater Dortmund , p. 28.
  2. ^ Mathias Bigge: Cultural Policy in the Ruhr Area , p. 506.
  3. ^ Gustav Luntowski, Günther Högl, Thomas Schilp, Norbert Reimann: History of the City of Dortmund , p. 330.
  4. a b Detlef Brandenburg: City Theater between Province and Emancipation, On the History of Ideology of a German Theater Form , in: 100 Years Theater Dortmund , p. 29.
  5. http://www.glass-portal.privat.t-online.de/hs/af/duelfer_martin.htm
  6. cf. Mathias Bigge: Cultural Policy in the Ruhr Area , p. 506.
  7. Stephen Pielhoff: Civil patronage and communal cultural policy in Dortmund and Münster 1871-1933 , p. 56.
  8. ^ Friedrich Kullrich: The new city theater in Dortmund . In: Zentralblatt der Bauverwaltung Vol. 25, 105, No. 1 u. 3, pp. 6-8 and 19-23.
  9. cf. Thomas Parent: Theaters and Museums , p. 380.
  10. The Muskitempel next to the new Dortmund city theater. October 6, 1909, pp. 525 ff , accessed on October 28, 2019 .
  11. a b Detlef Brandenburg, City Theater between Province and Emancipation, On the History of Ideology of a German Theater Form, in: 100 Years Theater Dortmund, p. 30.
  12. Richard Gsell, quoted from: Detlef Brandenburg, City Theater between Province and Emancipation, On the History of Ideology of a German Theater Form, in: 100 Years Theater Dortmund, p. 30 f.
  13. Jürgen Kesting, The great singers, Vol. 2, Düsseldorf 1985, p. 1041, quoted from: Franz-Peter Kothes (Red.): 100 Years Theater Dortmund. Retrospect and Prospect. Harenberg, Dortmund 2004, ISBN 3-611-01269-6 , p. 105.
  14. cf. Franz-Peter Kothes (Red.): 100 Years Theater Dortmund. Retrospect and Prospect. Harenberg, Dortmund 2004, ISBN 3-611-01269-6 , p. 107.
  15. cf. Günther Högl, The Dortmund Theater during the Nazi era, in: Franz-Peter Kothes (Red.): 100 Years Theater Dortmund. Retrospect and Prospect. Harenberg, Dortmund 2004, ISBN 3-611-01269-6 , p. 119 f.
  16. Rote Erde No. 60 of March 11, 1933 under the heading "Honor the German Masters", quoted from: Günther Högl, Das Dortmunder Theater during the Nazi era, in: Franz-Peter Kothes (Red.): 100 years of theater Dortmund. Retrospect and Prospect. Harenberg, Dortmund 2004, ISBN 3-611-01269-6 , p. 120 f.
  17. StdtADO, Collection of Resistance and Persecution in the Public Service, Dossier F. Wolfes, information in: Günther Högl, Das Dortmunder Theater during the Nazi era, in: Franz-Peter Kothes (Red.): 100 Years Theater Dortmund. Retrospect and Prospect. Harenberg, Dortmund 2004, ISBN 3-611-01269-6 , p. 121.
  18. ^ Franz-Peter Kothes (Red.): 100 Years Theater Dortmund. Retrospect and Prospect. Harenberg, Dortmund 2004, ISBN 3-611-01269-6 , p. 105.
  19. ^ Franz-Peter Kothes (Red.): 100 Years Theater Dortmund. Retrospect and Prospect. Harenberg, Dortmund 2004, ISBN 3-611-01269-6 , p. 106.
  20. ^ Franz-Peter Kothes (Red.): 100 Years Theater Dortmund. Retrospect and Prospect. Harenberg, Dortmund 2004, ISBN 3-611-01269-6 , p. 107.
  21. ^ A booklet of the Stadttheater from 1936, quoted from: Franz-Peter Kothes (Red.): 100 Years Theater Dortmund. Retrospect and Prospect. Harenberg, Dortmund 2004, ISBN 3-611-01269-6 , p. 106.
  22. quoted from: Franz-Peter Kothes (Red.): 100 Years Theater Dortmund. Retrospect and Prospect. Harenberg, Dortmund 2004, ISBN 3-611-01269-6 , p. 106.
  23. ^ Theater of an industrial city. 50 Years of Dortmund City Theaters, p. 38.
  24. cf. Mathias Bigge, Cultural Policy in the Ruhr Area, p. 515.
  25. quoted from: 75 Jahre Städtisches Theater, p. 92.
  26. ^ Theater of an industrial city. 50 Years of Dortmund City Theaters, p. 39.
  27. 75 Years of the Municipal Theater, p. 95.
  28. ^ Mathias Bigge: Cultural Policy in the Ruhr Area , p. 513.
  29. ^ Franz-Peter Kothes (Red.): 100 Years Theater Dortmund , p. 136.
  30. Complete list of post-war productions in: Directorate of the Städtische Bühnen (Ed.): 75 years municipal theater in Dortmund.
  31. ^ Mathias Bigge: Cultural Policy in the Ruhr Area , p. 513.
  32. The Dortmund cultural department head Kaiser in the Ruhr newspaper published by the British authorities , quoted from: Mathias Bigge: Kulturpolitik im Ruhrgebiet , p. 513.
  33. ^ Mathias Bigge: Cultural Policy in the Ruhr Area , p. 515.
  34. cf. 75 years of municipal theater in Dortmund, pp. 100–103.
  35. cf. Franz-Peter Kothes (Red.): 100 Years Theater Dortmund. Retrospect and Prospect. Harenberg, Dortmund 2004, ISBN 3-611-01269-6 , p. 121.
  36. Sigrid Karhardt, Resurrected from the Rubble, p. 130 f.
  37. Sigrid Karhardt, Resurrected from the Rubble, p. 131.
  38. ^ Paul Walter Jacob, Ricardo Wagner y su obra, Buenos Aires (Ed.Peuser) 1946.
  39. (op. 39 1930/31).
  40. Sigrid Karhardt, Rising from the rubble, S. 133rd
  41. Sigrid Karhardt, Rising from the rubble, S. 133rd
  42. Sigrid Karhardt, Resurrected from the Ruins, p. 134.
  43. Sigrid Karhardt, Resurrected from the Rubble, p. 135.
  44. Renate Kastorff-Viehmann, The Great House - a feat, The new Dortmund theater from 1966, p. 143.
  45. Alfons Spielhoff, City of Dortmund, Cultural Administration, Exposé II on the question of the financing of cultural orchestras, music theater and drama, basis for discussion for the SPD parliamentary group of the City of Dortmund, Dortmund 1973.
  46. cf. Mathias Bigge, Cultural Policy in the Ruhr Area, p. 521.
  47. cf. Mathias Bigge, Cultural Policy in the Ruhr Area, p. 522.
  48. ^ Dortmund.de news of April 14, 2014: Opera - contract with Artistic Director Herzog extended ( Memento of April 16, 2014 in the Internet Archive )
  49. ^ Culture: Opera director Herzog moves to Nuremberg, March 2, 2016
  50. The West: Dortmund Music Theater takes too little, November 21, 2011.
  51. dortmund.de news of December 3, 2014: Theater Dortmund is in the black , accessed on February 17, 2015.
  52. THE POPULIST. In: www.populisten.com. Retrieved April 27, 2016 .
  53. ^ Federal Cultural Foundation - The Populists. In: www.kulturstiftung-des-bundes.de. Retrieved July 18, 2016 .
  54. Yearbook 2016 by Theater heute , Berlin 2016, pp. 140ff.
  55. Survey: Theater Dortmund at the top of the critics' favor . In: Westdeutsche Zeitung . August 26, 2018 ( wz.de [accessed August 27, 2018]).
  56. New director for drama , Funke Mediengruppe from May 7, 2019, accessed May 8, 2019
  57. Dortmund: Academy for Theater & Digitality starts: Digital Innovation and Artistic Research , nachtkritik.de of March 29, 2019, accessed March 30, 2019

Web links

Commons : Theater Dortmund  - Collection of pictures, videos and audio files

Coordinates: 51 ° 30 ′ 40 "  N , 7 ° 27 ′ 42"  E