Robert Bürkner (actor)

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Carl Ernst Otto Robert Bürkner (* 12. July 1887 in Göttingen ; † 19th August 1962 in Augsburg ) was a German actor , theater director , theater director , playwright and writer .

Life

family

Bürkner's father was the university professor Kurd Bürkner , a specialist in ear medicine and founder of the ENT clinic in Göttingen. His grandfather was the Dresden wood carver and copper engraver professor at the Hugo Bürkner Art Academy . His brother was the successful German rider, 18-time German master in dressage, member of the German team at the first Olympic equestrian games in 1912 (silver medal in the team) in Stockholm and "inventor" of the German school quadrille Felix Bürkner . His great-nephew Moritz Bürkner also became an actor.

Training and first employment

After finishing high school, Bürkner first completed a university course (two semesters). He then began his career as a theater actor in 1906 (at the age of 19). The first stations were Bremen , Stettin , Basel and the Nationaltheater Mannheim , where he mostly played the youthful hero and lover. As a “first hero” and director, he then worked as a state actor at the Karlsruhe State Theater and the Altona City Theater. From 1929 to 1934 he moved to the city theater in Frankfurt (Oder) as artistic director . After another 10 years as artistic director in Lübeck , he switched to the theater on Schiffbauerdamm and the grandstand in Berlin in 1943 as a character player .

Theater director in Lübeck

Central importance of this phase of life

Robert Bürkner worked as a theater director in Lübeck from 1934 to 1943. This phase of his life represented the high point of his career. After all, when he was appointed to this post in 1934, he had already been active in the theater field for 28 years. Outstanding in this phase of life were the five years as artistic director in Frankfurt / Oder (1929–1934). For the actor, the engagements at the National Theater in Mannheim as well as at the State Theater in Karlsruhe, which earned him the title of “State Actor”, were remarkable. But only once, and for the first time in a medium-sized house that was considered a springboard for further careers, was he able to shape the entire theater scene in Lübeck. He knew that such a position had its difficulties and lived through it again: In principle, adapting to the Nazi system of rule was easier for him than the constant financial tightness, the unreasonable demands of Nazi organizations like the DAF (German Labor Front), the claim against ambitious general music directors (GMDs) and not least because of the "bourgeois" circles that were adapted at the time, to whom he did not fit with his passion for acting and his talented wife, the actress Hansi Nassée. That tipped the balance, while the discussion about his descent from the Nazi leadership was thwarted. In 1945 Bürkner tried at least one more time, as far as is known, to get into a director's chair at the almost undamaged Konstanz theater, but failed. So he remained true to his acting career for a further 19 years, supplemented by tasks in film, television, radio and other media (e.g. as a speaker), in demand and valued until his death. After 1945 his wife pursued her own acting career on other stages. Nevertheless, the time in Lübeck was something unique for both of them, and as an active couple of actors, especially in complementary play, they were a specialty in the theater environment. Even after 1945 they went on tour tours together.

Fellow combatants and opponents

Robert Bürkner found sustained support from Hans Wolff, the school and culture organizer, as this top official was a music lover and Wagner admirer. Senator Ulrich Burgstaller remained a fleeting experience, but administrative specialist Hans Böhmcker , who had also been Senator for Culture since 1935, was a difficult partner. As the Senator of Finance, he had to keep an eye on the overall budget. He treated Bürkner and his theater fairly, but strictly adapted to the financial framework. Wolff was most likely his ally when it came to preventing the worst or obtaining grants from Berlin. In-house, Bürkner was fortunate to have at his side a devoted, at the same time capable administrative director (since 1938), a party member with previous theater experience: Paul Gerhard Schwarz. The creation of this position turned out to be a win. On the musical field Bürkner found the GMD Heinz Dressel, who had to endure an official investigation because of his rude treatment of his musicians. His excessive striving for top performance by the orchestra was, however, supported by his openness to the social concerns of the musicians. In 1942 he was followed by Berthold Lehmann, an equally gifted but at the same time power-conscious orchestra leader, who knew how to make himself popular with the "Advisory Board for Art and Science" in Bürkner's difficult situation. Soon a choice should be made between both personalities. It was Bürkner who gave up and who was accused of neglecting the opera. Hans Wolff did not manage to equalize. Bürkner's successor Otto Kasten (1943–1945), also a member of the party, capable but ill with lungs, could only hold out for just under three years, with the theater being shut down in 1944.

administration

With a tight budget, the director had to generate a noticeable share of his own income. The entrance fees always played a role. At the same time, all sorts of social or partisan organizations, later the Wehrmacht for their wounded or holidaymakers at home, consumed the proceeds, as they all claimed, mostly understandably, discounts for their clientele. The most unpleasant behavior was the DAF (German Labor Front) organization KdF (NS-Gemeinschaft Kraft durch Freude). They wanted to create their own low-cost subscriber system for their employees “at all costs” and have it recognized as the merit of their organization. Stubborn battles had to be fought. The Goebbels Ministry even refused to pay the artists' pension contributions.

The financially strained situation also had an impact on human resources. Except for the top positions, the nationwide comparison with similar cities was far behind in terms of salaries and fees. For some artists, the question of extending an engagement was a question of life. There were numerous successful, critically-valued artists among the artists, who frequently changed after the season, who then, as usual, moved to a larger stage and continued their careers there. In addition, there was still a local group of artists who kept solidly, often for years “on the Lübeck boards”. Few others did not achieve the esteem of the artistic director or Hans Wolff at all. Party affiliation played no role. This led to cases of bullying at the theater with an ultimately negative outcome. Not all of this was recognizable from the outside; rather, they staged a “beautiful theater world” with the popular top executives - as in Berlin, also in the local context.

The most difficult technical administrative measure was the theater renovation (1938–1941), for which the war economy became effective as early as 1938/39. In 1941 the Great House was again playable until - in September 1944 - the theater-wide opening of the theater took effect and the curtains were lowered everywhere.

Schedule analysis

The programs for which Bürkner was responsible once consisted of music theater with operas and operettas. In the case of classical operas, attention had to be paid to the stumbling block of Jewish librettists. For example, the National Socialist Siegfried Anheißer earned services for the “de-Judaization” of Mozart libretti for “Don Giovanni” and “Cosi fan tutte”. Richard Strauss , who was even President of the Reichsmusikkammer (RMK) in 1934, was suspicious of Hugo von Hofmannsthal by modern masters , but was reluctantly tolerated. There were also opera composers close to the Nazi regime such as Werner Egk , Ottmar Gerster or Max von Schillings . You couldn't go wrong there. The field of operetta, to the repertoire of which Jewish masters and librettists had made a considerable contribution, was even more difficult. Sound artists like Jacques Offenbach were banned from the programs, and Bürkner only had to pay attention to the known guidelines or, if necessary, the neighboring stages. Franz Lehár was controversial, but was played, because Hitler was a lover of his "Merry Widow". Eduard Künneke and Paul Lincke were therefore in great demand. There were also more modern ones who were encouraged, then again like Robert Stolz , who was not at all a Jew, who after a while could become suspicious and fall out of favor.

In spoken theater, selected classics were adapted to the Nazi philosophy. It was said that they had only just been rediscovered. Authors like Christian Friedrich Grabbe were celebrated as forerunners of the Nazi movement. The darker and more fateful, the better. For special Nazi pathos, festivals and thing theater events were suitable. The Low German Theater was able to continue to exist unhindered as down-to-earth and connected to the people, since most of the plays, as comedies, did not cause offense. With the retention of the important classics and modern playwrights (in selection), a canon of brilliant roles was retained to be embodied. Of particular interest are the Nazi-related dramas performed in Lübeck at the time, which were intended to put the audience in disturbing situations and to show them how a National Socialist would have behaved in these. Heroes should be role models. Lessons in content, even racism, hardly played a tangible role. It was about exciting, dramatic lessons. There were masters of this subject. Of those played in Lübeck one could name: Gustav Frenssen , Sigmund Graff , Walther Heuer , Edgar Kahn . The authors also included Nazi officials such as Hans Johst , Franz Walther Ilges and Walter Erich Schäfer . The director could hardly make mistakes, because these authors were recognized, recommended, and played. Their mediation in Lübeck was the task.

Even the Lübeck “Advisory Board for Art and Science” did not understand that in the war years, according to the wishes of Propaganda Minister Joseph Goebbels, entertainment should be offered. That was understandable in the tense situation for the population. If Bürkner took this into account, he was on the course of the Reich government. He pointed out the mendaciousness of such accusations, because the “conformist bourgeoisie” in the committee, who were handpicked party members (even if not formally party members), did not attend “valuable” things such as a performance of Georg Friedrich Handel's “Xerxes” (1939). Such performances were then poorly attended. Just one example of Bürkner's situation. If you look at the numerous contemporary authors, librettists and composers of the works selected by Bürkner, you can see all the shades of adaptation to the Nazi regime: of convinced participation, opportunism, skillful tactics and internal emigration. In any case, whoever was to be printed, performed or played had to make compromises. Those who strived for prestige and fame had to work for the regime clearly.

Bürkner's location in the Nazi era

Bürkner had been an SA troop leader since 1933 and had committed himself to the "movement" very early on. However, he did not become a party member until May 1, 1937. His accession was not a formal condition when he was called to Lübeck, but was ultimately inevitable. Bürkner was behind the system. According to the provisions of the Nuremberg Laws of September 15, 1935 (= 7th Reich Party Rally ), Bürkner was a “Jewish half-race” due to his Jewish grandmother and was considered a “quarter Jew” according to the terminology of the time. With that you could remain employed in the public service, but not be a civil servant. For Bürkner, this did not result in any compelling change. But since he held a prominent position and acted in the political arena, his opponents tried to take up the issue of descent. In fact, on February 21, 1939, a decision was made by the party court that excluded the party who had only joined the party in 1937 from the party. (Bürkner's entry came after the Nuremberg Laws had been passed in 1935.) But Bürkner wanted to remain in the party and initially managed to ensure that Goebbels continued to safeguard his director's activities. But that could be revoked. Other higher NS representatives did not want to make a final decision and remained undecided. Ultimately, Hitler, “the Führer”, decided that Bürkner could remain in the party. It was not an isolated case that Hitler took part in theater issues - down to local level, if necessary. He was very well informed about theater and concerts. The Lübeck management had supported its director from the start. This meant that the opponents in the “Advisory Board for Art and Science” could no longer do anything against him with this topic.

It is now interesting that Bürkner's autobiography Alma Gomel (1949) deals with his years in Lübeck, praises and appreciates Wolff and his administrative director Schwarz, but does not mention his political involvement at all. It is simply factored out. It should be noted that Bürkner, like many others in the artistic field, did not only join the party for formal reasons, but also shared essential goals of the system and worked for them. In this respect, the following quote clearly reflects these facts: "Allow us, dear Mr. Intendant, that today and in this way we say our heartfelt thanks for your support in our difficult struggle for the penetration of the German theaters with National Socialist ideas!" Andrew G In 2008, Bonnell described the process as follows: “The Lübeck Theater was under the direction of Robert Bürkner, a Nazi party member and SA officer, who apparently seems to have enjoyed the special favor of the Propaganda Ministry . Ironically, he was only three months after his theater with the Merchant of Venice , the Kristallnacht celebrated, from the NSDAP ruled out when it was discovered that he had a Jewish grandmother, and a special exception to Goebbels needed to remain in place . "The verdict of Günter Zschackes:" The Lübeck theater director saved himself respectably through the ages ... ", from a political point of view we can only agree to a limited extent, however capable and in many respects noteworthy this actor and artistic director was otherwise. The fact that the National Socialist Bürkner was at the same time troubled by the system he served as "Jewish perverted", as it was formulated at the time, results from the racism that formed the foundation of National Socialism. In this respect, Bürkner must also be granted the tragedy that made other artists who were perhaps married to a Jewish woman at the time faced with difficult decisions of conscience.

After the war

After the war, Bürkner's stations included the performance venues in Bonn , Oldenburg and the Augsburg city theater . In his last years he went on numerous guest tours with his wife, the actress Hansi Nassée , who was engaged, among other things, at the Wiener Kammerspiele .

Main and supporting roles

Bürkner's main stage roles, primarily in Lübeck, were: Hamlet (title role, Shakespeare), King Lear (title role, Shakespeare), Brutus (Julius Caesar, Shakespeare); President of Walter (Schiller, Cabal and Love ), King Philipp (Schiller, Don Carlos ), Karl Moor (Schiller, Die Räuber ) Wallenstein (Schiller, work of the same name); Egmont (title role, Goethe), Mephisto (Goethe, Faust ); Village judge Adam (Kleist, The Broken Jug ); Herodes (title role in Hebbel's Herodes and Mariamne ), Kandaules (Gyges and his ring, Hebbel); Orestes (as part of Oresty , Aeschylus). - Baron von Wehrhahn ( The Beaver Fur , G. Hauptmann); Peer Gynt (Ibsen, work of the same name). - In Nazi works or pieces: Colonel Bauer ( October 18, 1813 , Schäfer); Casanova (Chevalier von Seingalt, Casanova reciprocates , Ilges). - In entertainment pieces : Baron Trenck der Pandur (title role, Groh), Bolingbroke (Scribe, A glass of water ), Harald Haprecht (Bürkner, Der neue Papa ). - The artist couple played together in: The model husband (Hopwood): B. as Billie Barlett, his wife was the wife of Wheelers), Dr. med. Job Praetorius and at the same time Sherlock Holmes, Hansi Nassée as wife (play of the same name by Götz), as a couple in: Well, let's get a divorce (Sardou), Karl III. and Anna of Austria (in the play of the same name, Rößner.

In the 1940s he took part in a number of feature films in supporting roles. From the end of the 1950s he also appeared in a number of television productions, such as in 1959 in the sixth part of the street sweeper As Far Your Feet as Erich Baudrexel, the uncle of Clemens Forell, who later returned from the war. In the following year, he embodied the private tutor Dr in the third part of the also very successful TV multi-part Am Green Beach on the Spree. Theodor Forster.

Stage plays and arrangements

The countless stage adaptations of German and European fairy tales , which Bürkner staged in a simple, poetic and humorous way, are known to the present day . His media-pedagogical approach was remarkable. The author wanted to "take along" a young viewer as quickly as possible and involve them in the action. For this purpose, for example, a journeyman appeared at the beginning of the "Little Red Riding Hood", who greeted and addressed the children. Then there was the postillion (or the fairy tale postilion) in the same function, but also the "traveling companion". These figures also appeared in between at distinctive points in the play and questioned or deepened the course of the fairy tale for the children. Cruel situations were defused in this way. Questions to be answered were also addressed to the young audience. Thus, not only were the viewers "presented" something, but a feeling of participation was conveyed. On the other hand, the great success of the Bürkner fairy tales was ensured by the fact that they were worked in such a way that they could also be performed in other venues, for example in a school auditorium, without special stage technology. Bürkner's repertoire included practically all the popular fairy tales by the Brothers Grimm . His first works include Little Red Riding Hood (1919) and Sleeping Beauty (1920). B. The goose-girl at the fountain (1947). His fairy tale adaptations include:

  • Cinderella (in Lübeck 1940/41)
  • The valiant dressmaker
  • The Frog King or the Iron Heinrich (in Lübeck 1938/39)
  • Puss in Boots
  • The goose-girl at the well
  • the princess and the Pea
  • sleeping Beauty
  • Frau Holle or Goldmarie and Pechmarie
  • Ilsebill's Christmas Adventure (in Lübeck 1935/36)
  • Little Red Riding Hood (in Lübeck 1934/35 and 1942/43)
  • Rumpelstiltskin
  • Snow White and Rose Red
  • Little table, cover yourself, - donkey, stretch yourself, - club, out of the sack!
  • gnome nose

Especially in the early years he also wrote a few comedies, such as The Shot in the Mirror and The New Papa (both 1919). He later wrote the novels The Trap (1940), A Harmless Person (1941) and The Unheimliche Feuer (1947), in which the life picture of the actor Ludwig Devrient is described.

The Landesbühne Schleswig-Holstein staged many of his fairy tale adaptations:

  • 1949/50: Little table set yourself
  • 1950/51: Fairy tale about the fisherman and his wife
  • 1951/52: Snow white and rose red
  • 1952/53: The brave little tailor
  • 1954/55: Frog King
  • 1955/56: Mrs. Holle

Death and burial

Bürkner, the grand master of German theater, died on August 19, 1962 in Augsburg. The burial took place on August 21st in the Westfriedhof there , field 65 row path number 311.

Filmography

Radio plays

author

  • 1925: Little Red Riding Hood. A children's fairy tale comedy - Director: NN ( Ostmarken Rundfunk AG , Königsberg)
  • 1926: The princess and the pea. A children's fairy tale comedy in three pictures - Director: Kurt Lesing (Ostmarken Rundfunk AG, Königsberg)
  • 1927: The brave little tailor. A children's fairy tale game in 3 pictures - Director: Not specified (Ostmarken Rundfunk AG, Königsberg)
  • 1927: Cinderella. A fairy tale game - Director: Kurt Lesing (Ostmarken Rundfunk AG, Königsberg)

speaker

swell

  • German stage yearbook. Vol. 71, 1963.
  • Archives of the Archives of the Hanseatic City of Lübeck (proven by: Jörg Fligge: "Schöne Lübecker Theaterwelt". The city theater during the years of the Nazi dictatorship. Schmidt-Römhild, Lübeck 2018, pp. 527-529).
  • Printed matter of the Lübeck theater (references: Jörg Fligge: "Schöne Lübecker Theaterwelt". The city theater during the years of the Nazi dictatorship. Schmidt-Römhild, Lübeck 2018, pp. 530–533).

literature

  • Landesbühne Schleswig-Holstein (Ed.): 20 years Landesbühne Schleswig-Holstein. Albers, Rendsburg 1969.
  • Katharina Kost, Sidney Smith: Theater Lübeck. History, rooms, highlights, people. Schmidt-Römhild, Lübeck 2008, ISBN 978-3-7950-1288-5 .
  • Wolfgang Chechne : Lübeck and its theater. The story of a long love. Dialog Verlag, Reinbek near Hamburg 1996, ISBN 3-923707-29-0 .
  • Jörg Fligge: "Beautiful Lübeck Theater World". The city theater during the Nazi dictatorship. Schmidt-Römhild, Lübeck 2018, ISBN 978-3-7950-5244-7 .

Web links

Individual evidence

  1. ↑ Göttingen City Archives, here: the birth certificate
  2. ↑ Jörg Fligge: "Beautiful Lübeck Theater World." The city theater during the years of the Nazi dictatorship. Schmidt-Römhild, Lübeck 2018, ISBN 978-3-7950-5244-7 , p. 77. See Günter Zschacke: Schöne Lübecker Theaterwelt. Jörg Fligges great cultural and historical achievement. In: Lübeckische Blätter. Vol. 184, H. 10, 2019, p. 162.
  3. ↑ Jörg Fligge: "Beautiful Lübeck Theater World." The city theater during the years of the Nazi dictatorship. Schmidt-Römhild, Lübeck 2018, ISBN 978-3-7950-5244-7 , p. 88 (Konstanz), 77f.
  4. ↑ Jörg Fligge: "Beautiful Lübeck Theater World." The city theater during the years of the Nazi dictatorship. Schmidt-Römhild, Lübeck 2018, ISBN 978-3-7950-5244-7 , p. 478f.
  5. ↑ Jörg Fligge: "Beautiful Lübeck Theater World." The city theater during the years of the Nazi dictatorship. Schmidt-Römhild, Lübeck 2018, ISBN 978-3-7950-5244-7 , pp. 90-95, 365 f.
  6. ↑ Jörg Fligge: "Beautiful Lübeck Theater World." The city theater during the years of the Nazi dictatorship. Schmidt-Römhild, Lübeck 2018, ISBN 978-3-7950-5244-7 , pp. 95-98, 426 f.
  7. ↑ Jörg Fligge: "Beautiful Lübeck Theater World." The city theater during the years of the Nazi dictatorship. Schmidt-Römhild, Lübeck 2018, ISBN 978-3-7950-5244-7 , pp. 98-100, 412.
  8. ↑ Jörg Fligge: "Beautiful Lübeck Theater World." The city theater during the years of the Nazi dictatorship. Schmidt-Römhild, Lübeck 2018, ISBN 978-3-7950-5244-7 , pp. 61-67.
  9. ↑ Jörg Fligge: "Beautiful Lübeck Theater World." The city theater during the years of the Nazi dictatorship. Schmidt-Römhild, Lübeck 2018, ISBN 978-3-7950-5244-7 , pp. 337-508 (artist lexicon).
  10. ↑ Jörg Fligge: "Beautiful Lübeck Theater World." The city theater during the years of the Nazi dictatorship. Schmidt-Römhild, Lübeck 2018, ISBN 978-3-7950-5244-7 , pp. 100-106.
  11. ↑ Jörg Fligge: "Beautiful Lübeck Theater World." The city theater during the years of the Nazi dictatorship. Schmidt-Römhild, Lübeck 2018, ISBN 978-3-7950-5244-7 , pp. 106–125.
  12. ↑ Jörg Fligge: "Beautiful Lübeck Theater World." The city theater during the years of the Nazi dictatorship. Schmidt-Römhild, Lübeck 2018, ISBN 978-3-7950-5244-7 , pp. 136–336.
  13. ↑ Jörg Fligge: "Beautiful Lübeck Theater World." The city theater during the years of the Nazi dictatorship. Schmidt-Römhild, Lübeck 2018, ISBN 978-3-7950-5244-7 , pp. 40, 582, endnote 83.
  14. ↑ Jörg Fligge: "Beautiful Lübeck Theater World." The city theater during the years of the Nazi dictatorship. Schmidt-Römhild, Lübeck 2018, ISBN 978-3-7950-5244-7 , pp. 142–144.
  15. ↑ Jörg Fligge: "Beautiful Lübeck Theater World." The city theater during the years of the Nazi dictatorship. Schmidt-Römhild, Lübeck 2018, ISBN 978-3-7950-5244-7 , pp. 142–156.
  16. ↑ Jörg Fligge: "Beautiful Lübeck Theater World." The city theater during the years of the Nazi dictatorship. Schmidt-Römhild, Lübeck 2018, ISBN 978-3-7950-5244-7 , pp. 160-183 (operettas, taking into account the composers played by Bürkner).
  17. ↑ Jörg Fligge: "Beautiful Lübeck Theater World." The city theater during the years of the Nazi dictatorship. Schmidt-Römhild, Lübeck 2018, ISBN 978-3-7950-5244-7 , p. 192 f.
  18. ↑ Jörg Fligge: "Beautiful Lübeck Theater World." The city theater during the years of the Nazi dictatorship. Schmidt-Römhild, Lübeck 2018, ISBN 978-3-7950-5244-7 , pp. 184-299.
  19. ↑ Jörg Fligge: "Beautiful Lübeck Theater World." The city theater during the years of the Nazi dictatorship. Schmidt-Römhild, Lübeck 2018, ISBN 978-3-7950-5244-7 , pp. 226-270.
  20. ↑ Jörg Fligge: "Beautiful Lübeck Theater World." The city theater during the years of the Nazi dictatorship. Schmidt-Römhild, Lübeck 2018, ISBN 978-3-7950-5244-7 , pp. 86, 567.
  21. ↑ Jörg Fligge: "Beautiful Lübeck Theater World." The city theater during the years of the Nazi dictatorship. Schmidt-Römhild, Lübeck 2018, ISBN 978-3-7950-5244-7 , pp. 142–158, 162–165, 168–182, 195–292.
  22. ↑ Jörg Fligge: "Beautiful Lübeck Theater World." The city theater during the years of the Nazi dictatorship. Schmidt-Römhild, Lübeck 2018, ISBN 978-3-7950-5244-7 , pp. 83-85.
  23. ↑ Jörg Fligge: "Beautiful Lübeck Theater World." The city theater during the years of the Nazi dictatorship. Schmidt-Römhild, Lübeck 2018, ISBN 978-3-7950-5244-7 , pp. 89f.
  24. ^ From a letter from the central publishing house of the NSDAP, quoted by Günter Zschacke: 100 years of Lübeck City Theater: Celebration site of the nation . In: Lübeck city newspaper. 2008.
  25. ^ Andrew G. Bonnell: Shylock in Germany. Antisemitism and the German Theater from The Enlightenment to the Nazis. IB Tauris, London / New York 2008, p. 150, in German translation.
  26. ↑ Günter Zschacke: 100 Years of Lübeck City Theater: Celebration site of the nation . In: Lübeck city newspaper. 2008.
  27. ↑ Jörg Fligge: "Beautiful Lübeck Theater World." The city theater during the years of the Nazi dictatorship. Schmidt-Römhild, Lübeck 2018, ISBN 978-3-7950-5244-7 , pp. 209f .: Example, playwright Curt Goetz.
  28. ↑ Jörg Fligge: "Beautiful Lübeck Theater World." The city theater during the years of the Nazi dictatorship. Schmidt-Römhild, Lübeck 2018, p. 77.
  29. ↑ Jörg Fligge: "Beautiful Lübeck Theater World." The city theater during the years of the Nazi dictatorship. Schmidt-Römhild, Lübeck 2018, pp. 184–270, 350–356, 450–452.
  30. ↑ Jörg Fligge: "Beautiful Lübeck Theater World." The city theater during the years of the Nazi dictatorship. Schmidt-Römhild, Lübeck 2018, ISBN 978-3-7950-5244-7 , pp. 313–321.
  31. ↑ d-nb.info
personal data
SURNAME Bürkner, Robert
ALTERNATIVE NAMES Bürkner, Carl Ernst Otto Robert (full name)
BRIEF DESCRIPTION German actor, theater director, theater director, playwright and writer
DATE OF BIRTH July 12, 1887
PLACE OF BIRTH Goettingen
DATE OF DEATH 19th August 1962
Place of death augsburg