Theater hall of the school by the sea

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Stage hall (hall construction) of the school by the sea by the architect Bruno Ahrends in Loog on Juist from a north-eastern perspective, 1931

The theater hall of the Schule am Meer of the strongly musically oriented reform pedagogical country education home Schule am Meer on the East Frisian North Sea island of Juist was the only free-standing functional building of a German school built for this purpose. According to the Prussian State Ministry for Science, Culture and National Education and the Central Institute for Education in Berlin , the theater hall, built in 1930/31, was intended to serve as the central German training center for amateur play teachers .

While almost all of the buildings by the architect Bruno Ahrends are now under monument protection, a significant part of which is also a UNESCO World Heritage Site , this does not apply to this theater hall, although it is still a unique specimen in both German pedagogy and German architecture .

The school theater hall in the style of New Building ( Modernism ) not only occupies a unique position on the Juist sandbank between the Wadden Sea and the North Sea , but also in the entire predominantly rural region of East Frisia, in what was then the Free State of Prussia and in what is now Lower Saxony . At that time, the theater hall was the largest reinforced concrete structure in East Frisia. Even today she stands out significantly from her environment.

In terms of local history, it is relevant as an educational, musical and cultural place of activity for the two nationally known personalities Martin Luserke and Eduard Zuckmayer , who received national and international attention.

The building, like the former Arche school building (architect Josef Rings ), is to be demolished by the German Youth Hostel Association by 2020 in order to build new beds in its place.

planning

Figure 1: Planning draft signed by the architect Bruno Ahrends from 1929 for the hall construction of the school by the sea - view of the north facade
Figure 2: Planning draft by Bruno Ahrends from 1929 for the hall construction of the school by the sea - building situation
Figure 3: Sketch of the view from the south-west, drawn and colored by the architect Bruno Ahrends , planning status 1929
3D model of the stage hall (right) from the north-east with some of the adjacent buildings designed by the architect Bruno Ahrends , 1929 - Compared to the sketches, a variation in the building arrangement can be seen

Which at the time referred to mostly as a hall or theater hall building was designed by renowned architect Bruno Ahrend and his Berlin-based architectural firm Ahrends, Büning & Salvisberg than in building very reduced appearing simple square with a flat roof planned. Within Ahrends' designs for the school by the sea , it forms the prominent part of a school ensemble consisting of a total of five buildings.

Ahrends is considered to be one of the “most important architects” of Berlin during the Weimar period, who “alongside Bruno Taut , Otto Rudolf Salvisberg , Hugo Häring and Wilhelm Büning significantly shaped the residential construction of this era”.

The original plan, which Bruno Ahrends presented on the basis of his preliminary discussions with the client, the Schule am Meer Foundation , in 1929, provided for the construction of five new buildings with a partially covered inner courtyard in the peripheral zones. The planned solid buildings were apparently not intended to replace the existing school buildings, but to complement them.

In Ahrends' situation plan, three buildings are grouped directly around a square courtyard - to the east of it the theater hall (referred to as the "stage house" in his plan), a tower-like residential building adjoining it to the south-west with a director's apartment, and to the west an L-shaped multi-purpose building with teacher's apartments in a wing and in the other classrooms. This dual multi-purpose building is adjoined to the west by a house with “exercise rooms” (probably for the natural sciences), and to the east by a house that was intended as an “infirmary extension” of the boarding school. Their original infirmary existed in the "Doyen House" to the west, internally referred to by the school as "do" (with attached buildings "re" and "mi"), but which primarily served as the home of the teachers' families Hafner , Luserke , Zuckmayer and also offered another classroom. The theater hall was planned at the level of the main school building "This Side", which is located south of it, and was also realized that way.

From today's perspective, the draftsman's plan for a then still completely unpaved and sparsely built dune area without fixed streets seems questionable. Thus deviates Ahrends in its situation map, for example, in a west proposed for exercise rooms school building of the running from west to east line of flight of its massive new constructions by a slight angling to southwest from to prepare a seamless connection to the existing wooden hut "re", the two classrooms housed (see diagram 2: markings 5 ​​and 8). In order to roughly compensate for this unsightly break in the symmetry of his new buildings, Ahrends placed another house (the "infirmary extension") at the eastern end of the designed row of buildings, slightly behind the line of alignment oriented towards the northern dune chain of the island, but remained in this case at right angles to the majority of the other designed new buildings (see graphic 2: markings 5 ​​and 6).

Also in view of the fact underlying a new building and that of Ahrend's preferred at this time flat roofs denigrated, then by critics disparagingly as "cigar-box fashion," shows its planning discrepancies that may be due to ideas of the building owner, the Foundation school by the sea are due . In any case, even if all the planned new buildings had been implemented together with the existing buildings, no architecturally harmonious overall school picture would have emerged. One notices, however, that Ahrends' designs wanted to follow his line, which was also practiced in Berlin at the same time (see White City , which was built between 1929 and 1931 ), of combining cubes and cuboids with one another or arranging them in a row.

A direct comparison of the graphs 1, 2 and 3 shown in this chapter, which are based on original drawings by Ahrends, and the photo below of a 3D model made by his architectural office at the time, reveal interesting differences or variations in the basic planning.

On the basis of Ahrends' planning, the then existing unpaved dune path (now paved as "Loogster Pad") was to be relocated through the Loog from the southern to the northern side of the theater hall (referred to as "Fahrstraße" in Figure 2 at the top) not to share the school premises. The few residents in the Loog, who were specifically surveyed at the time, agreed to this. This project was also officially approved, but not implemented.

execution

Figure 4: Cadastral excerpt from the Loog on Juist with the buildings of the school by the sea and the stage hall, 1932
Northwestern view of the stage hall (large building in front right) and the main school building on this side (right edge of the picture), 1932

As part of a first construction phase planned in this way, the first official groundbreaking for the SaM theater hall took place on May 3, 1930, the 50th birthday of the school principal Martin Luserke . On the occasion of the laying of the foundation stone, the stage play The Tower of Famagusta , specially developed by Luserke, was performed; Eduard Zuckmayer had composed his Pentecost cantata for the occasion .

After the completion of the building, it was inaugurated at Pentecost 1931, in the presence of the mayor and spa director of Juist. The school choir intoned excerpts from a mass by Josquin Desprez , after which Zuckmayer's Pentecost cantata was performed. Zuckmayer played Johann Sebastian Bach's Italian Concerto on the harpsichord . In the evening, Shakespeare's play As You Like It was performed on stage, “under the spatial and acoustic conditions that we had wished for for our theater play for so long. Individual play, teamwork, costumes, music, spatial effects were inspiring ”. The hymn Come, Holy Spirit, Herre Gott was sung on the stage the following day after Bach's composition. Kurt Sydow and Eduard Zuckmayer played a Bach sonata for violin and harpsichord. In the evening there was another performance As You Like It , this time around ninety guests from the Pedagogical Academy in Hanover among the audience . "The performance was even more beautiful than the day before and the applause from the audience was great."

Compared to the planning, the completed theater hall shows deviations that might have called into question the seamless extension of the school “infirmary extension” on its eastern side, which is planned for a later construction phase.

The theater hall, specially designed as a "training workshop for amateur play", was integrated into a cuboid-shaped hall with a basement. This deviated significantly from most of the stage buildings of the time, both in terms of its external shape and its interior design. It was kept extremely simple and therefore did not offer a stage tower that professional stages could often dispose of. The stage curtain , the stage prospectus and the scenery were omitted (a stage curtain was not installed until February 1932). There was no strict separation between the stage as a play area and the auditorium, no impressive entrée with a large portal , no spacious foyer and no means of design or accentuation borrowed from Art Nouveau or Expressionism . Instead, the minimalist design of the theater hall caused a stir.

Headmaster Martin Luserke pointed out to the students and teachers of the SaM that the public and state support for the construction of the stage hall, but especially the general social hardship of the global economic crisis , oblige the stage hall not to be a luxury building for the theater and music needs of the rural school, but to be regarded as a workshop of serious intellectual work for the general interest. The lack of decoration in the room is an expression of this intention.

Despite its simplicity, the building had an almost luxurious feature that most theaters do not have to this day: a generously dimensioned and flat skylight , which allowed rehearsals and in some cases also performances in daylight.

The narrow, vertical ribbon of windows on the north side of the building, which was executed analogously to the draft planning, had a striking effect both inside and outside . One of these can also be found in Ahrends' planning on the southern side of the tower and on the southern side of the L-shaped building to the west.

The simple SaM theater hall was made of exposed concrete , as was the stage and the gallery . The wall surfaces were partly clinkered . Exposed concrete cubes, which reached a higher level than the stage, were positioned left and right in front of the stage. In this way, they could be included as raised stage platforms in the respective choreography of the stage pieces, the choir and the orchestra and acted like fixed points within the theater hall. The broad side of the stage facing the auditorium was accessible via two centered, wide exposed concrete blocks of different heights, similar to stairs, but with a larger step distance (see photo in this chapter). The stage was remotely reminiscent of a dais , a part of the floor that is raised compared to the rest of the room and is accessible via one or more - often circumferential - stairs.

Eduard Zuckmayer conducts the choir and orchestra of the reform-pedagogical rural education home Schule am Meer in the school's own theater hall, built by Bruno Ahrends in 1931

The stage was largely detached in the hall, so that, unlike most other stages, the actors could appear from all sides and also go off to all sides. This corresponded to the ideas of Luserke, who included the corridors between the rows of spectators in his amateur play choreography, which always took into account the individuality of the respective actors. The playful, sometimes also dance ( expressionistic expressive dance ) and vocal activity unfolded from the back of the audience, through them, in the longitudinal axis of the hall towards the stage - so that the movements of the piece “step into the light”.

This conception met with just as positive a response in the youth movement as it did in renowned educational reform institutions. Both from the stalls and in the tier from the gallery of the theater hall, the audience could follow the appearance and the respective departure of the actors, while the actors only appeared from the left or right side of classic stages. In this way, the audience could be more closely involved in the plot of the game; conversely, the actors appeared much more clearly than acting characters, some of whom appeared surprisingly from the audience or even acted from there.

financing

The construction of the theater hall took place at an economically unfavorable time, right after the start of the global economic crisis , which from the end of October 1929 ended the high phase of the 1920s, known as golden , quite abruptly.

The building owner of the theater hall was the School by the Sea Foundation . The theater hall was mainly financed by private sponsors, but about 25 percent by the Prussian State Ministry for Science, Culture and National Education, headed by Adolf Grimme (SPD) and the Central Institute for Education under Franz Hilker and Ludwig Pallat . Both institutions had planned to set up the theater hall of the Schule am Meer not only as a venue for the amateur play actively run and sponsored by the school principal Luserke , but also as a central German training center for amateur play teachers. Thus, at this time, the theater hall gained importance throughout the empire, both within the state and private school landscape and in the amateur theater movement , which was part of the youth movement ( Bündische Jugend ).

The question of whether the School by the Sea Foundation could afford such a renowned architect as Ahrends from the Reich capital can clearly be answered in the negative. His commitment to an educational institution on an island that is so far away from Berlin, for the school by the sea , had a background that is easy to recognize: his youngest son Gottfried Bruno (* 1917) visited this country school home between around 1927 and 1933, i.e. precisely at that time , in which the theater hall was planned and built.

use

The dimensions of the stage proved to be tight as soon as the choir and orchestra of the Schule am Meer rehearsed or performed together under the direction of Eduard Zuckmayer . After all, there were a maximum of more than 100 actors who filled the stage standing and seated (92 students and around 15 teachers in the 1930/31 school year), because everyone took part.

“... the special attraction and the great value of the school by the sea [lies] in the establishment of the» comradeships «, in the» practical work «, in the seriousness with which one serves art here, and in the importance that the Art is awarded throughout the school curriculum. [...] It is to be hoped that more and more schools like the school by the sea will soon be founded in all countries. "

- Dominique Picard, Nancy , France, guest student at the seaside school

In the theater hall, works by William Shakespeare in German, English and French, based on the example of this work, stage plays by Martin Luserke and concert pieces by Eduard Zuckmayer were performed, some of which were also premiered. These were later given the same or a similar cast on professional stages, e.g. B. in Berlin, Cologne or Stuttgart, very positive reviews. The writers Carl Zuckmayer and Martin Luserke, who were already well-known across the empire, wrote texts for compositions by Eduard Zuckmayer. Both the amateur theater groups Luserkes and Eduard Zuckmayer's choir and orchestra performed nationwide.

In 1931, the SaM high school graduate Hildegard Paulsen published the article Polyphonic Music - An Image of New Community. A member of the youth movement speaks in the Austrian magazine Anbruch . In it she explains: "Here at school it became very clear to me what I had only felt earlier: That it is in the nature of polyphonic music that it demands an active community."

The school's leitmotif was self-discovery and self-realization through self-activity - “agitur ergo sum”, which later turned out to be incompatible with National Socialism .

View of the former SaM theater hall as an island castle of the Juist Youth Hostel, 2017 - There is no on-site reference to the previous educational and cultural function of this building
View and location of the former theater hall and the other buildings of the former school by the sea in Loog on Juist , 2012

The hall construction of the school by the sea , which was integrated into everyday school life immediately from its inauguration , functioned primarily as a kind of temple of the muses and was certainly a high point of his professional orientation for Luserke, because he had been practicing the "performing game" since 1906. For Eduard Zuckmayer, who had sacrificed an extremely promising career as a celebrated concert pianist in favor of his teaching activities at the Schule am Meer , this theater hall was a highlight of his school activities as a composer and music director . The theater hall as well as the influence of Luserkes and Zuckmayer also had a direct impact on the later professional development of SaM students and teachers (see the section Effects on professional careers in this article).

His performing play is characterized as a holistic movement game , which consists of the elements language, movement, music, form and color formed into a unit , is similar to the all-round theater according to William Shakespeare , is different from professional theater, but wants to have an effect on it. In the course of the action, these elements increase each other and are closely coordinated. The participants all act equally; only the person in charge corresponds to a primus inter pares .

Luserke was the first educator to develop his own theory of school theater and recognized its value for education. The introduction of this " performing game " into school and youth work is considered Luserke's outstanding educational and artistic achievement, for which he was later awarded the Order of Merit of the Federal Republic of Germany . His "Performing Game" was inspired by performances by the educational institution for music and rhythm founded by Émile Jaques-Dalcroze in Hellerau near Dresden .

"A second offshot from Wickersdorf is Luserke's Schule am Meer , another Free School Community, established some five years ago on the low-lying sandy island of Juist in the North Sea just opposite Bremen's harbor. The founder and leader of the school, Martin Luserke, is especially distinguished for his work and his writings in the juvenile drama. In the simplest of settings and with sincere artistry he leads his pupils to lose themselves or find themselves in the spirit of a play and to give their own interpretation of a character or a mood. But his school is more than a children's theater. It is also a place for hard duty and practical work. Boys and girls must be of Spartan mold to face the austerity of life in the "School by the Sea," [sic!] Where every member of the community laboratories at his share of necessary chores even when winter storms sweep the surrounding ocean and threaten the security of the island dwellers. Perhaps it is their very intimacy with primitive forces which makes it easier for Luserke's pupils to present dramas of vitality and simple beauty. Although Luserke is a product of the Youth Movement , he is not one of the extremists who encourage youth to create their own cultural forms without reference to classical traditions. Sometimes his pupils write their own dramas, occasionally he writes a play for them, but more often they turn to folk festivals, old mystery plays, to short pieces by Hans Sachs , or to the dramas of Schiller , Lessing , Goethe , and Shakespeare , when they plan a production for their theater. Luserke emphasizes creative acting rather than original writing. Within the limitations of the school theater he sees rich opportunities for children and young people to discover the essential beauty of dramatic masterpieces and to unfold their own emotions and abilities in re-living human experiences from other times and places. Music, the dance, and the arts of color, form, and design, all contribute to the beauty of the plays Luserke presents, but never does he forget that it is the human voice and figure which are the soul of the drama. At the Schule am Meer all plays are innocent of theatricalism and untouched by the cheap effects of a commercialized stage. "

- Thomas Alexander / Beryl Parker, 1929

The literary, musicologist and critic Hans Mayer wrote in 1979 about Luserke's Shakespearsche Was ihr wollt performance with his SaM students in Cologne at the end of the 1920s: “I have never experienced the beautiful work more graceful and cheerful. Every performance since then, including a festival performance in Salzburg , must fade away. The canon Shut up, you dog was irresistible. Youth and grace still in rudeness ”.

The hall of the stage hall was also used for dance evenings from 1932 after the older students had already discussed dance lessons in it in 1931. Depending on the occupancy of the hall, these dance evenings also took place in the “re” (classroom barrack, attached to the north of “do”).

The upper floor of the hall building was accessible via a spiral staircase from the Kurhaus Juist , which had a large music room and a large drawing room, as well as a study for the headmaster Luserke. The music hall was established in March 1932, one by Anni Reiner, wife of Paul Reiners , founded Steinway - wing equipped. Until then, Eduard Zuckmayer had been working on a harpsichord .

From today's perspective, the theater hall of the Schule am Meer can be described as a multifunctional hall construction, because it should and had to do justice to several school aspects. Priority was always given to musical and cultural use: music and art lessons, choir and orchestral rehearsals, rehearsals and multilingual performances of the "musical movement game" ("performing game"), rehearsals and performances of expressionist dance as well as the production of stage sets Elements and costumes.

The sports offer at the open-air school was primarily geared towards activities and sports that could take place in almost any weather outdoors or in the mudflats, on the sea or on the beach and in the dunes. There were of course weather conditions that made this no longer advisable in view of the pedagogues' duty of supervision and care. For these rarer cases, the theater hall served as a weather-independent retreat for school sports activities. In fact, the solid base of the stage hall compared to the beach and dunes offered advantages for some sporting activities (e.g. ball games). A second function as a real gymnasium was never intended for the theater hall, however, as classical gymnastics was not part of Luserke's school concept (see the chapter on physical education in the article on school by the sea ) and would in part have contradicted his principle of closeness to nature (see chapter Close to nature education in the article on school by the sea ). Nevertheless, in the spring of 1933, a tension bar was procured on which the lower and middle grades in particular tested themselves.

After the school by the sea was closed, the theater hall was used as a workshop and shelter for gliders during the Nazi era . a group of young BDM leaders trained in the former SaM area used the hall as a gym. After the Second World War , the theater hall of the Schule am Meer was used as a children's home called Inselburg ; today it is part of the Juist Youth Hostel under the same name.

Prelude

Figure 5: Sketch of the Wickersdorf stage for movement games , 1924 - The glass mirror ( Martin Luserke , August Halm ) This sketch was made shortly before Luserke moved to Juist.

It is obvious that the planning and construction of the free-standing theater hall of the school by the sea had a prehistory. Luserke had been involved with his musical movement game since 1906 , had devoted a great deal of energy to it and wrote a large number of published and unpublished plays.

In the style of a construction hut , Luserke developed and rehearsed the pieces together with the school actors, not only in German, but also partly in English and French. The subject teachers and temporarily also native speakers from the older student body (Primaner), foreign guest students, students and auxiliary teachers from Great Britain and France who sat in at the school assisted.

Luserke taught in the Free School Community in Wickersdorf in the Thuringian Forest from 1906 to 1924, where he was also headmaster for longer periods. His youth stage there was counted among the most famous youth stages in the German Reich.

“It was very international. By the way: despite all the mixture of peoples, there was no prejudice or nationality hatred. The most important thing about this boarding school was personality training. [...] Even the theater, which I was really interested in at home, I didn't have to miss. In the boarding school [...] there was a real Shakespeare stage. "

- Erik Ode

However, only rooms were available in Wickersdorf that were also used as a dining room for daily meals and for rehearsals and performances by the orchestra and choir of the Free School Community . A number of Luserke's colleagues and students from there followed him to the school by the sea at Easter 1925 in order to dare a new version of their idea of ​​a reformed pedagogy in the unpaved dune landscape of this sandbank between the Wadden Sea and the North Sea, unencumbered by Wickersdorf pedophile scandals. However, several years would pass before the theater hall was built; For six years, students and teachers had to rehearse and perform again in a dining room. The outstanding importance of the theater hall for educational, musical and cultural work and the experience aspect can be measured from this.

First plans

Figure 6: A first floor plan and usage plan for the planned rural education home Schule am Meer from 1924
Figure 7: An anthroposophically inspired first planning draft for the reform-pedagogical rural education home Schule am Meer on the east side of the Augustendüne on Juist from 1924

In 1924, after Luserke visited Juist for the first time at Whitsun with colleagues and students from three comradeships from the Free School Community from the Thuringian Forest, he developed the first plans for the school to be founded by the sea . Two of the three known design drawings, the third can be found in the architecture chapter of the article on the school by the sea , can be seen in this section. On both of them you can see to some extent that even before the start of all school activities on the Juist sandbank, a stage was planned for the musical movement game Luserkes, precisely what was sorely missed in Wickersdorf.

In the floor plan and usage plan (see graphic 6), the planned stage was drawn in at the top left, with a hall in front as an auditorium and a hall that could also serve as a foyer. A multifunctional hall was planned behind the stage, in which the actors could have stayed before, between and after their performances. In particular, many guests from the environment of the youth movement ( Bündische Jugend ) were thought of; a large open space in the dunes near the stage had been planned for this (also marked as “youth camp” at the top left) and the rear area of ​​the stage was also intended as a “mass accommodation at parties” for overnight stays. According to this usage plan, the same back room should also be used as a "gymnastics room". This function was partly in the context of the eurythmy- like expressionistic dance interludes in individual stage performances by Luserke.

In the second drawing (see graphic 7) you can see at the top left what this building should look like: T-shaped, whereby the theater hall with stage and back room should protrude from the actual area of ​​the rural education home. One can confidently interpret this as a synonym that the musical movement game played an equally outstanding role that went beyond the boarding school locally and regionally.

It also seems interesting that in these first draft plans from 1924 a tower-like building was attached to the theater hall. It is present again in Ahrends' designs, but with at least a partially different use.

Impact on professional careers

  • The film and theater actress, director and radio play speaker Maria Becker recalled the visit to the Schule am Meer , where she had her first theater experiences, as the “happiest time” in her life: “The teachers took us children seriously and in every imaginable way Kind promoted. This experience has shaped me deeply. "
  • Dietrich Frauboes was inspired by the musically oriented school offer to become a commercial artist, actor and cabaret artist. After the Second World War he appeared in numerous well-known films, including those of international standing.
  • Gertrud von Hassel , teacher and painter, was actively involved in Luserkes Bauhütte over a period of five years, particularly on the equipment (stage design, costumes). She described this time as “a five-year, extremely happy and fruitful phase [...] that triggered positive developments in the students. These five years with Luserke were a godsend for the school. "
  • G. Woldemar Hörnig that his matriculation examination in 1933 with Rolf Pappiér and Jens Rohwer at the school by the sea graduated, contributed to many design drawings and paintings to choreography and stage design by Luserkes "musical movement playing". His professional intentions already manifested themselves in his school thesis with the title The special viewpoints in the picture decoration of youth writings with practical experiments for a certain book . He became a draftsman, painter, illustrator and graphic artist. His draft of the first ZDF station logo, presented in 1962 and realized from the start of broadcasting in 1963, was particularly well known, showing two simplified transmission masts standing close to one another and two overlapping, almost elliptical radiation fields, similarly stylized eyes, starting from their upper ends.
  • Walter Jockisch was a teacher of German studies who was very committed to the "musical movement game" in the SaM theater hall. He became a dramaturge, opera director and director. In retrospect he was described by Hans Werner Henze as a “gaunt anthroposophical pedagogue and theater man”.
  • Felicitas Kukuck attended the Schule am Meer from 1933 to 1934 because her previous school, the Hamburg Lichtwarkschule , had been closed by the National Socialists. She received great support from the SaM music teacher Eduard Zuckmayer . She was “lucky” to have been admitted to the lower prima (grade 12) by exception, because the SaM only wanted to admit new students up to the lower secondary (grade 10). In her autobiography she wrote: "It was a wonderful year". Along with her former SaM classmate Jens Rohwer, she studied composition with Paul Hindemith and later became known as a composer.
  • Karl-Ulrich Meves , actor and voice actor from Hamburg, was a student at Luserkes Bauhütten . In Shakespeare's The Tempest , he played the role of Trinculo. Luserke “[...] put the locomotive of my professional life on the right track. [...] That is why Lu has a place in my heart. "
  • Erik Ode made his first stage experience at Luserkes Bauhütten for the "musical movement game" (quote in the Prelude chapter ). He became a director and actor. Internationally, he became known to a wide audience in the 1960s and 1970s as the title character of the West German television series Der Kommissar , which was also very successful abroad.
  • The film director, art director, production designer and actor Rolf Pappiér , who has received several awards for his work, organized a large exhibition of his self-made drawings in the drawing room, which was located on the upper floor of the stage hall , on the occasion of his school leaving examination in spring 1933. He was explicitly honored for their exceptional quality in his diploma. The school's logbook said: “There is a large Rolf Pappiér exhibition in the drawing room. The drawings on display make a very good impression. The obviously cultivated love for the material and the cleanliness of the execution speak to me. The school can be proud of him. "
In Martin Luserke's "musical movement game" based on Shakespeare : Hermann Thimig (right, as Charlemagne )
  • Kurt Sydow worked as a music teacher at the Schule am Meer from 1929 to 1932 . At the time, he acted as a substitute for Georg Götsch , who had to withdraw his original promise to come to the Schule am Meer as a music teacher because of the opening of the Musikheim in Frankfurt (Oder) and his position as director there . Sydow, music educator, composer and musicologist from Pomerania, later became rector of the Adolf Reichwein University in Osnabrück and dealt with his former colleagues Martin Luserke and Eduard Zuckmayer in publications and lectures. He explained that he had got himself moving through Luserke and his work at the SaM and that he had set about his future professional course.
  • Iolanda Paola Ada Lucia Freiin von Tettau (1908–2005) was inspired by her craft work for costumes and the set design of the "musical movement games" Luserkes to complete an apprenticeship at the Academy of Arts and Crafts . From 1931 she taught in the Landschulheim am Solling . Iolanda designed fashionable accessories such as jewelry for the famous Berlin fashion designer Heinz Oestergaard . However, her creativity also found expression as a skillful puppeteer with Albrecht Roser .
  • For the student Hermann Thimig , the school "musical movement game" Luserkes was so impressive that he made it his career all his life. He became a Viennese castle actor of high standing.
  • Erna Wehnert (1900–1985), teacher of English and Latin at the SaM, is committed to performing, among other things, according to the logbook of the Schule am Meer . From 1946 she adapted this for the schools in Althagen (Mecklenburg) and Ahrenshoop (Western Pomerania), which she was running at the same time, and founded the Fischländer Spielschar there .
  • Eduard Zuckmayer , the musical director of the theater hall at Schule am Meer , was excluded from the Reich Chamber of Culture (RKK) in 1935 for “racial” reasons . Paul Hindemith placed him in Turkey, where he was commissioned by State President Kemal Ataturk to shape Turkish music education, into which he integrated the principles of the German youth music movement . He trained almost all Turkish music teachers until 1970 and has remained a respected and remembered personality there to this day.

Luserke's musical movement game left its mark on today's school subject of performing games , which is on the curriculum at many German schools.

Works

  • Martin Luserke: About the art of dance . Series: Wickersdorfer Bühnenspiele vol. 2. Hesperus-Verlag, Berlin 1912
  • Bund für das Neues Theater (Ed.) Shakespeare performances as movement games . With an afterword by Hans Brandenburg . Walter Seifert Verlag, Stuttgart / Heilbronn 1921
  • Martin Luserke: On the technique of Shakespearian comedy . Walter Seifert Verlag, Stuttgart / Heilbronn 1921
  • Ders .: youth and stage . Ferdinand Hirt Verlag, Breslau 1924
  • Ders .: youth games . Christian Kaiser Verlag, Munich 1925
  • Ders .: Youth and amateur stage - a derivation of theory and practice of movement play from the style of Shakespearean drama . Angelsachsen-Verlag , Bremen 1927
  • Ders .: The Tower of Famagusta (1930). A stage play for the laying of the foundation stone of the hall construction in the school by the sea on Juist, Whitsun 1930
  • Ders .: movement game . In: Walther Hofstaetter , Ulrich Peters (Hrsg.): Subject dictionary for German studies . B. G. Teubner Verlag , Leipzig 1930, Vol. 1, p. 146.
  • Ders .: The schoolability of irrational skills - On an experimental school plan of the Schule am Meer on Juist , 1931 (see Table 3)
  • Shakespeare performances as movement games . In: Deutsche Shakespeare-Gesellschaft (Hrsg.): Shakespeare Jahrbuch , Ed. 69.Bernhard Tauchnitz Verlag, Leipzig 1933, pp. 149, 160, 161.
  • Ders .: Shakespeare and today's German amateur play . In: Deutsche Shakespeare-Gesellschaft (Ed.): Shakespeare Jahrbuch, Edition 69, Bernhard Tauchnitz Verlag, Leipzig 1933, p. 112ff.
  • Eduard Zuckmayer : Rage canon (n.d.)
  • Vers .: Jorinde and Joringel (1926), a game based on the fairy tale by the Brothers Grimm , text by Hans Salm
  • Ders .: Kakadu - Kakada . Children's play in seven pictures (1929), text by Carl Zuckmayer, premiered at Schule am Meer , Juist
  • Vers .: Pentecost cantata (1930), text by Martin Luserke
  • Ders .: Midsummer Song (1932)
  • Ders .: Das Do-Re-Mi (1932), teaching piece for instruments
  • Ders .: two chords (no year), seven teaching pieces for two instruments
  • Ders .: Kameradschaft (1932), cantata based on words from “Grashalme”, Walt Whitman's main work
  • Vers .: Autumn cantata (1932), text by Martin Luserke, for small and large choirs with accompaniment of instruments, world premiere in the stage hall of the Schule am Meer , Juist.

Famous pepole

Pedagogues, pupils, sponsors and parts of the audience associated with the theater hall of the Schule am Meer can be found in the

A third of the SaM students, who also made up the majority of the actors in the school choir and the school orchestra, as well as the amateur theater groups in the theater hall, were of Jewish descent. Girls made up around 25 to 30 percent of the student body.

literature

  • Jochen Büsing: In the Loog ... The checkered history of the other Juister district. Burchana, Borkum 2010, OCLC 838323042
  • Alfred Ehrentreich : Martin Luserke's vision of the Shakespeare theater . In: Education and Upbringing , H. 4/1965. Schwann, Düsseldorf 1965, pp. 284-295.
  • Herbert Giffei : Martin Luserke and the theater . State working group for game and amateur theater in North Rhine-Westphalia. Recklinghausen 1979. OCLC 174452579
  • Cornelia Susanne Anna Godde: The amateur play as an educational reform element. The importance of Martin Luserkes for today's education system (= contributions to educational sciences, volume 3). Wehle, Witterschlick / Bonn 1990, ISBN 3-925267-38-7 (dissertation, Rheinische Friedrich-Wilhelms-Universität , Bonn 1990).
  • Wolfgang Keim , Ulrich Schwerdt (Hrsg.): Handbook of the reform pedagogy in Germany. Part 2. Fields of practice and educational action situations . Peter Lang Internationaler Verlag der Wissenschaften, Frankfurt am Main 2013, ISBN 978-3-6316-2396-1 .
  • Oswald Graf zu Münster : Photo diary Volume 1 - Stay in the country school homes Schule am Meer on Juist and in Marienau 1931–1937. At the 1936 Berlin Olympics . FTB-Verlag, Hamburg 2015, ISBN 978-3-946144-00-7 .
  • Franz L. Pelgen: The amateur play and the way of playing Martin Luserkes . Dissertation, Ludwig Maximilians University , Philosophical Faculty, Munich 1957. OCLC 720438378
  • Hans Peter Schöniger: Martin Luserke - Through musical education to a whole person. Theory and practice of holistic personality development through the integration of artistic educational content at Martin Luserkes Schule am Meer (1924–1934) . Master's thesis, Free University of Berlin , Faculty of Education, Berlin 1995. OCLC 918279085
  • Hans Peter Schöniger: The education of the whole person - On the history of a reform pedagogical ideal . Schneider-Verlag Hohengehren, Baltmannsweiler 2004, ISBN 978-3-89676-796-7 .
  • Ulrich Schwerdt: The reform pedagogue Martin Luserke and his school by the sea . Educational housework, University of Paderborn , Faculty 2, Paderborn 1986.
  • Ulrich Schwerdt: Martin Luserke (1880–1968). Reform pedagogy in the field of tension between pedagogical innovation and culture-critical ideology. A biographical reconstruction . Lang, Frankfurt am Main et al. 1993, ISBN 3-631-46119-4 .
  • Jörg W. Ziegenspeck (Ed.): Martin Luserke. Reform pedagogue - poet - theater man; Founder and director of the school by the sea on the North Sea island of Juist (1925–1934) . (= Pioneer of modern experiential education. 6). Neubauer, Lüneburg 1990, ISBN 3-929058-07-3 .

See also

Individual evidence

  1. ^ Herbert Giffei: Martin Luserke - reform pedagogue, poet, theater man - founder and director of the school by the sea on the North Sea island of Juist (1925–1934) . K. Neubauer, Lüneburg 1990, ISBN 3-8845-6072-7 , p. 75.
  2. ↑ a b Martin Luserke: To the end - To the members of our outer community , October 15, 1934. In: Leaves of the outer community of the school on the sea Juist (North Sea) , no. Year, no. No., November 1934, p. 1 -3.
  3. ↑ a b c d Andrea Benze, Julia Gill, Saskia Hebert: Urbane Lebenswelten - Strategies for the Development of Large Settlements (PDF file; 9.5 MB), study and project research for the IBA Berlin 2020 on behalf of the Senate Department for Urban Development and Environment, Berlin 2013, p. 8, on: zlb.de
  4. ↑ a b c d e f g Jochen Büsing: Im Loog ... The checkered history of the other Juister district . Burchana Verlag, Borkum 2010, without ISBN, pp. 61–66. [Jochen Büsing is a graduate engineer, architect and volunteer. Head of the Coastal Museum Juist]
  5. ↑ Stefan Erdmann: Community Juist / Council and Administration: The »Arche« is to be torn down and replaced by a new building . In: JNN :: Juist Net News , January 25, 2012, at: juistnews.de
  6. ↑ Dr. Jörg Rüter: Bruno Ahrend's home at Am Großen Wannsee 6 is Monument of the Month for August . In: StadtrandNachrichten , August 1, 2018, on: stadtrand-nachrichten.de; [Dr. Jörg Rüter is the head of the Lower Monument Protection Authority in the Berlin district of Steglitz-Zehlendorf].
  7. ↑ a b c d Bruno Ahrends: Situation plan school by the sea in the Loog on Juist, 1929. In: Archives and permanent exhibition of the coastal museum Juist.
  8. ↑ a b c d Photo of the contemporary 3D model of a new building project by Bruno Ahrends for the school by the sea in Loog on Juist, 1929. In: Archive and permanent exhibition of the Juist Coastal Museum.
  9. ^ Information from the Coast Museum Juist, Jochen Büsing, April 2016.
  10. ↑ District Office Steglitz-Zehlendorf of Berlin: Monument of the month: Country house in 6 months: Wachtelstraße 4, Dahlem district (PDF file; 8.3 MB), on: berlin.de
  11. ^ Aiga Klotz: Children's and youth literature in Germany 1840–1950 . Vol. VII: Addendum. Springer Verlag, Berlin 2016, ISBN 978-3-476-02488-6 , p. 73.
  12. ^ Foundation School on the Sea (ed.): Leaflets of the outer community of the School on the Sea Juist (North Sea) . 9th circular, August 1931, pp. 2-3.
  13. ^ Logbook of the Schule am Meer Juist , entry from February 13, 1932.
  14. ^ Foundation Schule am Meer (ed.): Leaves of the outer community of the Schule am Meer Juist (North Sea) , 9th circular, August 1931, p. 2.
  15. ↑ Bruno Ahrends: Colored drawing of the school in Juist of the new building project for the school by the sea in the Loog on Juist according to the planning status of 1929. In: Baukunstarchiv der Akademie der Künste , Berlin; Bruno Ahrends Archive, Sign. Ahrends 10, Bl. 36, School in Juist .
  16. ^ Foundation School by the Sea (ed.): Illustrated leaflet on School by the Sea , 1931. In: Coast Museum Juist, permanent exhibition and archive.
  17. ↑ Movement game . In: Walther Hofstaetter / Ulrich Peters (eds.): Subject Dictionary of German Studies , Vol. 1. BG Teubner, Leipzig 1930, p. 146.
  18. ^ Ulrich Schwerdt: Martin Luserke (1880–1968). Reform pedagogy in the field of tension between pedagogical innovation and culture-critical ideology. A biographical reconstruction . Peter Lang International Science Publishers, Frankfurt am Main a. a. 1993, ISBN 3-631-46119-4 , pp. 209-210, 232-233.
  19. ^ Luserke, Martin - School by the Sea Foundation, Juist / Ostfriesland . In: Secret State Archives Prussian Cultural Heritage , VI. HA, Nl Grimme, A., No. 2058, on: deutsche-digitale-bibliothek.de
  20. ↑ Thomas Aititsch: A school by the sea… In: Schule , Edition 225, Landesschulrat für Steiermark (Ed.). Graz, November 2010, p. 6.
  21. ↑ Ernst Fröhlich. In: Das Neue Tagebuch , year 1937, issue 1, p. 21.
  22. ↑ The afternoon was devoted to physical education and art . In: Ostfriesischer Kurier , No. 101, May 3, 1990, p. 31.
  23. ↑ Wilfried Gruhn: ... and we are still on the move. Eduard Zuckmayer - musician and educator in the upheaval of the youth movement . In: Forum music education. Music pedagogical research reports, Vol. 6, 1993, Wißner, Augsburg 1994, pp. 450-465.
  24. ^ Kurt Sydow: Eduard Zuckmayer on his 70th birthday . In: Musik im Studium, 1960, pp. 264–265.
  25. ^ Foundation Schule am Meer (Ed.): Leaflets of the outer community of Schule am Meer Juist , 4th circular, May 1930, p. 23 (Easter 1929: 89 students in total, including 26 girls)
  26. ^ Stiftung Schule am Meer (ed.): Leaflets of the outlying community of Schule am Meer Juist , 9th circular, August 1931, p. 17. (School year 1930/31: 92 students in total, 29 of them girls)
  27. ↑ Impressions of a French guest student from the school by the sea . In: Stiftung Schule am Meer (ed.): Leaves of the outer community of the Schule am Meer Juist , 9th circular, August 1931, pp. 15-16.
  28. ↑ English theater in the school by the sea . In: Stiftung Schule am Meer (Ed.): Leaves of the outer community of the Schule am Meer Juist , 9th circular, August 1931, pp. 12–15.
  29. ↑ Bund for the new theater (ed.), Martin Luserke: Shakespeare performances as movement games . Verlag W. Seifert, Stuttgart / Heilbronn 1921.
  30. ^ Eduard Zuckmayer / Martin Luserke: Autumn cantata . On: swissbib.ch
  31. ↑ Bruno Jahn: German biographical encyclopedia of music. Volume 2, S – ZKG Saur, Munich 2003, ISBN 3-598-11586-5 , p. 963.
  32. ^ Otto Hagen: Theaterschau - Berlin: Shakespeare as a movement game. The youth performance of the »storm« in Berlin . In: Shakespeare-Jahrbuch , Volume 64 (New Series V Volume), ed. on behalf of the German Shakespeare Society by Wolfgang Keller, Verlag Bernhard Tauchnitz, Leipzig 1928, pp. 221–226.
  33. ↑ Frido Lindemann: Performance of Shakespeare's "Storm" as a movement game under the direction of Martin Luserke . In: Pädagogisches Centralblatt , 8 (1928), issue 5. OCLC 255888243
  34. ^ Eduard Zuckmayer . On: uni-hamburg.de
  35. ↑ I am now in Ankara. The composer Eduard Zuckmayer in Turkey . Radio play (manuscript). Editor: Ulrike Bajohr. Deutschlandfunk 2009. On: deutschlandfunk.de
  36. ^ New works for the concert hall . In: Die Musik , Vol. 24, XXIV / 7 (April 1932), p. 556. Quote: "A new school cantata by Eduard Zuckmayer based on a text by Martin Luserke was recently premiered in Berlin."
  37. ↑ Hildegard Paulsen: Polyphonic music - an image of a new community. A member of the youth movement speaks . In: Anbruch 13, issue 2/3 (February / March 1931), p. 55ff. quoted from: Stefan Weiss, Jürgen Schebera (Ed.): Street Scene. The urban space in the music theater of the 20th century (= publications of the Kurt-Weill-Gesellschaft Dessau, vol. 6). Waxmann Verlag, Münster 2006. ISBN 978-3-8309-1630-7 , p.
  38. ^ Monika Baltes: The amateur play pedagogy Martin Luserkes (1880-1968). A contribution to the search for traces of action and experience-oriented German lessons . Scientific term paper, Philipps University Marburg, 1994.
  39. ↑ Martin Luserke: Pan-Apollon-Prospero. A midsummer night's dream, the winter saga and storm. On the dramaturgy of Shakespeare plays . Christians, Hamburg 1957.
  40. ↑ Movement game . In: Walther Hofstaetter, Ulrich Peters (Hrsg.): Subject Dictionary for German Studies , Volume 1. BG Teubner Verlag, Leipzig 1930, p. 146.
  41. ↑ Bund for the new theater (ed.), Martin Luserke: Shakespeare performances as movement games . Verlag W. Seifert, Stuttgart / Heilbronn 1921.
  42. ↑ Dieter Rudolph: Time of the Fleas - Time of the Head - Time of the Soul . In: Mitteilungen , 83 (1993), Association of former students and teachers of the Meldorfer Gelehreenschule e. V. (Ed.), Meldorf 1993, pp. 16-25.
  43. ↑ a b Mirona Stanescu: from community theater to theater education. A historical development of theater education in Germany . In: New Didactics . 1, 2011, pp. 11-29.
  44. ↑ Werner Kohlschmidt, Wolfgang Mohr (Ed.): Reallexikon der deutschen Literaturgeschichte , Vol. 2 L - O. Walter de Gruyter, Berlin 2001, ISBN 3-11-017252-6 , p. 3.
  45. ^ Heike Heckelmann: School theater and reform pedagogy . Narr-Francke-Attempto, Tübingen 2005, ISBN 978-3772080715 , p. 303.
  46. ^ Cornelia Susanne Anna Godde: The amateur play as an educational reform element. The importance of Martin Luserke for today's education system . M. Wehle Verlag, Witterschlick / Bonn 1990, ISBN 3-925267-38-7 .
  47. ^ New German Biography , Volume 15. Bavarian Academy of Sciences, Historical Commission. Duncker & Humblot, Berlin 1987, ISBN 978-3-428-00196-5 , p. 533.
  48. ^ Leopold Klepacki: School theater. Theory and practice . Waxmann Verlag, Münster 2004, ISBN 3-8309-1416-4 , p. 58.
  49. ^ Hans Brandenburg: The modern dance . G. Müller, Munich 1921, p. 116.
  50. ↑ Alexander Priebe: From school running to school sport: the reform of physical training in the German rural education homes and the free school community of Wickersdorf from 1898-1933 . Verlag Julius Klinkhardt, Bad Heilbrunn 2007, ISBN 978-3781515611 , pp. 119f.
  51. ^ Thomas Alexander, Beryl Parker: The New Education in the German Republic . The John Day Company, Inc., New York City 1929, pp. 205-206.
  52. ^ Kurt Sydow: The life journey of Martin Luserke . Lecture on the 100th birthday of Martin Luserke on May 3, 1980, at: luserke.net
  53. ^ Logbook of the Schule am Meer Juist , entry from January 23, 1932.
  54. ^ Logbook of the Schule am Meer Juist , entries from February 12 and 23, 1931.
  55. ^ Logbook of the Schule am Meer Juist , entry from March 5, 1932.
  56. ^ Logbook of the Schule am Meer Juist , entry from May 21, 1931.
  57. ^ Logbook of the Schule am Meer Juist , entry from March 11, 1932.
  58. ^ Logbook of the Schule am Meer Juist , entry from May 21, 1931.
  59. ^ Stiftung Schule am Meer (ed.): Leaflets of the outer community of Schule am Meer Juist (North Sea) , 14th circular, April 1933, p. 10.
  60. ↑ Ludwig Pallat , Hans Lebede (ed.): Youth and stage. Verlag Ferdinand Hirt, Breslau 1924, p. 73.
  61. ^ Martin Luserke: Youth and Stage. Ferdinand Hirt Verlag, Breslau 1924, p. 86.
  62. ↑ Peter Dudek : "Experimental field for a new youth". The Free School Community of Wickersdorf 1906–1945 . Verlag Julius Klinkhardt, Bad Heilbrunn 2009, ISBN 978-3-7815-1681-6 , pp. 130-131.
  63. ↑ Erik Ode: In Napoleon's footsteps . In: Frau im Spiegel , series How I see it , o. No., o. Jg. Quoted from: Dieter Matzukat, Peter Hahn (Ed.): Die Freie Schulgemeinde Wickersdorf. Memories, Thoughts, Activities from Different Years , Volume 1, pp. 13–15.
  64. ↑ Barbara Lukesch : "On the way" with Maria Becker . In: Annabelle , April 27, 2001. On: lukesch.ch
  65. ↑ Hans Elwenspoek . In: filmportal.de, on: filmportal.de
  66. ^ A b Peter Dudek: "Experimental field for a new youth". The Free School Community of Wickersdorf 1906–1945 . Verlag Julius Klinkhardt, Bad Heilbrunn 2009, ISBN 978-3-7815-1681-6 , p. 349.
  67. ↑ Radio interview on the Meldorfer way of playing with Martin Luserke, Priman Alice Witt ( Meldorfer Gelehreenschule ), OStD Dr. Kurt Reiche ( Meldorfer School of Academics ), Prof. Otto Haase (Schleswig-Holstein Ministry of Education), Dr. Herbert Giffei (Oldenburg i. O.), Norddeutscher Rundfunk 1952, 9:53 min.
  68. ↑ Giffei, Herbert . In: German Archive for Theater Education, on: archiv-datp.de
  69. ↑ Peter Lambrecht, Henning Landgraf, Willi Schulz (eds.): Meldorfer School of Academics 1540 to 1990 - "A common school in front of de Joget des gantzen Landes" . Westholsteinische Verlagsanstalt Boyens & Co, Heide 1990. ISBN 3-8042-0500-3 , pp. 289-295.
  70. ^ Stiftung Schule am Meer (ed.): Leaflets of the outer community of Schule am Meer Juist (North Sea) , 14th circular, April 1933, p. 10.
  71. ↑ Photo: First ZDF station logo . In: Süddeutsche Zeitung , June 6, 2011, on: sueddeutsche.de
  72. ^ ZDF press release from January 16, 1963.
  73. ↑ Claudia Herling: Index Logo: Inspiration for Logo Development - Background Knowledge for Practice . Hüthig-Jehle-Rehm publishing group, Heidelberg 2008, ISBN 978-3-8266-5947-8 , p. 98.
  74. ^ Hans Werner Henze: Reiselieder with Bohemian fifths - Autobiographical messages 1926-1995 . S. Fischer Verlag, Frankfurt am Main 2015. ISBN 978-3-596-31053-1 , p.
  75. ^ Claudia Friedel: Women composing in the Third Reich. Attempt to reconstruct the reality of life and the prevailing image of women . LIT, Münster 1995, ISBN 3-8258-2376-8 , p. 382.
  76. ↑ Felicitas Kukuck: Autobiography in the form of a diary , p. 9. (PDF file; 446 kB). On: felicitaskukuck.de
  77. ^ Karl-Ulrich Meves: Martin Luserke . In: Mitteilungen , H. 108 (2006), Association of Former Students and Teachers of the Meldorfer Gelehreenschule e. V. (Ed.), Pp. 33-41.
  78. ^ Logbook of the Schule am Meer Juist , entry from March 19, 1933.
  79. ^ Logbook of the Schule am Meer Juist , entry from March 22, 1933.
  80. ^ Rudolf J. Jaray: Memory of the country school home of the free school community Wickersdorf . In: Dieter Matzukat, Peter Hahn (ed.): The free school community Wickersdorf. Memories, Thoughts, Activities from Different Years , Volume 2, 1999, pp. 13-17. (distributed as a hectographed brochure)
  81. ^ Kurt Sydow: The life journey of Martin Luserke . Lecture on the occasion of the 100th birthday of Martin Luserke on May 3, 1980, on: luserke.net
  82. ↑ Hans-Christian Schmidt: History of music education . Bärenreiter, Kassel 1986. p. 530.
  83. ↑ Hubert Kelter et al .: Martin Luserke. May 3, 1880 to June 1, 1968. Appreciation on the eve of his birthday . o. V., Hamburg 1969.
  84. ^ Foundation Schule am Meer (ed.): Leaves of the outer community of the Schule am Meer Juist (North Sea) , 8th circular, April 1931, p. 29.
  85. ↑ Maegie Koreen: Claire Waldoff - The Queen of Humor . MV Verlag, Greifswald 2014, ISBN 978-3-9817-0090-9 , pp. 159f.
  86. ↑ Information sheet about the school by the sea on the North Sea island of Juist , school year 1929/30, p. 13.
  87. ^ Logbook of the Schule am Meer Juist , entries from February 20 and 21, 1932, December 10, 1932 and February 25, 1933.
  88. Jump up ↑ Astrid Beier, Friedrich Schulz: Whoever is struck by the sails is cowardly ... - Memories of the teacher Erne Wehnert (1900–1985) . In: Heimatverband im Landkreis Ribnitz-Damgarten e. V. (Ed.): Yearbook 1994 , pp. 97f.
  89. ↑ Eduard Zuckmayer - A musician in Turkey , on: bt-medienproduktion.de
  90. ↑ Eduard Zuckmayer , on: kosektas.com
  91. ^ Eduard Zuckmayer . In: Universität Hamburg, Institute for Historical Musicology, LexM, at: uni-hamburg.de
  92. ↑ M. Luserke: About the art of dance . On: archive.org
  93. ↑ The schoolability of irrational skills - To an experimental school plan of the school by the sea on Juist . In: Deutsches Philologenblatt , 39 (1931), p. 500, on: digizeitschriften.de
  94. ↑ Hans Peter Schöniger: Once upon a time there was a school on the edge of the world ... In: Deutsche Lehrerzeitung, issue 5/95, February 1995.
  95. ↑ Kakadu - Kakada , on: lostart.de
  96. ↑ Kakadu - Kakada , on: uni-goettingen.de
  97. ↑ Kakadu - Kakada. Children's play in seven pictures by Carl Zuckmayer with music by Eduard Zuckmayer. Staatsschauspiel Dresden, first performance in Dresden December 6, 1931 , on: deutsche-digitale-bibliothek.de
  98. ^ Walter Killy: Dictionary of German Biography. Volume 10, Thiebaut - Zycha. De Gruyter, Berlin 2006, ISBN 3-598-23290-X , p. 731.
  99. ^ Eduard Zuckmayer, Martin Luserke: Herbst-Kantate , on: swissbib.ch
  100. ↑ Bruno Jahn: German biographical encyclopedia of music , Volume 2, S – ZK G. Saur, Munich 2003, ISBN 3-598-11586-5 , p. 963.
  101. ^ Cornelia Susanne Anna Godde: The amateur play as an educational reform element. The importance of Martin Luserke for today's education system . In: German National Library, on: deutsche-digitale-bibliothek.de

Coordinates: 53 ° 40 ′ 33.9 "  N , 6 ° 57 ′ 46.4"  E