You are bidding on one rare playbill of the theatre "The vagabonds. The Berlin Cellar Theater (today: "The Vagante Stage") by 1959.

For the piece created in 1942 "The Music Box" by Georg Kaiser (1878-1945).

With a text about the play by Dr. Walther Huder.

Georg Kaiser's facsimile handwriting on the first page: "I'm working on myself and you. George Kaiser."

4-page brochure (folded sheet) in the format 21 x 15 cm.

Condition: Paper browned and somewhat creased. BPlease also note the pictures!

Internal note: KRST 210310

About the Vagante Bühne and Georg Kaiser (source: wikipedia):

The Vagabond Stage is a private theater on Kantstrasse in the Charlottenburg district of Berlin, near the Zoologischer Garten train station and Kurfürstendamm in City West. The theater has 100 seats and is now a functional building with a studio character. It shares the building with the Quasimodo Jazz Club, the Qmodo Restaurant and the Delphi Movie Palace. In immediate The Theater des Westens, the Galerie C/O Berlin and opposite the Savoy Hotel are in the neighbourhood. Since 1980, the Vaganten Bühne has been run as a GmbH.

In addition to contemporary drama, the program also includes modern classics and project productions. A look at the repertoire of recent years shows a sure instinct for current topics. There are also collaborations with Berlin drama schools and guest performances from the independent scene.

History of the Vagante Stage:

1949−1956: Immediately after the war, actors and directors came together around Horst Behrend to play as an independent theater group at different locations. For a short time the group was called "TiK", "Theater in a Suitcase". Based on the medieval "Vagants", minstrels who emerged from the universities, founded on 9. February 1949 Günther Rutenborn and Horst Behrend "The Vagabonds". It opened with "The Resurrection". Against the trend of political-socialist drama that was prevalent in East Berlin, primarily by Russian authors, and the theater in the western part of the city, which was often heavily oriented towards entertainment, the Vagante Bühne was a theater of enlightenment. A special feature of the early years was that it was played both in the GDR and in West Berlin. Numerous actors who lived in East Berlin belonged to the ensemble, which Horst Behrend took over as sole director in 1952.

1956−1979: The continuous and professionalizing work required fixed structures and a permanent venue. The vagabonds found this in 1956 in the basement of the Delphi house, which housed a cinema, dance bars and restaurants. The Delphi House, designed in 1926 by the architect Bernhard Sehring, who thirty years earlier, in 1895, was also the architect of the neighboring Theater des Westens, was originally built as a dance palace with a restaurant. Badly damaged in the war, the former dance hall was converted into a cinema in 1947, which still exists today under the name Delphi Filmpalast. The construction of the Wall in 1961 caused a major change. Guest appearances in the GDR could no longer take place and former employees from East Berlin had to be replaced. In the years 1961 to 1965, two more venues were added to the Delphi House: the “Theater am Kreuzberg” on Kreuzbergstraße and the “Theater an der Spree” in what was then the congress hall. In 1956, Wolfgang Borchert's "Outside the Door" was included in the program. With authors such as Sartre, Genet, Anouilh, Ionesco, Mrozek, Tardieu and Osborne, the Vagante Bühne became “the” avant-garde theater in Berlin in the 1960s. Horst Behrend died in November 1979.

1980−2009: In 1980, Horst Behrend's sons, Rainer and Jens-Peter, took over the management of the theater and founded a non-profit limited company, of which they became shareholders. In the 1980s, a dedicated team developed a new profile based on three main features: contemporary drama, classic modern works and parodic drama. In 1985, the theater was closed for seven months for a long overdue renovation. The premises have been thoroughly renovated and modernized. Formally, new paths were taken, such as B. Productions in the then new game form of the arena stage, in which the spectators were grouped around the playing area.

2009−2019: With the death of Rainer Behrend in 2009, Jens-Peter Behrend took over the sole management. In addition to works by contemporary authors, current project productions (play developments) are also on the programme. The repertoire includes contemporary and socially critical pieces that reflect the problems of the present. The program focuses on theater productions with socio-political content. In 2011/2012 (after the last renovation in 1985) a new extensive renovation of the theater became necessary. An air-conditioning system was installed and the seating and the entire stage and sound technology were renewed, all rooms were renovated and the entrance area was roofed over.

Since January 2020: In January 2020, Lars Georg Vogel, who has been artistically connected to the house for many years, took over the management of the Vagante Bühne.

Artistic profile: The Vagante Bühne releases around four to five new productions every year. It is part of the concept to keep a great deal of openness in the design of the schedule. Due to modern productions of classical plays and critical presentation of social problems, students and schoolchildren have long been part of the regular audience. The design of the program is based on the self-image of making a theater that introduces young people to the art of the stage without becoming didactic or being theater for target groups in the narrower sense. Theater education has been a focus since 2005. The cooperation with the project "TUSCH (Theatre and School)" funded by the Berlin Senate, of which the Vagante Bühne is one of the initiators, and the associated school partnerships enable intensive contact with students and teachers. Once a month, the reading series “Monday Reading – Literary Strolls through Berlin” is a fixed part of the program. Texts by authors such as Heinrich Heine, Theodor Fontane, Walter Benjamin, Siegfried Kracauer, Victor Auburtin and Arthur Eloesser are read.

Former ensemble members acting & directing (selection)

Folk Braband

Horst Buchholz

Us Conradi

Almut Eggert

Frank Lorenz Engel

Dieter Hallervorden

Lothar Hinze

Harald Juhnke

Alfred Kirchner

Vera Kluth

Lothar Kompatzki

Daniel Krauss

Paul Albert Krumm

Dirk Loescher

Barnaby Metschurat

Oliver Mommsen

Joosten Mindrup

Barbara Ratthey

Oliver Rohrbeck

Carl Shell

Immy Shell

Andreas Schmidt

Elf Schneider

Robert Seethaler

Wolfgang Sorgel

Heidemarie Theobald

Dorothea Thiess

Dieter Wedel

Mario Wirz

Friedrich Carl Georg Kaiser (* 25. November 1878 in Magdeburg; † 4 June 1945 in Ascona) was a German writer. Georg Kaiser was the most successful playwright of the Expressionist generation. As an author he created 70 dramas, many of which have been forgotten.

Life: Kaiser was born in 1878 as the fifth of six sons of a merchant. He attended the pedagogical school of the Magdeburg monastery of Our Lady. After high school, he began an apprenticeship in a bookstore and an export and import business, but dropped out. From 1898 to 1901 he worked for AEG in Buenos Aires. After his return to Germany, he spent several months in a mental hospital in Berlin and then lived with various family members.

In 1908 he married Margarethe Habenicht, a wealthy merchant's daughter. Now financially independent, he settled in Seeheim on the Bergstrasse. Artistically, Kaiser was very active at this time, but without gaining public recognition.

In 1912 Kaiser created his first socially critical work From morning to midnight. Here he presented the hero ending in suicide as a role model. This work was later staged by Karlheinz Martin and filmed in 1920.

With his drama Die Bürger von Calais (1912/13), performed in Frankfurt am Main in 1917, Kaiser achieved his first major success. This piece is about the moral attitude, "the hate ... to be overcome through philanthropy and vicarious sacrifice" (König's Explanatory Notes). In the next few years, Kaiser's works were performed throughout Germany.

However, from 1918 Kaiser got into financial difficulties, which led to an arrest for embezzlement in 1920 and a corresponding conviction in 1921. In 1921, the Gustav-Kiepenheuer-Verlag took over a guarantee for Kaiser and made it possible for him to live in Grünheide (Mark) near Berlin. He maintained contacts with Ernst Toller, Kurt Weill, Lotte Lenya and Bertolt Brecht. Between 1921 and 1933 Kaiser was the most performed playwright in Germany. His plays have also been performed in New York, London and Rome, among others.

on the 18th In February 1933 his play Der Silbersee premiered on three German stages (Erfurt, Magdeburg and Leipzig). All three productions had to be canceled because of protest demonstrations and boycott threats; the directors of the theaters were subsequently dismissed in the spring. After that, no more Kaiser plays were performed in Germany. Although he was still on the 22nd March 1933, having signed a declaration of loyalty from the Poetry Department within the Prussian Academy of Arts, Kaiser became Kaiser on March 5, 1933. Excluded May 1933.[1] His works became a victim of the book burning of 10. May 1933.[1] Nevertheless, he tried to stay in Germany. He joined resistance circles and wrote leaflets.[2] Shortly before a Gestapo house was searched, he fled to Switzerland via Amsterdam in 1938, leaving his wife and children in Germany. Together with Maria von Mühlfeld and their daughter Olivia, Kaiser went into exile in Switzerland in 1938. Kaiser didn't have to live in an emigrant camp in Switzerland like most of his friends. He owed this to the support of rich friends, who temporarily enabled him to stay in hotels in various places in Switzerland.

On 2. On November 1, 1940, his censorship-approved play The Soldier Tanaka, directed by Franz Schnyder and starring Karl Paryla in the title role, premiered at the Zurich Schauspielhaus. The play, which exposed Japanese militarism, received good reviews. Under pressure from the Japanese ambassador in Bern, Yutaka Konagaya, the Swiss federal government persuaded the theater to cancel the play. on the 9th The management promised this on November 1, but the performances on November 10 could not take place. and 12. cannot be canceled at short notice. Kaiser was extremely bitter about the dismissal. The first performance of the - now forgotten - play in Germany took place after Kaiser's death on 13. February 1946 in the Hebbel Theater in Berlin.[3] His last work was a mythological trilogy of verse dramas, Twice Amphitryon, Pygmalion, and Bellerophon (1948).

Kaiser, who had been on Monte Verità in Ascona since November 1944, died there on April 4, 1944. June 1945 from an embolism. On the same day, his friend and representative Julius Marx in Zurich signed a contract with the Artemis publishing house, which was intended to give Kaiser financial security against the transfer of all rights to future works. Kaiser was buried in the Morcote cemetery near Lugano.

honors

The city of Magdeburg named Georg-Kaiser-Strasse after him. Saxony-Anhalt has been awarding the Georg Kaiser Promotional Prize since 1996. The municipality of Seeheim-Jugenheim named its town hall square after him.

factories

See Wikisource for a list of all works

plays (selection)

Schellenkönig (1895/96;1902/03)

From Dawn Till Midnight (1912)

The Burghers of Calais (1912/13; 1923)

King Cuckold (1913)

The case of the student Vehgesack (1914).

Rector Kleist (1914).

The Coral (1917).

gas (1918).

The Dornfelds.

The protagonist. A Play (1920). The same text was used as the libretto in the opera of the same name by Kurt Weill (UA 1926)

Gas II 1920. The Coral, Gas I and Gas II form a trilogy.

The Jewish Widow (1920).

David and GOLIATH (c.1920, G. Kiepenheuer Verlag); Comedy in three acts.

Kanzlist Krehler, tragicomedy in three acts, published 1922, G. Kiepenheuer Verlag (Potsdam).

Colportage (1924, Verlag Die Schmiede).

The Tsar has his photograph taken (1927). Opera buffa. Music (1927/28): Kurt Weill. UA 1928

The Silver Lake (1933). Piece with music (musical). Music (1932/33): Kurt Weill. UA 1933.

Rosamunde Floris (1936/37). Opera version by Gerhart von Westerman with music by Boris Blacher 1960.

Alain and Elise (1937/38).

The Gardener of Toulouse (1938). Querido Verlag, Amsterdam.

The Soldier Tanaka (1940), play, Zurich, New York, Oprecht Verlag.

The Music Box, 1942.

The Raft of Medusa (1940–1943). EA 1945.

Other works

Gesa M. Valk (ed.): Georg Kaiser in matters Georg Kaiser: Letters 1916-1933. Leipzig 1989.

Georg Kaiser: Villa Aurea. Novel. Querido Verlag 1940, Amsterdam, previously published in English:

A villa in Sicily. Translated by R Wills Thomas, Dakers, London 1939 and under the title Vera in an Alliance Book Corporation edition at Longmans, Green & Co, New York 1939.