Topics in German theater. "To the cinema"

DAS THEATER

1. Im vorigen Sommer war ich bei meinen Verwandten in Moskau zu Besuch.

2. Einmal kam mein Onkel freudig nach Hause.

3. Er hatte Karten furs Bolschoi- Theater fur den Sonntag besorgt.

4. Man gab die Oper "Eugen Onegin". von Tschaikowski.

5. Ich hatte immer den Wunsch, das Bolschoi-Theater zu besuchen.

6. Das Bolschoi-Theater ist eines der schonsten Gebaude Moskaus.

7. Es befindet sich im Zentrum der Stadt.

8. Um halb sieben waren wir schon im Theater.

9. In der Garderobe legten wir unsere Jacken ab.

10. Am Eingang zeigten wir unsere Eintrittskarten vor und betraten den Zuschauer-raum.

11. Alles war schon: Roter Samt, Gold, schone Kronleuchter.

12. Wir hatten unsere Platze im Parkett und wir brauchten keine Opernglaser.

13. Es klingelte zum dritten Mal.

14. Der Vorhang ging auf. Der Dirigent Hob den Taktstock.

15. Die Ouverture begann.

16. Wir sahen begeistert auf die Buhne.

17. Die Besetzung war sehr gut.

18. In der Pause gingen wir ins Foyer.

19. Dort war eine interessante Fotoausstellung von beruhmten Sangern wie Schaljapin, Sobinow, Koslowski.

20. Es klingelte und wir gingen wieder in den Zuschauerraum.

21. Am Schluss der Vorstellung klatschten wir Beifall.

22. Die Schhauspieler wurden 3mal hervorgerufen.

23. Wir verbbrachten einen wunderschonen Abend.

24. Dieser Theaterbesuch machte auf mich einen unvergesslichen Eindruck

On the topic: methodological developments, presentations and notes

PURPOSE OF THE PROJECT: To create conditions for: - solving speech-intellectual search tasks in the process of working on language material and developing on this basis the main types of speech activity ...

the lesson is aimed at consolidating vocabulary on the topic School / 6th grade / and consolidating grammatical material / word order in a German sentence / ...

Topics in German for the development of monologue speech

German texts for development monologue speech students on topics: Germany, what are Germans, modern German, people in Germany ....

Thema: Theaterbesuch in Deutschland

Subject: Going to the theater in Germany

Ich heiße Lena und lerne in einem Lyzeum mit vertieftem Sprachunterricht. Mein Hauptfach ist Deutsch. Im vorigen Jahr unterrichtete bei uns eine junge Lehrerin aus Deutschland. Sie hat mich und meine Freundin Angela zu sich nach Hamburg eingeladen. Ich war sehr froh darauf, Deutschland mit eigenen Augen zu sehen und deutsch zu sprechen.

My name is Lena, I study at the Lyceum with in-depth study of foreign languages. My main subject is German. Last year we had a young teacher from Germany. She invited me and my friend Anita to her home in Hamburg. I was very happy that now I can see Germany with my own eyes and speak German.

Wir waren in Hamburg 2 Weeks lang. Alles war class! Unsere Lehrerin zeigte uns die Stadt. Und einmal hat sie uns ins Theater eingeladen. Das war eine Premiere im Hamburg Ballett. Es wurde das Ballett „Orpheus“ gegeben. Wir bekamen die Eintrittskarten im Voraus. Dadurch bekamen wir Zeit, in Ruhe diese alte Sage über Orpheus und Eurydike zu lesen.

We stayed in Hamburg for 2 weeks. Everything was great! Our teacher showed us the city. And one day she invited us to the theater. It was the premiere at the Hamburg ballet. They gave the ballet "Orpheus". We got tickets in advance. Therefore, we had time to leisurely read the ancient legend of Orpheus and Eurydice.

Der Sänger Orpheus wurde in der ganzen Welt geliebt. Ihm hörten Vögel in der Luft, Fische im Wasser, Tiere im Wald zu. Apollon hat ihm eine wundervolle Leier geschenkt. Orpheus liebte sehr seine Frau Eurydike. Die Hochzeit haben sie vor kurzem gefeiert. Aber sie wurden nicht lange glücklich. Eurydike wurde von einer giftigen Schlange todlich gebissen. Orpheus beschloss seine Geliebte im Reich der Toten zu finden und zu retten. Er stieg in die Unterwelt hinab. Vor dem Thron des Herrschers Hades sang Orpheus zum Klang der Leier. Er bat ihn, seine Geliebte Eurydike zu befreien. Alle Totenschatten weinten. Der düstere Herrscher hatte Mitleid mit dem Sänger. Orpheus bekam seine Gemahlin zurück. Aber während des Rückwegs durfte er nicht zurückblicken. Orpheus blickte aber nach der Geliebten um und verlor sie für ewig. Der Sänger lebte 3 Jahre in seiner Trauer und wollte keine andere Frau sehen. Er wurde dadurch von den wütenden Weibern getötet. Die Nymphen brachten ihn zu seiner Eurydike in die Totenwelt.

Everyone loved the singer Orpheus. Birds in the sky, fish in the water, animals in the forest were heard with his singing. Apollo himself gave him a beautiful lyre. Orpheus was very fond of Eurydice. They recently celebrated their wedding. But they were happy for a very short time. Eurydice was bitten by a poisonous snake. She died. Orpheus decided to find his beloved in the realm of the dead and save her. He descended into hell. In front of the throne of the ruler of Hades, Orpheus began to sing his songs and play the lyre. He asked to release Eurydice. All the shadows were crying. The gloomy King of the dead took pity on the singer. Orpheus got his Eurydice. But during the return, he had to go without looking back. Orpheus looked back, looked at his beloved and at the same moment lost her forever. The singer was sad for 3 years and did not want to look at any woman. As a result, angry local women killed him by throwing stones at him. The nymphs carried him to the realm of the dead to Eurydice.

Das Gebäude des Ballettzentrums gefiel mir auch sehr. Es sah wie ein Museum aus. Der Regieführer des Hamburger Balletts hat eine neue Interpretation dem Publikum vorgestellt. Er wollte das Sujet modern machen. Die Bühnenbilder sind auch stilistisch geandert. Der Sänger Orpheus bekam eine Geige statt der alten Leier. Die Musik unterstutzte den neuen Blick. Neben Stravinsky und Barock erklangen Melodien aus einem aktuellen Musical. Sie wurden auch durch Lautsprecher gespielt. Somit wurde Orpheus wie ein Künstler von heute für Zuschauer gegeben. Was aber blieb - das ist die Idea der ewigen Liebe. Das Publikum im Saal würdigte die moderne Variante der alten Sage durch ihren heftigen Applaus sehr hoch. Die neue Interpretation fand auch in der Choreographie ihren Ausdruck. Der Orpheus-Darsteller Otto Bubenicek tanzte technisch glänzend. Musik und Tanz verschmelzen sich in mir eng zusammen. Die Kostüme waren elegant neoklassisch, dem Tanzstil angepasst.

I really liked the building of the Ballet Center. It looked like a museum. The director of the play offered the audience his new version ballet. He modernized the plot of the legend. The decoration style has also been stylistically updated. The singer Orpheus played not the lyre, but the violin. Music emphasized novelty. In addition to the classics of Stravinsky and the antiquity of the baroque, the melodies of a modern musical sounded from the speakers. Therefore, Orpheus appears before the audience as the singer of today. But the main idea of ​​the legend remained unchanged - the eternity of love. The audience in the hall expressed their delight with thunderous applause. The new interpretation is reflected in the choreography. The performer of the role of Orpheus - Otto Bubenchik danced brilliantly. Music and dance are intertwined in my mind into a single whole. The costumes of the artists elegantly emphasized the classics in a modern spirit.

Das Zentrum wurde 1929 eingerichtet. Das Innere wurde mit einem schönen Wandgemälde „"Orpheus mit den Tieren" von der Kunstmalerin Anita Rée geschmückt. Das Gemälde zeigt Orpheus auf einer Antilope reitend. Um ihn herum liegen Tiere, die sein Spiel und Singen bewundern. Die Ballettsäle werden nach berühmten Choreografen benannt: Petipa, Nijinsky, Balanchine, und anderen.

Speaking about the German theater of the second half of the 19th century, one should turn to the end of the 60s. The difficult socio-political situation significantly influenced theater life. Permanent theaters were only courtiers (in the residences of the rulers). The touring system was widespread. In the leading Berlin royal theater classical works were staged without any attempts to get rid of the routine, declamatory pathos. And the plays that were shown here were of a chauvinistic direction, and were written by ordinary authors.

At the same time, a notable phenomenon was the court theater in the capital of the Duchy of Saxe-Meiningen, in the city of Meiningen. Its origin dates back to the 18th century.

Meiningen theater was one of the most important theaters in Germany in the second half of the 19th century. But, despite the fact that the theater was court, he was influenced by the tastes of the bourgeois public.

Since 1869, an actor who previously worked in this theater has become the director and director of the theater. Ludwig Kroneg (1837-1891). And the theater enters its heyday in the 70-80s.

Three people were at the head of the theater: Duke George II, who was mainly engaged in the decorative side of the performance, but who had a decisive voice in all matters of the life of the theater; his wife, formerly an actress of this theater, Helene Franz, whose duties included mainly working on the recitation, and Ludwig Kroneg, a talented director and a comprehensively educated person.

In the development of the director's plans, Kroneg sought the truth of life, the accuracy of the depiction of the historical era, its way of life and customs. He was also the organizer of the theater tour. Meiningen traveled all over Germany, visited Holland, Sweden, Belgium, Denmark, Switzerland, England, twice visited Russia - in 1885 and 1890. After the death of Kroneg, in 1891, the tour ceased, and the theater began to work without a break in Meiningen.

The artistic direction of the Meiningen theater was based on the principles of Goethe's work in the Weimar theater and the experiments K.L. Immerman(1796-1840), one of the first directors of the German theater. Continuing the Goethe traditions, the Meiningen Theater sought to maintain a high ideological and artistic level of the repertoire, focusing mainly on the classics. Continuing the traditions of the Weimar theatre, the Meiningenites asserted the leading role of the director in the play. From Immermann, the Meiningenians inherited the desire for an ensemble, for the historical and everyday accuracy of the performance.

In addition to the national traditions of German directing, the Meiningen Theater widely used the principles of the English director Charles Keane, who combined the requirement of historical authenticity with the outward showiness and splendor of the performance.

At the root of the repertoire was the dramaturgy of Schiller (ʼʼThe Fiesco Conspiracyʼʼ, ʼʼRobbersʼʼ, ʼʼWallenstein's Campʼʼ, ʼʼThe Death of Wallensteinʼʼ, ʼʼWilliam Tellʼʼ). Shakespeare's plays: ʼʼJulius Caesarʼʼ, ʼʼTwelfth Nightʼʼ, ʼʼThe Merchant of Veniceʼʼ, ʼʼMacbethʼʼ, ʼʼThe Winter's Taleʼʼ, ʼʼThe Taming of the Shrewʼʼ. Further in the repertoire were: ʼʼIphigenia in Aulidʼʼ Goethe, ʼʼMrs Sarah Sampsonʼʼ Lessing, plays by Kleist. From French dramaturgy the repertoire of the theater included Molière's comedies ʼʼThe imaginary patientʼʼ and ʼʼLearned womenʼʼ.

George II determined the selection of plays and their interpretation. For this reason, the theater's repertoire did not include socially significant works of German drama - Schiller's ʼʼIntrigue and Loveʼʼ, Lessing's ʼʼEmilia Galottiʼʼ. But there were plays that intensified nationalist sentiments.

Directing at the Meiningen Theater strove to create a complete and integral work of art, in which all the constituent parts are subordinate to the task of the most complete expression of the idea of ​​the play. This determined the special order and nature of the work on the performance. It began with a detailed study of the direction of the historical era, life. Then they proceeded to read the play, which was discussed first as a whole, and then for individual acts, scenes, roles. Actors were required to know not only their role, but the whole play. In the process of rehearsal work, numerous conversations were held, during which the roles were analyzed in detail, their literary and psychological analysis was made. After the director and artist created the production plan, rehearsals began crowd scenes. Their careful development was one of the most important means of creating the artistic unity of the performance. The scenes in the performances of Meiningen were lively, dynamic, so that the crowd organically participated in the action. The extras were divided into groups, in each group a leader (ʼʼʼʼʼʼʼ) was appointed from among the theater artists, who made sure that the participants in the mass scenes did not take the same poses, made the necessary gestures in time, accurately gave replicas that were written especially for them.

Directing paid special attention to work on episodic roles. The task of creating a stage ensemble required the rejection of the role system. Actor performing leading role, in the next performance he could act episodic or even go out as an extra in the mass scene.

The unified artistic image of the performance and the maximum plausibility of the depiction of life on the stage required careful design development. For this reason, the main attention was paid to the accuracy of the reproduction of everyday life, for which the historical sources of material culture were thoroughly studied. For example, when staging Iphigenia in Tauris, the theater used materials from Schliemann's archaeological excavations; when staging ʼʼMary Stuartʼʼ, they studied the history of the places indicated by Schiller; when staging ʼʼThe Maid of Orleansʼʼ, the artist traveled to the homeland of Joan of Arc - the French village of Domrem And - and made sketches of scenery on the spot.

Standard, featureless pavilions were replaced by decorations that were not only ethnographically accurate, but also bearing the imprint of the social status, lifestyle, and profession of the inhabitants of the house. Instead of painted scenery with columns, they placed columns on the stage. The plane of the scene was divided into separate sections (hills, gorges), ladders, platforms, passages were introduced, which made it possible to build picturesque and dynamic mise-en-scenes.

Stage expressiveness was enhanced by the use of noise and lighting effects: a light image of falling rain, sunrise and sunset, moonlight, moving clouds, etc. In the play ʼʼWilhelm Tellʼʼ, a whole range of sounds was used in the image of the storm: the howling of the wind, peals of thunder, the sound of rain, the impact of the waves of a mountain lake. The theater with sound effects was able to create the illusion of a large space that goes beyond the stage.

But innovation in the field of staging techniques did not harmonize with acting; false declamatory pathos, stiltedness and clichés were still preserved there. The Meiningenians ʼʼ did not update the old purely acting techniques of the gameʼʼ (Stanislavsky). The main means of conveying the idea of ​​the performance was not the actor, but directing and staging techniques.

The requirement of Meiningen directing that great actors play episodic roles, sometimes with poor performance of the main roles, led to the destruction of the ensemble and the integrity of the artistic impression. A.N. Ostrovsky drew attention to how in the play "Julius Caesar" one of the most important scenes is distorted by an unsuccessful performance: ʼʼThe beautiful speech delivered by Shakespeare to Anthony was delivered weakly by the actor, and the deftly trained crowd was excited and enlivened as if the speech had been delivered strongly and with enthusiasmʼʼ.

Naturalistic replacement of generalizations and typifications by external naturalistic plausibility was found in the selection of actors. So, for the role of Julius Caesar, Croneg chose an actor who looks like Caesar, but lacks talent. And on this occasion, A.N. Ostrovsky noted that ʼʼ among the Meiningenians and Julius Caesar himself belongs to fake things ʼʼ.

In the article ʼʼConsiderations and conclusions about the Meiningen troupeʼʼ A.N. Ostrovsky notes the positive aspects of the Meiningen theater: the development of mass scenes, the skillful use of lighting effects, the good quality of the scenery and props. But in general, he defines this theater as ʼʼan excellently disciplined troupe, consisting of mediocre actors and disgustingly whining and breaking actressesʼʼ and makes his ʼʼsentenceʼʼ: ʼʼ…what we saw in them is not art, but skill, ᴛ.ᴇ. craft.

K.S. Stanislavsky highly appreciated Kroneg's talent and directorial ingenuity and strict discipline in the theatre, but at the same time condemned the director's despotism, which suppresses the individuality of the actor, and the transfer of the center of gravity of the performance from the actor to the director's staging techniques.

Vl.I. Nemirovich-Danchenko was in solidarity with the assessment of Ostrovsky's performance ʼʼJulius Caesarʼʼ.

The Meiningen theater did not have its own clear ideological and aesthetic program and was not associated with modern drama, in connection with this, the creative image of the theater looked eclectical. But a high production culture based on the development of the principle of a unified art form performance, a carefully thought-out production plan, strict observance of historical and national color, had a great influence on the development of directorial thought at the end of the 19th century.

historical setting continued to be difficult. Socio-political conditions in central Europe were sharp enough: France claimed hegemony and was interested in the fragmentation of Germany. The reason for the funko-Prussian war of 1870-1871. there was a dispute about Alsace about Lorraine, border territories.

In 1871 ᴦ. The Franco-Prussian War ended with the complete defeat of France, in which the Second Empire fell and a republic (the Paris Commune) was proclaimed. France was occupied by Prussian troops who were involved in the suppression of the Commune.

In the same 1871 ᴦ. the monarchs of the ʼʼdwarfʼʼ states, having gathered in Versailles, proclaimed the Prussian king Wilhelm I the German emperor. This meant the national unification of Germany. But the unified state was parliamentary only in form, but in reality it retained many feudal vestiges, the bureaucratic apparatus was under the influence of the bourgeoisie and was guarded by the police. The Prussian Junkers held an influential position throughout the empire. The German people were brought up in the spirit of chauvinism (ᴛ.ᴇ. extreme nationalism). The rapid development of capitalism began, and by the end of the XIX century. Germany has become a major monopoly power.

The reactionary regime provoked opposition, and the Socialist Workers' Party of Germany emerged (August Bebel and Wilhelm Liebknecht). Representatives of the progressive intelligentsia were gradually drawn into the workers' movement.

Confrontation of social forces in the late XIX - early XX century. characterized a difficult situation, but this circumstance also gave rise to a complex spiritual culture.

During this period, the conservative circles of the German intelligentsia fell under the influence of the philosophical teachings of Friedrich Nietzsche, who put forward the reactionary theory of "master morality" and "strong personality".

But there were forces opposed to chauvinism. He made a great contribution to realistic aesthetics Franz Mehring (1846-1919): in his literary-critical articles, he dealt with the basic problems and phenomena of drama at the end of the 19th century.

There was an urgent need to update both the repertoire and artistic techniques. This was started by the Meiningen Theatre.

The next important step was taken by director Otto Brahm, who for the first time in Germany began to stage modern drama - plays by Ibsen, Hauptmann, L. Tolstoy, I. Turgenev.

The pinnacle of creative quest in the theater of the early twentieth century. in Germany there were innovative performances by M. Reinhardt. His theater was distinguished by a harmonious combination of classical and modern repertoire; moreover, the modern repertoire reflected the most acute trends and contradictions of the era.

Gerhardt Hauptmann(1852-1946) - an outstanding German playwright of the late XIX - early XX century. He started out as a painter and was strongly influenced by naturalism. But his interest in social processes and moral conflicts allowed him to make realistic generalizations in his plays.

Early plays ( ʼʼBefore Sunriseʼʼ, 1889) correspond to naturalism. In them, he embodies the idea of ​​a person's complete dependence on the environment, and psychology is determined by heredity. The play is dedicated to the theme of the collapse of a wealthy peasant family, infected with alcoholism and lacking moral principles. In 1891 ᴦ. psychological drama emerges ʼʼLonelyʼʼ and social drama ʼʼWeaversʼʼ(in it he relies on the uprising of the weavers of Silesia in 1844 ᴦ.). The action in the play develops dynamically. At the beginning of the play, the weavers are a downtrodden, hungry mass, exhausted by hard work. As the action develops, they turn from obedient slaves into active fighters. Hauptmann gives in drama new type a hero-fighter in the images of a retired soldier Moritz Jaeger and his friend Becker, a weaver. The drama shows the evolution of many images: the old man Baumert is gradually drawn into the struggle, Louise Gilse is a young weaver going to the struggle along with other weavers. Her husband Gottlieb eventually also joins the rebellion. Those in power are depicted satirically.

As a pathetic folk drama, ʼʼʼʼʼʼ was highly appreciated by the progressive figures of the theater.

dramatic fairy tale ʼʼThe sunken bellʼʼ(1896) - ϶ᴛᴏ a hymn to nature. The plot is created by the creative imagination of Hauptmann, but he also made extensive use of themes German fairy tales. An important thought is expressed here - about the freedom of the artist's creativity, not constrained by the conventions of church dogma, about creativity, ĸᴏᴛᴏᴩᴏᴇ can find harmony only in close proximity to nature. Stylistically, the play intertwines romanticism, images of folk poetry, realism and symbolism.

Hauptmann's most significant play is a ϶ᴛᴏ realistic drama ʼʼBefore sunsetʼʼ(1932). In this drama, two lines are masterfully combined - lyrical and socially accusatory. Οʜᴎ are closely intertwined. Matthias Clausen saw how commercial calculation, cynicism comes in life; he condemned the world and turned away from it. This is a world not only of huckstering, hypocrisy and cynicism, this is the world of advancing fascism, embodied in the figure of his son-in-law Klamroth.

It is during this period of inner liberation from all the past that the young girl Inken Peters invades Clausen's life. She breathed life into his existence. After long doubts, hesitation, he comes to the decision to connect with her. Upon learning of this, the family is preparing for an ʼʼattackʼʼ: after all, a colossal inheritance can go to the ʼʼpoor seamstressʼʼ Inken. And they are seeking a court order to establish guardianship over the father, who allegedly lost his mind. Mattias is amazed, he has no strength to fight them. He leaves his own house. The children are trying to put him in a psychiatric hospital. And Matthias decides to die.

During the years of fascism, Hauptmann lived in seclusion in his estate and created a tetralogy on ancient themes: ʼʼIphigenia at Aulisʼʼ, ʼʼThe Death of Agamemnonʼʼ, ʼʼElectraʼʼ and ʼʼIphigenia at Delphiʼʼ. By this he protested against the regime. The dramaturgy of Hauptmann made a significant contribution to the literature and theater of Germany.

German theater - concept and types. Classification and features of the category "German theater" 2017, 2018.

Going to the Theater - German Topic

Es gibt viele Moglichkeiten, die Freizeit zu verbringen. Einige sitzen die ganze Zeit vor dem Fernseher und sehen alle Sendungen, die anderen besuchen Diskotheken. Viele gehen aber ins Theatre. In jeder Grostadt gibt es viele Theatre, in denen Opern, Ballette, Dramen, Operetten aufgefuhrt werden.

Die Geschichte des Theaters ist sehr reich und interessant. Es gibt verschiedene formen des Theatres: griechisches Theatre, Barocktheater und modernes Theatre.

Jede Grostadt in unserer RB hat ihr eigenes Theater mit seinem einmaligen Antlitz. Die bekanntesten Theater in Belarus sind das Sprechtheater in Grodno, das Jakub-Kolas-Theater in Witebsk. Mit vollem Recht nennt man Minsk eine Theaterstadt. Das Janka-Kupala-Theater, das russische Sprechtheater and a. m. sind weit uber die Grenzen der Republik bekannt. Das Janka-Kupala-Theater trogt den Namen des belorussischen Dichters Iwan Dominikowitsch Luzewitsch, dessen Pseudonym Kupala ist. Sein Pseudonym Kupala idt mit dem belorussischen Volksfest, die so genannte Kupala-Nacht verbunden. Dieses fest ist sehr schon und wird heutzutage gefeiert. Auf dem spielplan stehen die Werke von den belorussischen Schriftstellern, auch auslandischen Autoren. Die bekanntesten belorussischen Schauspieler sind Stanyta, Garbuk, Jeremenko.

Ich interessiere mich fur Theater und besuche Theater gern. Ich kann also immer wahlen: entweder in die Oper oder ins Ballett zu gehen, entweder sich ein Drama oder ein Lustspiel anzusehen.

In Deutschland gibt es viele Theaterfreunde. Allein Berlin hat uber 150 Theater, darunter das "deutsche Theater", die komische Oper, das "Berliner Ensemble". Auch in der Provinz werden Theaterstucke gegeben. Auf deutschen Buhnen fuhrt man die Werke der Klassik auf, z.B. Schillers "Kabale und Liebe". Die zeitgenossischen Werke werden auch gegeben.

Neue Titel, neue Namen - das ist immer wieder interessant. Theater ist ewig, es kann nicht altmodisch sein. Ich konnte mir ein leben des Menschen ohne Theater gar nicht vorstellen. Es ware bestimmt ein langweiliges Leben. Ich glaube, ein jeder geht mit vielen Erwartungen ins Theater. Nicht alle konnen naturlich erfullt werden. Um einmal den Alltag zu vergessen, gehe ich ins Theater, vor allem ins Sprechtheater. Ich wahle mir etwas Lustiges, wenn ich schlechter Laune bin, wenn ich aber eine gute Laune habe, sehe ich mir etwas Trauriges an.

Naturlich besuche ich das Theater nicht allein. Viel interessanter geht es mit den Freunden: man kann in den Pausen das Stuck besprechen und Meinungen austauschen. Gewohnlich kaufe ich Eintrittskarten im Vorverkauf auf, wenn naturlich keine Premiere gegeben wird. In diem Fall muss man unmittelbar im Theater tun. Ich erkundige mich immer nach den Schauspielern, die Hauptrollen spielen. Das ist doch sehr angenehm und spannend, bekanntes Kunstlerspielen zu sehen.

In der Regel beginnt die Auffuhrung um 1900 Uhr. Um halb 19 00 hole ich meine Freundin ab und wir machen uns auf den Weg. Das Wichtigste hier ist nicht zu spat zu kommen.

In der Garderobe legen wir ab und gehen ins Foyer. Dort flanieren auf und ab zahlreiche Theaterbesucher. Da sind viele Menschen: Kinder und Erwachsene warten auf den beginn der Vorstellung. Wir kaufen ein Programm und schlie?en uns ihnen an. Wenn es zum 2. Mal lautet, gehen wir zu unseren Platzen. Wir setzten uns, und jetzt haben wir die Zeit, unsere Umgebung zu betrachten. Es ist ein gro?er, festlicher Raum. Von links und rechts stromen durch die offnen Turen Menschen herein. Sie sind festlich gekleidet. Die meisten haben frohe Mienen. Sie lachen und scherzen, nicken einander freundlich zu und plaudern vergnugt, wahrend sie ihre Platze aufsuchen. Bald klingelte es zum dritten Mal. Schnell fuhlte sich der Zuschauerraum. Das Licht nahm rasch ab und erlosch nach ein paar Sekunden ganz. Stille herrschte im Zuschauerraum, man vernahm nur das Rauschen der Programmhefte. Ganz leise erklang zarte Musik, die Scheinwerfer strahlen ihr helles Licht auf die Buhne, langsam ging der Vorgang auf. Wenn der erste Aufzug zu Ende ist, klatschen die Zuschauer Beifall. Der Vorgang geht zu.

In der Pause ging ich im Foyer auf und ab und beobachtete das Publikum. Einige Zuschauer unterhielten sich uber das Stuck, tauschten ihre Eindrucke und Meinungen aus, andere gingen in den Erfrischungsraum. Es klingelte bald. Der zweite Aufzug beginnt. Alle sehen gespannt zur Buhne. Die Schlusszene ist am schonsten.

Die Vorstellung ist zu Ende. Der Vorgang fallt und die Zuschauer klatschen Beifall. Die Schauspieler haben viele Vorhange, sie bekommen Blume.

Nach Hause kehrte ich spat am Abend zuruck, ziemlich mude und uberaus zufrieden. Das eben gesehene Stuck hat mich stark beeindruckt, aber ich habe schon einen neuen Theaterbesuch vor…