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Reinhardt reżyseruje Shakespeare’a. Przestrzeń jako paradygmat inscenizacji

100%

Leyko M.

Pamiętnik Teatralny

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2014

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vol. 63

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issue 3(251)

66-85

EN

Plays by Shakespeare constituted an important and strong element of the repertories of Max Reinhardt’s theatres, perhaps the strongest apart from the Greek tragedies, German and European classics, and contemporary drama. Novelty of Reinhardt’s Shakespearean productions becomes apparent when juxtaposed with the German tradition of staging Shakespeare, i.e. with productions by Ludwig Schröder, Ludwig Tieck, Franz Dingelstedt, or Georg von Meiningen. In Reinhardt’s case, the reform in stage technique went hand in hand with a new definition of goals for theatre: it stopped being subservient to literature and came to be viewed as using literature only as a basis for its own works. The key innovation of this programme was to stage classical plays using modern aesthetics: ‘Thanks to the classics, new life flows onto the stage; its colours and music, its greatness and grandeur, its joy’, the German director proclaimed. Max Reinhardt staged fifteen plays by the English playwright, some of which he produced only once (e.g. The Tempest or Julius Caesar), twice or thrice (Macbeth, The Comedy of Errors, King Henry IV, Love’s Labour’s Lost, Much Ado about Nothing) whereas some he revisited numerous times, producing them on different stages that offered varied space conditions – these include As You Like It, The Merchant of Venice, and A Midsummer Night’s Dream especially. The 1913–14 Season at the Deutsches Theater saw the beginning of A Shakespearean Cycle [Shakespeare-Zyklus] that showed thirteen premiere and re-run productions in total. The article focuses on select productions of A Midsummer Night’s Dream: at the Neues Theater in Berlin on a box stage in 1905; at the Künstlertheater in Munich on a frieze stage in 1909; in the Nicolasee park in Murnau in 1910; at Klessheim in 1932, and at the Hollywood Bowl amphitheatre for the audience of 20,000 people in 1935. They show how, depending on what space conditions he had, Reinhardt changed his strategies of directing.

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Festspiel in deutschen Reimen

100%

Jurkowski H.

Pamiętnik Teatralny

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2012

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vol. 61

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issue 1-2(241-242)

89-118

EN

In June of 1913, Max Reinhardt put on the play Das Festspiel in deutschen Reimen commissioned from Gerhart Hauptman by the Breslau city council to commemorate the centenary of the “liberation war” waged against Napoleon’s army by King Friedrich Wilhelm III of Prussia. Occasional plays had a rich tradition, inherited from the Renaissance and the Baroque. Goethe wrote them; playwrights in other countries wrote them as well. And Poland was no exception. Occasional spectacles of the 19th century promoted the cult of Napoleon. Hauptmann accepted the commission with some qualms. He disliked shows of patriotism laced with militarism. He took inspiration from the satirical tradition of ancient mimes which ridiculed pompous individuals. After a few attempts of script writing (one of them being Napoleonic Mime), he composed Festspiel, based on a metaphor taken from puppet theatre: the rulers, politicians and generals were just marionettes on the stage of the world. The manager of the theatre was to show his heroes as marionettes and then, with actors help, present a chronicle of events starting with the French Revolution and ending with the defeat of Zeus-Napoleon after his retreat from Moscow at Leipzig, and then culminating with complete symbolic liberation of the Germans with help of their poets and philosophers. The allegorical character of Germania predicted a new happy life despite the intentions of Marshall Blücher, always ready to fight another war. Luckily, the theatre manager sent him back to a box for marionettes. Reinhardt produced the spectacle with great panache, for several thousand spectators, with excellent actors. The public received it well, but German nationalists raised protests. The heir to the throne, Friedrich Wilhelm Victor threatened that he would take back his patronage over the celebrations, and the city council took the play off after just eleven shows. The German experience is of universal value. War over symbols and allegories is being fought constantly in many countries. It is a part of the political culture of our times.

3

Imperium teatralne Maxa Reinhardta

71%

Leyko M.

Pamiętnik Teatralny

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2018

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vol. 67

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issue 1/2

45-58

EN

Max Reinhardt, a director who had an enormous influence on the style and convention of European theatre in the 20th century, can also be credited with creating a modern model of theatre enterprise; he ran several theatres at the same time, and the gusto with which he ruled his theatre empire earned him the name of der Theatrarch in the German-speaking community. Reinhardt’s actions as manager of Berlin theatres-the Deutshes Theater, the Kammerspiele, and the Grosses Schauspielhaus-is presented against the backdrop of the German theatre management system that had been in place since 1896, when Gewerbefreiheit, the freedom of trade law that made theatre enterprise no different from any other commercial endeavour came into effect. In a sense, the law spoiled the theatre whose mission had hitherto been to raise the culture of German society, and as a result, the number of theatres offering popular entertainment increased dramatically. Faced with strong competition, Reinhardt was nevertheless able to run several theatres without lowering high artistic standards and still turn a profit.

PL

Max Reinhardt – reżyser, który w sposób istotny kształtował styl i konwencje teatru europejskiego w XX wieku – stworzył także nowoczesny model teatru jako przedsiębiorstwa; prowadził jednocześnie kilka scen, a rozmach, z jakim kierował swoim imperium teatralnym, sprawił, że w środowisku niemieckojęzycznym bywał nazywany „der Theatrarch”. Działalność Reinhardta jako dyrektora teatrów berlińskich – Deutsches Theater, Kammerspiele i Grosses Schauspielhaus – została przedstawiona na tle systemu organizacji teatrów niemieckich, jaki obowiązywał od roku 1869 po wprowadzeniu „Gewerbefreiheit”, czyli prawa o wolności zarobkowania, na mocy którego działalność teatralna została potraktowana na równi z innymi przedsiębiorstwami gospodarczymi i handlowymi. System ten „zepsuł” w pewnym sensie teatr, którego misją było dotychczas powszechne podnoszenie kultury społeczeństwa niemieckiego i sankcjonował dynamiczny przyrost scen jako miejsca popularnej rozrywki. W obliczu silnej konkurencji Reinhardtowi udało się nie tylko prowadzić kilka teatrów na wysokim poziomie artystycznym, a mimo to przynoszących poważne zyski finansowe.

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Reinhardt reżyseruje Shakespeare’a. Przestrzeń jako paradygmat inscenizacji

Festspiel in deutschen Reimen

Imperium teatralne Maxa Reinhardta