Storm in a glass of water (Bruno Frank)

Data
Title:	Storm in a glass of water
Genus:	comedy
Original language:	German
Author:	Bruno Frank
Premiere:	August 29, 1930
Place of premiere:	Dresden theater
Place and time of the action:	southern German city, today
people
Doctor Konrad Thoss. Victoria, his wife Franz Burdach, journalist Quilling, editor of the "Nachtpost" Lisa, his wife Pfaffenzeller, magistrate Unzelmann, veterinarian Mrs. Vogl The magistrate The prosecutor The first jury The second alderman A bailiff Another bailiff Betty, housemaid at Thoss

Storm in a glass of water. Comedy in three acts is a play by Bruno Frank from 1930. Frank's most successful play, which is hardly played any more, was filmed in 1931 and later several times, including an English version in 1937.

The “comedy that seems easy at first glance” with its timeless plot ties in with the tradition of popular theater and French tabloid theater . It “lives not least from its local color , from the pun shaped by the Bavarian dialect ”.

An idealistically minded journalist, driven by moral courage and humane attitudes, jeopardizes his existence by exposing the social coldness of a career-addicted, hypocritical local politician in an apparently trivial case and thus rescuing a poor woman from an emergency.

Note: Numbers in round brackets, for example (512), refer to the corresponding page in the selected works by Bruno Frank from 1957 ( #Frank 1957 ).

action

first act

Room at Thoss. - The young editor Franz Burdach is to interview the mayoral candidate City Councilor Doctor Thoss on behalf of Quilling, the publisher of the Abendpost. Instead of Thoss, he meets his attractive wife. A charming chat develops between the two of them. Ms. Vogl, a simple, elderly woman, walks in and tries to bring her concern forward. Since Thoss is not at home, Viktoria leaves her waiting in an adjoining room. She gives Burdach her sympathy for the woman to see what Burdach receives with enthusiasm.

Viktoria's friend Lisa, Quilling's wife, enters. She ignores Burdach, who is saying goodbye temporarily. Lisa, who raves about Thoss, urges Viktoria to develop social ambition, while she wants to be content with being a loyal partner to her husband. Finally Thoss appears, and when he is alone with his wife he annoyedly brings up the case of a porter whose wage increase has been discussed endlessly in the commission. Victoria sympathetically inquires for details. Thoss makes it clear to her that the gatekeeper is completely indifferent to him and that his focus is only on the bigger picture.

Public servant Pfaffenzeller enters and presents Thoss files for signature. He happened to bring up the case of Mrs. Vogl. She cannot pay the dog tax, which Thoss has managed to double. Your dog is in the custody of the official and should be killed after the deadline. Pfaffenzeller's appeal to Thoss to show mercy before justice falls on deaf ears. Mrs. Vogl enters the room again. Thoss tries in vain to get rid of them. While Pfaffenzeller and Mrs. Vogl talk extensively about the dog Toni, Viktoria and Burdach join them.

Thoss explains that it's not about the matter, but about the principle, and that he wants to enforce this without any consideration. Viktoria leads Mrs. Vogl out, and Burdach suggests that Thoss pay the tax together instead of the poor woman, but she remains adamant. In the following interview, Thoss rattles about his social convictions, while Burdach cannot forget the case of Mrs. Vogl. In between, Thoss throws the old woman out of the house and continues his torrent of speech. But Burdach has long since stopped listening ...

Second act

A storm in a glass of water

Same room the next day. - Viktoria is alone, Thoss is on the way to give his election speech. Mrs. Vogl is reported. In a long torrent of speech she explains that her dog is everything to her. Victoria hardly sees any chance of helping the old woman. Ms. Vogl reports on an article in the Abendpost that scandalized Thoss' mercilessness and called for a fundraising for Ms. Vogl.

Lisa enters, she is extremely excited. Thoss was received with barking at the election meeting and shouted down. Burdach, the author of the scandalous article, comes in to answer to Thoss. Viktoria has to realize that Burdach has put his existence at risk for his convictions. As a child, he experienced the cruel abuse of helpless animals and vowed to himself that as an adult he would never stand idly by.

Thoss comes in, devastated, he has been exposed to ridicule, his career is over. He and the quilling who joined them insult Burdach, he is fired. A crowd has gathered in front of the house, protesting violently under the bark of dogs. Thoss collapses, and Lisa, who wants to comfort him, reveals her love affair with him. Thoss threatens Burdach to destroy him. Pfaffenzeller enters and reports that the dog has been stolen from custody.

Third act

In the district court. - Thoss accused Burdach of stealing dogs because he kidnapped Toni from the office and brought him back to Frau Vogl. Viktoria and Thoss are divorced, Thoss went into industry in Berlin, Quilling and Lisa “are in divorce” and Ms. Vogl has her dog again and, after the generous donation campaign, wants to buy a kiosk soon. In court it turns out that Burdach did not commit a crime because he did not break in but stole the dog from an unlocked shed. It is therefore a breach of entanglement , which the judge punishes mildly with one day's imprisonment. Big happy ending : Viktoria and Burdach become a couple, Burdach is hired again, Quilling and Lisa reconcile and Mrs. Vogl and Pfaffenzeller, together with Toni, are looking forward to a bright future.

• 
• 

Photos from Bruno Frank's “Storm in a Glass of Water” in the performance on December 19, 1930
in the Stuttgart State Theater. Mrs. Vogl ( Emmy Remolt-Jessen ), Pfaffenzeller and dog Toni in the hallway of the court.

people

Leading roles

• City councilor Doctor Konrad Thoss is "a good-looking man, in his late thirties" (519), a political careerist and narrow-minded bureaucrat who wants to become mayor and strives for even higher things. In window speeches he rattles about the task given to him "to consolidate and promote the spiritual and physical, moral and economic well-being of the entire population" (529), and at the first best opportunity he exposes himself as a hypocritical despiser of the "little man".

• His wife Viktoria is "a lovely young woman, impulsive, cheerful and free" (513). Despite her social position, she has preserved her unsophisticated naturalness and her human compassion.

• The editor of the "Abendpost" Quilling is "a sedate gentleman around fifty, the type of a saturated upper-class citizen who loves his quiet." (545). He is on the side of power, whose mouthpiece is his newspaper.

• His wife Lisa is "a young, lively lady who has something naive and provincial about her" (517). She considers herself and her kind to be “something better” and has no understanding for “simple people”.

• Franz Burdach is the editor of the "Abendpost" and "a young person of perhaps twenty-eight, extremely carefree and fresh, anything but" noble "and pathetic" (513), an incorruptible idealist who does not bend even existential threats.

• Frau Vogl is a flower woman “around fifty, coarse, with all the signs of great good-naturedness” (515). She is a popular woman who knows nothing about big politics, but has her heart in the right place.

• The official Pfaffenzeller is "a portly man of over fifty" (523). He is an honest official, but not without his own judgment and human compassion.

Supporting roles

• Betty, housemaid at Thoss.

The following persons join the trial of the third act:

• The chairman of the district court (555).
• The public prosecutor, a man of the law, who considers Mrs. Vogl's dog to be "a particularly worthless, shabby specimen that was put together from all races" (568).
• The veterinarian Unzelmann acts as an appraiser who is supposed to determine Toni's breed and its sales value (566).

Also:

• Toni, "a kind of little schnauzer" (563).
• Two lay judges, two bailiffs and a clerk (silent role).

Emergence

Caricature by Th. Th. Heine  "Dog tax increase" in "Simplicissimus" 1932

In 1928, the Munich city council implemented a drastic increase in the dog tax. On July 1st, 6,000 dog owners gathered with their dogs for a "dog demo". The demonstration marched through the streets accompanied by a band from Theresienwiese to protest against the high tax. Eventually the city council was forced to withdraw the tax hike. The scandal surrounding the dog tax increase caused such a stir in the public that Th. Th. Heine was able to refer to it in a political cartoon four years later in the Simplicissimus , and even in our time in the Munich- Baedeker in the section "Curiosities" still thought of this uprising of the dog owners.

Bruno Frank, who was living in Munich at the time, took the inconsiderate and unsocial act of the political class as an opportunity for his “theater satire against the narrow-minded narrow-mindedness of the bureaucracy”. On the basis of a seemingly insignificant individual case - an old woman can no longer pay the increased dog tax - he uncovered the pseudo-morality of an unscrupulous politician, whom he contrasts with the young, idealistic-minded journalist Burdach, who stands up with moral courage for the disenfranchised woman and thereby his existence playful. Against this background, the title of the piece is to be understood rather ironically, because only the personally untouched politician can speak of a storm in a water glass from his bird's eye view, or as Burdach puts it: "There are no small hardships."

In addition, Frank took the opportunity to exemplify the menetekel of the threatening Nazi march (in the Reichstag elections on September 14, 1930, the NSDAP became the second strongest party) by exposing the Nazi racial madness to ridicule in a pedigree parable with repeated swipes.

In his "little autobiography" from 1930 summed up Bruno Frank his six years at the university succinctly: "He then studied at several universities jurisprudence , its wonderful father for the sake of holy zeal, but very little talent." The study of law was despite his declared reluctance did not pass him without a trace. The deeper insight into law and justice that he gained in the process enabled him to discuss questions of law and the penal system with expertise and passion (“The Grand Chancellor” in Days of the King , sixteen thousand francs , The Golden ).

The trial in the third act of “Storm in a Water Glass” offered him a welcome platform to satirize the judiciary with bilious humor, but also with a lot of human sympathy. Among other things, he demonstrated the unfamiliarity of the legal caste with an obvious example, when he let the bailiff explain the difference between a break-in and an entanglement breach, and when the bailiff throws the editor Burdach at the head: “You want to be an educated person and know net amal what a entanglement break is. Since ma's sick again! "

Performances

Photos of the world premiere

Sturm im Wasserglas was premiered on August 29, 1930 in the Dresden theater. The Simplicissimus in its issue of November 3, 1930, an incident that was happening at one of the performances at the Dresden Playhouse:

"During a performance of Bruno Frank's" Storm in a Water Glass "in the State Playhouse in Dresden, the place where the not exactly pure-bred dog Toni is brought before the court and the magistrate Pfaffenzeller says to characterize:" After Thuringia we would have the Toni net let go ”, a minute-long laugh. The next day the actor, who has to play Pfaffenzeller, received an official letter from the state management of the theater in which he was instructed to omit the words regarding Tonis and Thuringia in future. - If this continues, we will soon have nothing more to laugh about. "

"In Munich, the place from which it [the comedy] inspired and for which it was actually written", the premiere took place three weeks later than in Dresden, on September 22, 1930 in the Münchner Kammerspiele , with an ideal cast, such as one critic judged: Kurt Horwitz as Thoss, Hans Schweikart (later OE Hasse ) as Burdach, Ehmi Bessel (later Erika Mann ) as Viktoria and Therese Giehse (later Liesl Karlstadt ) as Frau Vogl. The Württembergisches Landestheater in Bruno Frank's hometown Stuttgart also performed the play, with his girlfriend Emmy Remolt-Jessen in the role of Frau Vogl, 23 times in 1930 and 8 times in 1932 shortly before the Nazis came to power. In the first few years, the play saw a large number of productions on German stages, as shown by a collection by the Frank couple, which included 48 photos of dogs that had embodied "Toni". As early as April 1931, the play was released as a feature film under the title “Die Blumenfrau von Lindenau”.

The Scottish playwright James Bridie translated Bruno Frank's text into English-Scottish proportions in 1936 and replaced the Bavarian dialect passages in Scottish, so that the local color of the original was retained. The world premiere took place in the Scottish capital Edinburgh in the same year , after which the play was performed over 400 times in London with great success. There was even a private performance for King Edward VIII of England on May 17, 1936 in the presence of Bruno and Liesl Frank. Thomas Mann's daughter Erika Mann , who was then in London, wrote about this to her mother Katia Mann on May 18, 1836:

"... but yesterday and in the house of that Lady Cunard, with whom I also dined today, the third act of Sturm im Wasserglas was played to the king (who, because of his mourning, is not allowed to go to the theater), It must have been really big, Churchill was there too , Liesl [Frank] was allowed to knock the court and (all in all there were only fourteen people) dine with the king - it must have been a lot of fun and it will certainly be Annoy Goebbels and Hitler too. "

Bridie's translation ran on Broadway in 1937 under the title Storm over Patsy, but only got 48 performances. Also in 1937 the comedy was filmed under the original title "Storm in a Teacup" in England. The main characters were Vivien Leigh and Rex Harrison , who played his first leading role in the film.

In 1933 Bruno Frank objected to the performance of his plays in Germany. It is not known whether his pieces were still performed during the Nazi era. After the Second World War, the play was almost regularly represented on German-speaking stages with mostly 1–2 productions until the early 1990s. After that the play was apparently no longer staged. This information is based on the annual work statistics of the German theaters for the period from 1948 to 2011. They are partially incomplete and can only be compared to a limited extent over the years, but in the absence of better sources they are the only way to assess the likely frequency of theater productions and performances.

• 
• 

Photos from Bruno Frank's "Storm in a Water Glass" in the performance on December 19, 1930
in the Württemberg State Theater in Stuttgart.

reception

In 1929 Bruno Frank commented on his theater productions:

“In order to achieve the greatest peace and comfort for writing my novels, I will continue to write a stage play as a source of income every year , ie a stage pull piece, only from a commercial point of view . I don't see it as a poetic achievement, I just see it as an interesting experiment. "

Shortly before the premiere in 1930, he wrote to a friend about the storm in the water glass:

"It is certainly nothing great, but the attempt to demonstrate the triumph of humanity in a trivial case may be quite funny."

Pre-war reception

On the occasion of the premiere, a critic remarked that Frank had succeeded

"To beat irony and spirit out of an almost conventional and unreal accusation and, with a scraping and bubbly manner, without any teaching or pose, to let poetically real folk types grow out of the action in their inner tension to the action".

In 1931 the first film was made under the title "The Flower Woman of Lindenau", which has been followed by several others up to our day. The benchmark for the stage success of the play in German-speaking countries can be that the Frank couple "[created] two photo albums with pictures of a total of 48 dogs that embodied" Toni "at the performances of the play in various German cities."

In 1936 James Bridie transferred the German-Bavarian piece into English-Scottish under the title "Storm in a Teacup". After the premiere in Edinburgh , the London production was performed over 400 times. Bridie's version of the play was also released on Broadway in 1937 under the title "Storm over Patsy" , but hardly saw 50 performances. In the same year the comedy was filmed under the original title "Storm in a Teacup" in England. The main characters were Vivien Leigh and Rex Harrison , who played his first leading role in the film.

Post-war reception

In his “Memories of Bruno Frank” Herbert Günther reports on a memorial event that took place in New York soon after Bruno Frank's death:

“... where Helene Thimig, Ilka Grüning, Curt Goetz and Ernst Deutsch spoke verses and prose of the eternal, Gisela Wergebiet, Norbert Schiller and other well-known actors from the time before 1933 performed the“ Storm in a Water Glass ”, that satire that is still current to the type of eloquent, self-confident, basically hollow squadronur who, as a city councilor, preaches his political-social program with plenty of phrases and theoretically, but fails to prove himself in a concrete human case and thus fails. "

After the war, the anti-racist parts of the play were defused, so the reference to Hitler is missing in the Selected Works from 1957, and the corresponding parts were shortened in a radio play from 1948. A drama guide published in 1954 stated:

"There is a socio-ethical keynote in the work, which, by the way, is written with a light hand and the skill that is known from its author."

In 1968, in a monograph on modern German theater in New York, Peter Bauland stated that the plot of the play was predictable, not free from clichés and rather mild in its satire. Most of the critics of the Broadway performance had agreed at the time that the play was good entertainment and little more, but completely fulfilled the expectations placed in it.

Kindler's Neues Literaturlexikon dedicated an article to the piece in 1989. Among other things, it said:

“Frank's stage realism thrives on the breeding ground of Bavarian folk theater tradition, the burlesque genre scenes are sometimes reminiscent of Ludwig Thoma and Karl Valentin . The clash of official pseudo-morals and down-to-earth physical abuse triggers lasting effects. The comedy lives mainly from the drastic local color and the pun that is shaped by the dialect. Frank failed to delve deeper into the subject of political morality from a bird's or dog's perspective, although a tragicomic touch can be felt when citizens show a dog that humane attitude that they all too often deny to their fellow men. "

The article was removed in later editions, just as the play is no longer covered in newer actors' guides.

details

Storm in a glass of water

In his story "The Cure of Tours" from 1832 describes Honoré de Balzac , two feuding groups kindle among themselves "a storm in a teacup," a dictum that Montesquieu (by Balzac) on turmoil in the tiny republic of San Marino have applied should. Without further evidence, some authors claim on the Internet that the phrase was popularized by Bruno Frank's comedy of the same name.

In any case, Sturm im Wasserglas (like the saying “ Much Ado About Nothing ” after the Shakespeare comedy and “Make an elephant out of a mosquito”) describes a great excitement on a trivial occasion. One can, however, doubt that Frank wanted the title of his comedy to be understood literally, because some dialogues reveal the subliminal seriousness that inspired the author to his comedy, for example when in a conversation between Burdach and Viktoria this the dog tax matter " as a minor hardship ”and Burdach counters:“ There are no minor hardships. ”(539) The comedy, written three years before the Nazis came to power, was also inspired by a childhood experience of Bruno Frank. Burdach as his alter ego had experienced the cruel abuse of helpless animals as a child and vowed that as an adult he would never stand idly by. After the horror of the Third Reich, in which almost an entire people had become idle bystanders, Frank's childhood experience subsequently acquired a completely different scope.

The eponymous phrase is quoted twice in the comedy. The evening mail editor Quilling believes that the excitement about the dog affair will soon fizzle out: "The whole storm in the water glass that this gentleman has blown is over and over." “For whom is this whole storm in a water glass? For a dog! "(568)

Purebred dog parable

In a dog parable , Frank takes the Nazis' racial madness ad absurdum . - The mayoral candidate Thoss has pushed through the doubling of the dog tax in the city council. Ms. Vogl can no longer pay the increased tax, which is why the “City Councilor wants to kill [her dog]” (527), that is, to have it killed. Ms. Vogl suspects that the dog is judging so harshly because "Toni is not a pedigree dog". Viktoria replies: “That is a very stupid point of view. As if race mattered! ”(532).

The editor Burdach, who kidnaps the arrested dog and brings it back to Ms. Vogl, is charged with dog theft. During the court hearing, the judge asks the woman: “So in any case not a purely bred dog?”, To which she replies: “Naa. Nix fürn Hitler. ”(That is what it said in the 1930 edition, in the 1957 edition“ fürn Hitler ”was left out.)

The dog drama reached its preliminary climax when the veterinarian Unzelmann gave an opinion on the dog in court: "It will be impossible in any other animal species to find a specimen that combines the characteristics of so many different breeds." In the opinion of the veterinarian Mrs. Vogl's favorite is a mixture of pinscher, shepherd, pointing dog, spitz, terrier and poodle, "an example of a unique diversity" (566).

Goethe and the dogs

Before the start of the trial, "[the defendant Burdach] walks around with his hands in his pockets and sings in a soft voice:

We are looking for a puppy
that neither scratches nor bites,
eats broken glasses
and shits diamonds. "(552)

The bailiff asks Burdach: "What kind of indecent songs are you singing?" Burdach replies: "This is from Goethe, you!" To which the bailiff: "Sso, from Goethe!" (552)

“Goethe had a broken relationship with dogs. In "Faust" Mephisto comes across as a four-legged friend. But the poet did not want to see animals on the theater stage. So he preferred to quit [his position as director of the Weimar court theater]. ”In contrast to the poet prince, Bruno Frank was a dog lover. A critic reported of the Munich premiere of the play: "It was - refuting Goethe's aversion to dogs on the stage - a particularly beautiful performance." Frank and his wife owned several black poodles - Thomas Mann once called Frank "the master of the poodles" - and "documented the stage success [of the play] in a curious way: They created two photo albums with pictures of a total of 48 dogs who embodied" Toni "at the performances of the play in various German cities."

humanity

Thoss is a politician who “talks about water and drinks wine”. In his election speech he boasted: “We honestly want to take up every thought that helps to lead the people out of their troubles.” (531) However, as soon as the people become concrete in an individual, he forgets his noble principles.

He complains to his wife that the commission meeting spent two hours discussing a wage increase for a porter, in his eyes one of the "silly little things" (520) that politicians have to deal with. When Viktoria inquires about details, it turns out that Thoss doesn't know anything more and doesn't want to know either. He is of the opinion “that today we have lost our view of the whole because of sheer fearfulness and tenderness” (521). His wife counters: “What is the whole thing? The whole is made up of the many individuals ... ”. Thoss, however, has a completely different opinion: “You cannot do anything as a whole if you stay softly with the individual.” (521).

After this admission of his basic convictions, Thoss' behavior in the affair of the unpaid dog tax is mapped out. When Mrs. Vogl Thoss asks for mercy for her dog, Viktoria suggests giving the woman the money for the dog tax, to which he strongly contradicts that it is not about the money, but about the principle. His wife, however, thinks that it is never about a principle, but always about a person ... (528)

In a later conversation between Burdach and Viktoria, she called the dog tax story "a little hardship". Burdach answers succinctly: "There are no minor hardships." (539) He had dragged Thoss' behavior into public, because: "In any case, a high official who has no heart is dangerous." (541) and: "Mr. Thoss has acted inhumanly in a small matter. I am convinced that he will do the same on a large scale. "(548)

men and women

“Silberbuckel” at the end of Silberburgstrasse in Stuttgart. The load horses had to overcome this incline before they passed the Frank family home.

In conversation with her friend Lisa, Viktoria confesses with a wink that she does not understand her own gender: "Nobody knows why we women need ten meters of fabric for a dress and sometimes only two." (519) However, her husband knows exactly what defines the essence of a woman: “You are really a real woman!” he says to Victoria. "I am only citing the case as an example." (521)

Mrs. Vogl holds her dog in front of the men as a shining example: “Of course a dog is just a dog. But what a dog! Many a man can take an example of dro 'nehma. ”(526) And besides, men are, in their opinion, slackers when it comes down to it:“ So san the man images. When it is supposed to be produced, after it press it. "(527)

In a dispute with Burdach Viktoria philosophizes: "Women are there to compensate for the hardships that their men are forced to experience in their jobs." And to Viktoria's question: "And how does a man act?" Replies Burdach: "A man strikes." (540)

Childhood memory

Viktoria cannot understand that Burdach is risking his existence for a dog "without any point or reason" and tries to get him to retract his scandalous article by accusing Thoss of inhuman behavior. (542) Burdach then tells of a formative experience of his childhood:

“A big slope began right in front of our house. The trucks went up every day with heavy stone loads. Many were too heavy for the horses. But the horses had to go up. They lay down in the harness so that the straps cracked. Often it still didn't work. Then the carters struck. On the horses 'backs, in the horses' faces. With the handle of the whip on the nostrils, with the fist in the eyes, with the heel of the boot into the points. It just had to go. It always worked. I saw that from the window of our apartment for fifteen years. "(542)

An attempt to take action against the mistreatment resulted in a beating for Burdach. At that time he swore to himself "that I would not tolerate anything more as soon as I grew up". (543) This scene is based on actual childhood experiences of Frank, which he talked about in a magazine article in 1925. Frank's childhood memories were also reflected in the short novella Das Böse from 1911, in which he describes the “encounter between a well-bred nobleman and an evidently malevolent animal tormentor”, “above all the confusion of the intruder about the horror observed and his inability to punish that makes him despair and turn the weapon against himself ”.

Film adaptations

Movie poster "Storm in a Teacup"

See Bruno Frank, Film Adaptations .

Radio plays

• 1948, "Sturm im Wasserglas", Radio Munich , directed by Fritz Benscher.
• 1948, "Sturm im Wasserglas", Süddeutscher Rundfunk , director: Paul Land, Landesarchiv Stuttgart, signature R 5/001 D451070 / 001.

literature

Printouts

• Bruno Frank: Storm in a glass of water. Comedy in three acts. 2nd edition, Munich: Drei Masken Verlag, 1930.
• Bruno Frank: Storm in a glass of water. In: Selected Works. Prose, poetry, plays. With commemorative words by Thomas Mann as an introduction: In memoriam Bruno Frank on the 10th anniversary of his death on June 20, 1955. Hamburg: Rowohlt 1957, pages 512–571.

Translations

• James Bridie: Storm in a Teacup. London 1936.

Secondary literature

• Erwin Ackerknecht : Afterword. In: Bruno Frank: Political Novella. Stuttgart 1956, pages 127-136, here: 134.
• Peter Bauland: The hooded eagle. Modern German drama on the New York stage. Syracuse, New York 1968, page 135, online: .
• Agnes Bleier-Brody: Frank, Bruno: Storm in a water glass. In: Joseph Gregor : Der Schauspielführer, Volume 2: Das deutsche Schauspiel der Gegenwart. The drama of the Romanic peoples, part I. Stuttgart 1954, pages 110–111.
• Rüdiger Bolz: Broadcasting and literature under American control. Radio Munich's programs from 1945–1949. Wiesbaden 1991, pages 375-376.
• #Carpenter 1952 , pages 35-37.
• Martin Gregor-Dellin : Afterword. In: Bruno Frank: Days of the King . Frankfurt am Main 1976, pages 185-191, here: 185-186.
• # Günther 1946 , page 136.
• Peter Jelavich: Frank, Bruno. In: MacGraw-Hill encyclopedia of world drama. An international reference work in four volumes, Volume 2: D – H. New York 1984, pp. 187-188.
• Sascha Kirchner: The citizen as an artist. Bruno Frank (1887-1945). Life and work. Düsseldorf 2009, pages 188-192, 12, 248, 254, 259, 294, 339, 366, 394, 399.
• Manfred Kluge: Storm in a glass of water. In: Kindlers New Literature Lexicon, Volume 5: Ea – Fz. Munich 1989, page 768.
• (mg): Austrian Theater. Third evening: “Storm in a glass of water”. In: Aufbau , Volume 6, Number 16, April 19, 1940, page 8.
• # Umlauf 1982 , page 111, 117-118.

swell

• Georg Büchmann: Winged words. The classic treasure trove of quotes. Frankfurt am Main 1993, page 246.
• Bruno Frank: Evil . In: faces. Collected short stories. Munich: Musarion-Verlag, 1920, pages 371–382.
• Bruno Frank: Pack horses. In: owl Volume 2, Issue 12, September 1925, page 37, online: .
• Dieter Hadamczik; Jochen Schmidt; Werner Schulze-Reimpell : What did the theaters play? Balance of the fixtures in the Federal Republic of Germany 1947–1975. Remagen-Rolandseck 1978.
• Th. Th. Heine : Dog tax increase. "At last something is happening to fight the rattle-less proletariat". In: Simplicissimus Volume 37, 1932, page 447, online: .
• Harold von Hofe: German literature in exile: Bruno Frank. In: The German Quarterly Volume 18, 1945, pages 86–92, here: 88.
• Helmut Linde; Johannes Kelch: Munich. With a large city plan. Ostfildern 2013, page 336.
• Thomas Mann : [Bruno Frank] . In: Question and Answer. About own works. Tributes and wreaths: About friends, companions and contemporaries. Afterword by Helmut Koopmann. Frankfurt am Main 1984, pages 382-386.
• Württemberg State Theater Stuttgart. Review of the game year 1930/31, 1932/33. Stuttgart 1931, 1933.
• Thomas Siedhoff: The New Theater in Frankfurt am Main 1911–1935: Attempt to systematically appreciate a theater business. Frankfurt am Main 1985, part II, number 839.
• Frank, Bruno . In: C. Bernd Sucher (editor); Michael Brommer (editor); Simon Elson (editor): Henschel Theaterlexikon. With piece register. Leipzig 2010, page 228.
• Frank, Bruno . In: Frithjof Trapp; Bärbel Schrader; Dieter Wenk; Ingrid Maaß: Handbook of the German-speaking Exile Theater 1933–1945, Volume 2: Biographical Lexicon of Theater Artists, Part 1: A – K. Munich 1999, pages 264–265, here 265.
• The German stage. Theater magazine for all branches. Deutscher Bühnenverein, Federal Association of Theaters and Orchestras 1956–1980.
• What were the theaters playing? Work statistics for the Federal Republic of Germany, Austria, Switzerland / Deutscher Bühnenverein, Bundesverband Deutscher Theater 1981–1989.
• Who played what Work statistics for Germany, Austria, Switzerland / Deutscher Bühnenverein, Bundesverband Deutscher Theater 1990–2011.

Web links

• Bruno Frank, Digital Works, Acting .
• 16 photos of the world premiere of “Sturm im Wasserglas” at the Dresden State Theater on August 29, 1930: Deutsche Fotothek .
• Literature by and about Sturm im Wasserglas in the catalog of the German National Library

Footnotes

1. ↑ #Kirchner 2009 , page 189.
2. ^ "Dog owners demonstrate" on muenchen.de, Stadtchronik 1928 .
3. ↑ Figure: #Heine 1932 .
4. ↑ #Kluge 1989 .
5. ↑ Bruno Frank # Frank 1930.4 .
6. ↑ #Kirchner 2009 , page 189.
7. ↑ # Review 1931, 1033 .
8. ↑ #Kirchner 2009 , page 191.
9. ↑ King George V, the father of Edward VIII, died on January 20, 1836.
10. ↑ #Prestel 1984 , page 93.
11. ↑ #Bauland 1968 , #Hofe 1945 , page 88, #Kirchner 2009 , page 254, #Sucher 2010 , page 109, IDBD Internet Broadway Database .
12. ↑ #Kirchner 2009 , pages 226–227.
13. ↑ #Werkstatistik 1948 , #Werkstatistik 1981 , #Werkstatistik 1990 .
14. ↑ #Hadamczik 1978 , page 9-10.
15. ↑ #Kirchner 2009 , page 188.
16. ↑ #Kirchner 2009 , page 191.
17. ↑ #Kirchner 2009 , page 189.
18. ↑ #Kirchner 2009 , page 191. - The albums were created in 1930 and 1931.
19. ↑ #Kirchner 2009 , page 254.
20. ↑ #Bauland 1968 .
21. ↑ # Günther 1946 , page 136.
22. ^ #Frank 1957 , page 560.
23. ↑ # Bleier-Brosy 1954 .
24. ↑ #Bauland 1968 .
25. ↑ #Kluge 1989 .
26. ↑ # Büchmann 1993 .
27. ↑ For example: [1] , [2] .
28. ↑ #Frank 1930.1 , page 130.
29. ^ #Frank 1957 , page 560.
30. ↑ In Goethe, the unwanted word is replaced by ellipses.
31. ↑ The true story of Goethe's poodle. In: The World of 22 April 2012 online: .
32. ↑ #Kirchner 2009 , page 189.
33. ^ # Mann 1984 , page 382.
34. ↑ #Kirchner 2009 , page 191.
35. ↑ Frank's observation of the mindset of some politicians seems timeless. In 2014, the Social Mayor of Stuttgart, Isabel Fezer, said almost verbatim in an interview: “This is not about the individual case, but about the principle. We want to bring about a clear legal situation that is safe for all parties. ”Source: Stuttgarter Nachrichten number 278 of December 2, 2014, page 16.
36. ↑ # Frank 1925 . - See also: Silberburgstrasse (Stuttgart), Bruno Frank .
37. ↑ #Bolz 1991 , page 183-184, #Frank 1920 .
38. ↑ #Bolz 1991 , pp. 375-376.
39. ↑ See also: [3] .
40. ↑ In 1882 Frederick Corder had composed the operetta A Storm in a Teacup, almost of the same name .
41. ↑ Erwin Ackerknecht was a brother of Eberhard Ackerknecht . This and Bruno Frank were schoolmates at the Karlsgymnasium in Stuttgart and long-term friends.