Pink Poppe

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Rosa Poppe, portrait by Ignaz Eigner from 1890

Rosa Poppe (born September 9, 1867 in Pest , † February 1, 1940 in Zurich ) was a stage actress .

Life

According to Ludwig Eisenberg , Rosa Poppe was the daughter of a hotel owner and after the hotel owner decided to earn a living as an actress. She took acting lessons from Franz Deutschinger and began her stage career as an extra and in small roles at the Deutsches Theater in Budapest. Afterwards she worked in Vienna at the Carltheater , then went to Ischl and in 1886 to the Stadttheater Augsburg and via Hamburg to Berlin . In 1889 Rosa Poppe, who had been engaged there with Adalbert Matkowsky, made her debut at the Royal Stage in Berlin as Lady Milford in Kabale und Liebe . Theodor Fontane wrote in his review that she was on the wrong track with her “changing image-like performance of generally known and generally considered interesting female stage figures”, but nevertheless attested her talent. “Die Poppe” is also mentioned in his novel Der Stechlin and is called “excellent” there. As the heroine of the Royal Theater in Berlin, she played, among others, Hermione and Thusnelda in the Hermannsschlacht . Poppe was a permanent stage member of the Royal Theater until 1914, but also gave guest performances on other stages.

In Stuttgart she was engaged in 1894 during a tour of Louise Dumont to St. Petersburg . She played there, among other things, the title character in Maria Stuart and Natalie. In 1905 she was seen in Osnabrück as Sappho in Franz Grillparzer 's play of the same name .

On the occasion of an appearance in Cologne in the play Fédora by Victorien Sardou , she was rated as “a strong artist who exhausts the depth of a task”. However, the critic continued: "Your playing style gives rise to fundamental discussions [...]"

Around 1905, the actress Louise or Luise Willig from Wiesbaden was hired, whom Poppe seemed to displace more and more. The press reacted to this e.g. T. sensitive; Siegfried Jacobsohn, for example, spoke of Rosa Poppe's self-sacrifice, although on the other hand he had some complaints about her style of speaking.

In the later years of her career, Poppe was perceived as "hysterical, fidgety, larmoyant"; after all, it was "frozen" in mannerism .

Rosa Poppe married Johann Leva, who died on February 18, 1931 in Ticino . Later an inheritance dispute and a lengthy process developed. Rosa Poppe had legal heirs to whom her estate belonged and officially only bequeathed her deceased husband's papers to her sister-in-law Nicolina Peer-Leva. Leva's sister, however, relied on verbal promises from Rosa Poppe that she wanted to give her a gift. The legal heirs then left her a net sum of 9,000 Swiss francs . Later, however, there were irritations: about a week before the death of the former actress, a safe was rented in a Lugano bank in the name of her sister-in-law, in which some Royal Dutch shares were later found that were missing from the inheritance. Criminal proceedings ensued, in the course of which Nicolina Peer-Leva stated that she had received these shares from Rosa Poppe and resold them in 1942. The legal heirs, however, demanded the sum of money that they had given Ms. Peer-Leva, as well as a sum that corresponded to the value of the shares. The dispute dragged on for many years until the federal court finally had to decide.

Web links

Commons : Rosa Poppe  - collection of images, videos and audio files

Individual evidence

  1. Place of death according to kalliope-verbund.info
  2. ^ Ludwig Eisenberg's large biographical lexicon of the German stage in the 19th century. In: archive.org. Retrieved July 28, 2018 .
  3. Julius Bab : wreaths to mimes . Deutsche Buch-Gemeinschaft, 1954, p. 252 ( limited preview in Google book search)
  4. ^ Marianne Koch: The Royal Theater in Berlin under Bolko Graf von Hochberg (1886-1902) An investigation with special consideration of contemporary theater criticism . Freie Universität, p. 73 ( limited preview in Google Book search)
  5. Ruth Freydank: The case of the Berlin Theater Museum: history - images - documents. book-on-demand.de, 2011, ISBN 978-3-868-05901-4 , p. 87 ( limited preview in Google book search)
  6. ^ Roland Berbig: Theodor Fontane Chronicle. Walter de Gruyter, 2010, ISBN 978-3-110-21560-1 , p. 3002 ( limited preview in Google book search)
  7. Theodor Fontane: THE STECHLIN. Musaicum Books, 2017, ISBN 978-8-027-20551-6 ( limited preview in Google Book Search)
  8. Universum: Illustrated Family Magazine, Volume 30, Issue 33: Universum . 1899, p. 95 ( limited preview in Google Book search)
  9. ^ Michael Georg Conrad: Society . G. Franz, 1894, p. 805 ( limited preview in Google book search)
  10. Reinhard Krollage: Theater in Osnabruck, "a foolhardy venture" . Reinhard Krollage, ISBN 978-3-980-69709-5 , p. 152 ( limited preview in Google book search)
  11. Wild: The speaking arts . Wild, 1897, p. 679 ( limited preview in Google book search)
  12. ^ Hans-Günther Reichel: The Royal Theater under Georg Graf von Hülsen-Haeseler, 1903-1918; with special consideration of the contemporary daily press . Freie Universität Berlin., 1962, p. 86 ( limited preview in Google book search)
  13. ^ Siegfried Jacobsohn: The Schaubühne . Athenaeum Verlag, 1908, p. 467 ( limited preview in Google book search)
  14. ^ Marianne Koch: The Royal Theater in Berlin under Bolko Graf von Hochberg (1886-1902) An investigation with special consideration of contemporary theater criticism . Freie Universität, p. 74 ( limited preview in Google Book search)
  15. ^ Marianne Koch: The Royal Theater in Berlin under Bolko Graf von Hochberg (1886-1902) An investigation with special consideration of contemporary theater criticism . Freie Universität, p. 87 ( limited preview in Google Book search)
  16. BGE 85 II 504 on relevancy.bger.ch