Ostseestudio Rostock
The Ostseestudio Rostock was the first and, with around 150 employees, the largest outdoor studio for German television broadcasting / television in the GDR .
prehistory
After a phase of test broadcasts under the name Fernsehzentrum Berlin, television in the GDR began its regular broadcasting operations with a test program as part of broadcasting on December 21, 1952, trading as Deutscher Fernsehfunk (DFF) from January 3, 1956 and initially broadcasting Program, from October 3, 1969 two programs from Berlin-Adlershof . In 1968 television was separated from the State Broadcasting Committee and from then on worked officially as the State Committee for Television at the Council of Ministers of the German Democratic Republic , but retained the abbreviation for German television broadcasting . From January 1972 to February 1990 the establishment called itself the television of the GDR .
Around 1955, the then Berlin TV Center had ideas for decentralization and regionalization in program production in order to be able to use the “political, artistic and technical capacity of the republic” for television. However, the real economic and technical conditions set these plans limits, so that most of the production sites outside Berlin got stuck in the development stage.
In 1958, the State Broadcasting Committee set up a base for radio and television reporting on the International Baltic Sea Week in Rostock in the former Sports Palace in Rostock's Tiergartenallee in the Barnstorfer Forest . Since the Rostock radio studio had meanwhile advanced to become a broadcasting house and had been able to move from a small villa on Graf-Schalck-Straße to a new, larger building on Richard-Wagner-Straße, the Rostock transmitter no longer needed to use this base from 1959. The German television radio set up a production facility for television games with a decoration workshop and painting as well as a costume tailor. As a studio the ballroom of the former Sports Palace served - initially without its own direction , which is why in the beginning with a broadcast truck helped out. In 1959, the DFF broadcast the first television game, The Marseillaise, live from this studio . At that time TV games still had to be run live because there were no suitable recording options. The TV drama from Berlin-Adlershof produced TV plays in Rostock until the summer of 1964, even when the Ostseestudio had already started work and the studio even had its own TV drama.
Ostseestudio Rostock
In the summer of 1962 the newly founded Ostseestudio Rostock started its work. It was the first outdoor studio for German television with its own editorial offices and its own studio and transmission technology .
Like all other business premises outside Berlin , the Ostseestudio was not a regional studio until 1990. The studio broadcast the productions GDR-wide from Rostock or transferred them to the broadcasting center in Berlin-Adlershof, and the GDR-wide broadcast took place from there, in both cases in one of the two central programs.
The technical beginnings in the 1960s
The Rostock production site had two relatively modern studios - Studio I for television games and entertainment programs and Studio II for magazine programs. In 1965, Studio I had to be torn down to the ground and rebuilt, as it no longer met the requirements of efficient television productions. Studio II received its own direction . Production projects had to adapt to the conditions of the smaller and lower Studio II, so many productions were realized outside the Baltic Sea studio - e.g. B. Recordings in theaters , TV game productions in the large broadcasting hall of the Funkhaus Schwerin , entertainment programs in restaurants, clubhouses, etc. After the construction work was completed in 1967, a modern studio was available - including a program-controlled lighting system - and offered significantly improved working conditions. The production of television games and entertainment programs could again primarily be realized in Studio I with its better technical possibilities.
In 1965, the Ostseestudio received a film development for 16 mm films , which significantly improved working conditions. The studio had had its own OB van since the beginning of 1967, so that one no longer had to be requested from Berlin-Adlershof.
In the mid-1960s, the time was over when television games and theater performances had to be broadcast live due to the lack of recording options, but for the time being, the poorer quality of film recordings often had to be used for a short period, as the Baltic Sea studio did not initially have a magnetic tape recording system ( MAZ) was available. In some cases, a television game was recorded live with immediate transfer to the broadcasting center in Berlin-Adlershof, and the VTR recording took place there.
With the introduction of color television in 1969 in the new 2nd program, the studio produced and broadcast some films in color. After the first color program had started broadcasting in 1973, studio programs were also partly produced and broadcast in color.
Production profile in the 1960s
On October 3, 1962, the Ostseestudios Rostock went on air with the Filmfeuilleton Am Meer and the TV story Helling, Kabelkran und Kai . The 1960s were initially years of experimentation in Rostock until a solid base of programs could prevail with the audience. TV drama had a permanent place in the production range from the start. As early as November 22nd, 1962, the Ostseestudio broadcast the puppet's first television play concert live in co-production with the Rostock Volkstheater . In 1965 the Ostseestudio produced the first program in the Weidmannheil series - a long-term series. In 1966 the first broadcast, Klock Acht, aft Strom (under the working title Hafenbar ) went on air. It should become one of the most popular Saturday night entertainment shows. But the harbor concerts , which later became music and snacks in front of the harbor , had a considerable audience response. In 1967 the Ostseestudio took over the advisory series Der Fernsehkoch Recommends from the broadcasting center in Berlin-Adlershof and in 1971 the health magazine The Next Please! , which the Ostseestudio continued as a visit .
The 1970s and 1980s
In the 1970s, the Ostseestudio had become a trademark of television . In the meantime, a fixed production profile had been established, some of which met with considerable audience response.
Technical equipment in the 1970s and 1980s
After a phase of two-pronged production, the Ostseestudio Rostock produced exclusively in color from the late 1970s . The technical equipment consisted partly of western imports, but mostly from socialist countries , whose products were often very prone to failure and had to be constantly maintained and modified by the television technicians. For this, the studio had a very well trained staff who often did pioneering work and had to improve many things themselves through puzzles and tinkering.
The studio complex included two modern studios , each with its own director - the studio I for entertainment programs and television plays and the Studio II for magazine broadcasts and sound recordings -, its own studio and transmission technology of Deutsche Post , including a transfer car , three edit suites, a film development, spaces for film and slide recorders as well as magnetic tape machines, the camera store, the measuring service, the pulling desk for the camera operation, the mask, costume tailoring and costume collection, decorative joinery and painting, the props, the control system for the lighting and a lighting workshop as well as editorial offices and administration in ancillary buildings .
Production range of the 1970s and 1980s
The production profile comprised four areas: television drama, journalism, advice and entertainment as well as supplies for the news program Current Camera and the technical implementation for sports broadcasts. The annual broadcast volume of the Baltic Sea studio was around 105 programs with a broadcast time of around 80 hours and around 135 contributions for the current camera . The correspondent office of the current camera belonged only organizationally, but not editorially to the Ostseestudio Rostock.
The television drama realized around three in-house productions each year as television plays or studio productions and four third-party productions (three studio guest plays and one takeover) of productions by theaters in the north of the GDR, which gave them the opportunity to introduce themselves to a wider audience and the often better technical possibilities of the To use television - the Rostock Volkstheater , for example, did not have a revolving stage . Close-ups, special tracking shots and the use of green and blue box technology were all used.
When setting out the annual plans, the television drama of the Ostseestudios Rostock and the artistic director of the Rostock Volkstheater coordinated. According to an agreement with the Rostock Volkstheater, its director was also the chief dramaturge of the Baltic Sea studio. The studio productions, however, were never produced open to the public, which was particularly unfavorable for comedies due to the lack of audience reactions. In the 1980s, the studio's television drama tried to break new ground more or less successfully - elaborate rock operas, outdoor theater productions - e.g. B. in the monastery "Zum Heiligen Kreuz" - etc. More promising, on the other hand, was the new television series Vor dem Seeamt with historically documented Seeamt court hearings, which the television drama produced for the first time in 1989. However, due to the reorientation of the studio to regional reporting in 1990, only two episodes could be realized.
The journalism editorial team primarily produced reports and film features from and about the three northern districts of the GDR. This included underwater reports from the depths of the Baltic Sea as well as pause fillers, the maritime magazine Aus dem Logbuch der Seefahrt and the nature and hunting magazine Weidmannsheil . Had Weidmannsheil initially only dealt with cynegetic issues, it evolved over time to a natural magazine, specializing in, among other long-term wildlife viewing. The journalism also realized reports and filming in the Crimea and in the Far East in the Soviet Union , on the Canadian and US Atlantic coasts , in Cuba , Yugoslavia , Bulgaria as well as in the Dardanelles and the Bosporus in Turkey .
While attempts to set up an entertaining maritime quiz program failed and fell through with television viewers - which is why they soon had to be given up - the Klönsnack from Rostock developed into a high-quality talk show with considerable audience ratings . The Klönsnack was initially a half-hour studio chat about maritime topics, which was later also produced open to the public. After positive audience reactions, the program moved from Studio I to Café Atlantik Am alten Strom in Warnemünde and presented itself to TV viewers as a talk show open to all topics. Initially, the programs were still broadcast live from the Warnemünde Café Atlantik . Later, due to a political faux pas, only recordings were allowed to be sent. Talk shows first had to find their own profile on GDR television, which Klönsnack succeeded in doing, although it was only partially based on Western models. Even after the studio was reoriented towards regional reporting in 1990, the talk show remained in the program. The North German Broadcasting Corporation - since 1992 state broadcasting corporation in Mecklenburg-Western Pomerania - has not taken over this broadcast.
In 1989 journalism began to produce 13-minute film features for the postcard category . The Dresden television studio has been producing this series since 1980 and the Halle television studio since 1981. Now the Ostseestudio has followed suit.
Advice programs of the Ostseestudios Rostock were still Der Fernsehkoch recommends and the health magazine Visite .
The TV chef recommends was a series of advice programs broadcast every four weeks from 1958 to 1983. The TV chef was Kurt Drummer for 25 years - actually head of training at the Interhotel Congress in Karl-Marx-Stadt , an international prize winner in his field (“Golden Badge of Honor” from the Association of English Chefs and several awards at the Gastronomic Festival in Torquay / Great Britain ). He was a television legend in the GDR. In the course of the program reform in 1983, television stopped the program and replaced it with the newly developed, somewhat more modern, fast household magazine HAPS . HAPS stood for "household-all sorts of practical served". As before The TV Chef Recommends , the television broadcast this program every four weeks.
The health magazine Visite was the second most successful advisory program on GDR television after you and your garden . It was developed in close cooperation with a voluntary scientific advisory board and was broadcast every fortnight. After the Baltic studio was reoriented towards regional reporting in 1990, the studio continued to produce this magazine. In 1992, the North German Broadcasting Corporation, as the state broadcasting corporation for Mecklenburg-Western Pomerania, took over the visit after the German TV broadcasting service was closed . The health magazine from Hamburg , which was broadcast alternately with the Rostock magazine in the 3rd program of NDR television , later took on the name Visite . In 1998 the two editorial offices were merged, and the Visite has been produced and broadcast under this name in Hamburg ever since, and it continues to achieve remarkable audience ratings.
Programs of the entertainment editors were the Musenmühle , many songs the wind knows , the international hit festival Menschen und Meer - a joint production with the Rostock concert and guest performance management and the Rostock broadcasting station of the GDR radio station - music and snacks from the harbor and others.
Despite all prophecies of doom, the top ratings hit was the maritime entertainment program Klock Acht, aft Strom , which was the most successful entertainment program on German television for six years until 1972 - replaced by Ein Kessel Buntes . Klock Acht ... was broadcast five times a year at prime time: Saturdays at 8 p.m. in the first program. The same applies to GDR television : If the audience rating / viewing participation is not correct, a program will be broadcast from 8 p.m., especially on Saturday. The program stayed at this 8 o'clock position for almost 25 years, even if viewing participation fell sharply towards the end of the 1980s. None of the founding fathers had expected such a success that would last over twenty years. In Klock Eight, aft flow occurred over the years about 650 singers, musicians, artists and dancers from Germany and abroad. Klock Acht ... was not a production open to the public. The 70 or so guests on the show were small actors who responded to newspaper advertisements. The harbor bar, which the audience got to see on TV, was a hundred percent studio decoration. It took two full working days to set up and dismantle this studio decoration. There was still a harbor bar in Rostock, and it was set up on the model of the TV harbor bar.
From 1965 to 1990, around 1,250 music titles were created for the studio's entertainment programs for performers from home and abroad, including those from the West, such as Lolita and Jonny Hill from Austria or Nina Lizell from Sweden . Many music titles appeared on singles and a total of seven long-playing records . For this purpose, there was a permanent cooperation in stereo music production between the Ostseestudio Rostock and the Rostock radio house of the GDR radio . After Regie 3 of the Rostock Funkhaus was again technically expanded in 1985 and equipped with the necessary peripheral and digital technology, the Rostock Funkhaus took over almost the entire music production of the Schwerin Funkhaus and that of the Rostock Ostseestudio.
Studio Rostock
From March 1988 the Rostock production site was called Studio Rostock for about two years .
Turning time
The turmoil brought about a reorientation for the Rostock studio: away from central productions and towards regional reporting.
The first regional magazine
On March 9, 1990, the studio "independently" broadcast its first regional magazine on the stations of the three GDR northern districts during the break in broadcasting the central 2nd program . The first two programs were only ten minutes long, the third on March 23rd came to 25 minutes. The turn to regional reporting, however, was at the expense of the wide range of products that had existed up to that point. The studio discontinued most of its previous programs or developed new, less time-consuming and less expensive formats.
State broadcaster Mecklenburg-Western Pomerania
As the state broadcaster for Mecklenburg-Western Pomerania, the studio broadcast a daily regional magazine for the future state of Mecklenburg-Western Pomerania in a fixed time slot specified by the broadcasting center in Berlin-Adlershof from August 1990 .
TV studio Schwerin
After Schwerin became the state capital of Mecklenburg-Western Pomerania , the Rostock television studio installed a television studio in the large broadcasting hall of the Schwerin radio house for current reporting from Schwerin. Previously, in Schwerin and Neubrandenburg, there was only one correspondent's office for television coverage from the region.
DFF country chain
With the shutdown of the 1st program of the German television broadcasting , which now as the DFF country chain only broadcast one program and one regional program within the First German Television (ARD) , the state broadcaster Mecklenburg-Western Pomerania concentrated mainly on regional reporting. The other remaining formats only played a subordinate role.
State-of-the-art technology
Although no one knew in 1991 in the country, such as the future broadcasting landscape in Mecklenburg-Vorpommern would look like - not even in Rostock's television studio and the radio houses Rostock and Schwerin and in the radio studio Neubrandenburg - is managed Rostock's television studio in 1991 or the latest technology, which was on the market at the time. This was made possible because of the income from an advertising contract that Deutsche Fernsehfunk had concluded with the French advertising marketer "Information et Publicité - IP".
Part of the NDR-Landesfunkhaus Mecklenburg-Vorpommern
After the winding up and shutdown of German television , the North German Broadcasting Corporation (NDR) has become the state broadcasting corporation for Mecklenburg-Western Pomerania . The Landesfunkhaus has been based in Schwerin since then. The NDR only took over the health magazine Visite and the entertainment program Bi uns to Hus , which had recently been launched , although the latter was soon discontinued. Not all employees of the television studio could be taken over by the North German Broadcasting Corporation.
Even after most of the radio capacities of the former three district cities of Rostock , Schwerin and Neubrandenburg had been bundled in Schwerin from January 1992 , television reporting from or for Mecklenburg-Western Pomerania continued to be primarily from the television studio complex in Rostock. With the completion of the new Landesfunkhaus in Schwerin, television moved there and to Hamburg in 1998. The old studio complex was closed. Since then, television reporting from Rostock has come from the former broadcasting house, which no longer produces its own program, but only supplies. It combines radio and television and is also called Ostseestudio Rostock .
Individual evidence
- ^ Margot Zielinski: "Hafenbar becomes Hafenkneipe (conversation with Hans Höschel, director of the Ostseestudios Rostock)" in Wochenpost 28/86 Berliner Verlag Berlin (GDR) 1986
- ^ " GDR radio and television committee - task and history ", in: "TELE-VISIONS - television history in East and West", © Federal Agency for Civic Education
- ^ LIA Archive Wegner, ibid
- ↑ Peter Hoff: "The project of a television and radio studio in Leipzig as the first attempt at decentralizing television work" in "Kulturatorium - Online Journal for Culture, Science and Politics" No. 16 • 2013 • Volume 36 [11], ISSN 1610 -8329
- ↑ Horst Zänger: Stories from 50 Years of Broadcasting - Chronicle of the State Broadcasting Corporation Mecklenburg-Western Pomerania (p. 45), Verlag Reinhard Thon 1995
- ^ Eberhard Fensch: So and only better Das Neue Berlin Verlags GmbH 2003
- ↑ Horst Zänger: ibid p. 45 ff
- ^ LIA Archive Wegner, ibid
- ↑ Hans-Helmut Pentzien: Ostseestudio Rostock 1962 - 1991 (pp. 12, 17 ff, 23, 27, 31, 35, 36, 41 and 43) Verlag Redieck & Schade GmbH Rostock 2012
- ^ LIA Archive Wegner, ibid
- ↑ Peter Schön: Rostock sends in FF-Beim 41/62, Berliner Verlag Berlin (GDR) 1962
- ↑ Hans-Helmut Pentzien: ibid, p. 21
- ↑ LIA-Wegner, ibid
- ^ Margot Zielinski: ibid
- ↑ Hans-Helmut Pentzien: ibid, pp. 22, 44
- ↑ Ilse Jung: Vom Ostseestrand fürs Binnenland II , in FF-Besides 31/67, Berliner Verlag Berlin (GDR) 1967
- ↑ Hans-Helmut Pentzien: ibid, p. 47
- ↑ Hans-Helmut Pentzien: ibid, p. 53
- ↑ Hans-Helmut Pentzien: ibid, pp. 14, 41 and 51
- ↑ Peter Bause: You don't die in the third act! Verlag Das Neue Berlin, Berlin 2011
- ^ LIA Archive Wegner, ibid
- ↑ program part in FF-case 40/62 (17), Berliner Verlag Berlin (DDR) 1962
- ↑ Hans-Helmut Pentzien: ibid, p. 21.
- ↑ Hans-Helmut Pentzien: S 23 ff
- ^ Margot Zielinski: ibid
- ↑ Hans-Helmut Pentzien: ibid, pp. 23, 27, 31, 35, 36, 41, 42, 48 - 51, 53, 59 - 64, 72, 75, 76, 88 - 94, 98 - 103, 105, 106, 108 - 110, 114, 115, 119 - 123, 125, 127 - 129, 135 - 138, 141 - 147, 149 - 158, 161 - 163, 165, 167, 176 - 178, 180, 181, 188, 194, 195, 202, 208 - 201 u. 221-222
- ^ LIA Archive Wegner, ibid
- ↑ Hans-Helmut Pentzien: ibid, p. 47
- ↑ Hans-Helmut Pentzien: ibid, pp. 46, 52, 65, 66, 73, 77, 86, 95 - 97, 113, 166, 172 and 179
- ↑ Hans-Helmut Pentzien: ibid, p. 54 and 84
- ^ LIA Archive Wegner, ibid
- ↑ Hans-Helmut Pentzien: ibid, pp. 78, 80, 86, 126, 131-133.
- ^ Margot Zielinski: ibid
- ↑ Horst Zänger: ibid, p. 59
- ↑ Hans-Helmut Pentzien: ibid, p. 238
- ^ Margot Zielinski: ibid
- ^ LIA Archive Wegner, ibid
- ↑ Helmut Pentzien: ibid, p. 78
- ^ LIA Archive Wegner, ibid
- ^ Margot Zielinski: ibid
- ↑ Helmut Pentzien: ibid, p. 202 and 208-210
- ^ LIA Archive Wegner, ibid
- ↑ Helmut Pentzien: ibid, p. 203
- ^ LIA Archive Wegner, ibid
- ↑ Helma Eitner: Many cooks do not spoil the broth in FF-This 25/77, Berliner Verlag Berlin (GDR) 1977
- ↑ Helmut Pentzien: ibid, pp. 168, 174, 175 and 191
- ^ Margot Zielinski: ibid
- ^ Helmut Raddatz: From strange bowls in FF-Besides 33/87, Berliner Verlag Berlin (GDR) 1987
- ^ LIA Archive Wegner, ibid
- ^ LIA Archive Wegner, ibid
- ↑ Hans-Peter Gaul: Because it was fun again ... in FF-Besides 10/85, Berliner Verlag Berlin (GDR) 1985
- ^ Hermann Burg: News from the Hafenbar in FF-Besides 18/86, Berliner Verlag Berlin (GDR) 1986
- ↑ Helmut Raddatz: Jubilee at the Watrerkant in FF-Besides 24/87, Berliner Verlag Berlin (GDR) 1987
- ↑ Helmut Raddatz: Blauer Peter and others ... in FF-Besides 42/87, Berliner Verlag Berlin (GDR) 1987
- ^ "Program part: p. 26" in FF-Besides 11/88, Berliner Verlag Berlin (GDR) 1988
- ↑ Hans-Helmut Pentzien: ibid, pp. 205, 208-212 and 214-225
- ↑ LIA-Wegner, ibid
- ↑ LIA-Wegner, ibid
- ↑ Helmut Pentzien: ibid, p. 229
- ^ LIA Archive Wegner, ibid
- ^ LIA Archive Wegner, ibid
- ↑ Helmut Pentzien: ibid, pp. 231–237
- ↑ Helmut Pentzien: ibid, p. 237
- ↑ Hans-Helmut Pentzien: ibid, p. 235
- ^ LIA Archive Wegner, ibid