1. Early Alternatives to Realism (Nonrealistic Theatre and Drama in Germany)
Virtually all of the ideas and innovations introduced between 1875 and 1900 – whether realistic or nonrealistic – came together in the work of Max Reinhardt.
He first experimented with staging at a cabaret and developed a strong appreciation for its intimate atmosphere.
His major work began in 1905 when he became the director of the Deutsches Theater.
In 1906 he opened the Kammerspiele, a small theatre, in conjunction with the larger house.
This allowed greater flexibility in programming and production styles, influencing almost all state theatres in Germany and eventually America and elsewhere.
Max Reinhardt (born Max Goldmann).
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2. Early Alternatives to Realism (Nonrealistic Theatre and Drama in Germany)
Reinhardt’s major contribution was his recognition that no single approach is appropriate to the staging of all plays.
Until the 20th century, directors in each era staged ALL plays in the same style.
Despite widespread experimentation in the 19th century, each director adopted a distinctive approach and applied it to all plays.
Reinhardt looked at every play as a problem to be solved not through proven formulas but through clues within the work itself.
He was able to embrace antirealism without denying realism.
This became the most common approach to directing in the 20th century.
For Reinhardt, staging for each production was unique based on the work itself. Note the blocking in this image: everything is clearly done for the purpose of the scene.
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3. Early Alternatives to Realism (Nonrealistic Theatre and Drama in Germany)
In Reinhardt’s view, some plays required intimate surroundings, others needed large spaces; some needed a proscenium, others an open platform.
Example: staging Oedipus Rex in a circus building because it most resembled the setup of ancient Greek theatres.
He believed that the director must control every element of production.
He prepared a prompt book in which he recorded each detail of movement, setting, props, sound, lighting, and costume.
Stage managers do this today!
He worked closely with actors to achieve performances that became world-famous.
His performances centered around a motif, a ruling idea, or the staging conventions of a past period, ranging through many styles.
Reinhardt working with actress Lili Darvas, playing Titania in A Midsummer Night’s Dream.
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4. Early Alternatives to Realism (German Theatre and Drama, 1918-1939)
During WWI German theatre continued without interruption and unlike in other countries, did not turn primarily to popular entertainment.
At the end of the war, “royal” theatres became “state” theatres, but there were few changes otherwise.
As the economy worsened, non- government groups abandoned the repertory system and produced new, popular works to stay afloat.
Eventually most private theatres were taken over by government entities.
Max Reinhardt remained the most important producer of the time.
In 1918 he founded the Salzburg Festival in Austria. He worked in Austria fro 1922 to 1924.
The modern logo for the Salzburg Festival. The five-week-long festival features both music and drama.
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5. Early Alternatives to Realism (German Theatre and Drama, 1918-1939)
Reinhardt continued to work in Berlin from 1924 until 1933, when Hitler’s rise to power forced him to give up his German theatres.
Between 1905 and 1933 he had personally directed 136 plays!
In the final years of his life he lived in the U.S. and directed a few plays and films.
Info on slides 4 & 5 from Chapter 18: Continental European and Latin American Theatre
Reinhardt is revered as a highly influential director to this day.
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