Siegfried Jacobsohn

Siegfried Jacobsohn (* in , † 3. December in , Jakob Tiedtke and Richard Leopold.

Still as a student became Jacobsohn of Light courage of Gerlach as theatre critics for the citizens of Berlin weekly paper The world on Monday engaged. "this young man", remembered Gerlach later, "each evening of his pupil existence in the theatre had literally spent. It knew each actor in each role, and it knew the entire stage literature. An accuracy of the judgement, which seemed hardly conceivable at such youth. It was a phenomenon "(Frankfurt newspaper, 8.111926, 1. Morning paper).

In that World on Monday appeared in March 1901 Jacobsohns first contribution. In June 1902 it received a contract as an editor with a running time from three years. In September 1902 he transferred additionally the theatre correspondence for the Viennese daily paper The time.

It formed itself fast as sharp critics of Dilettantismus on the stage and shrank from themselves 1902 in the argument over Hermann Sudermanns Disputation The brutalization in the theatre criticism also not, that Berlin day sheets to attack as the "seat of the art corruption". In November 1904 the feuilleton editorship of this daily paper appearing in the MOS SE publishing house took itself revenge, by accusing Jacobsohn of the plagiarism in two cases. The agreements with texts of the theatre critic Alfred gold explained he with the fact that after the work on his book The theatre of the realm capital in its memory "of strange authors of words, pictures, sentences and whole record sequences [ schlummerten ], which by the smallest association waked" are. Despite the Fuersprache of Maximilian Harden and essay The stagestage stage as moral institute regards the title The stagestage stage received, appeared to 7. September 1905. To the most important coworkers belonged Julius Bab, Willi Handl Alfred, (starting from 1908), Herbert Ihering (starting from 1909), Robert Breuer (starting from 1911) and (starting from 1913).

Of 1913 Jacobsohn on opened the "lamella", like it its magazine gladly called, gradually also for political topics. In April 1918 designated it it in around and it developed to one beyond Germany admitted pazifistischen Forum political linking. With the reorientation gradually also the coworker profile changed. And Tucholsky belonged further to the close circle of the authors. In addition u came.A. the political journalist Kurt Hiller (starting from 1915), the political economist Alfons Goldschmidt (starting from 1917), the satirische writer Hans Reimann (starting from 1917), the joint founder that German peace company Petrol Lehmann Russbueldt (starting from 1918), the social-democratic politician Heinrich Stroebel (1919/20), the art critic Adolf Behne (starting from 1920), the writer Walter Mehring (starting from 1920), the restaurant journalist Richard Lewinsohn (starting from 1921), the journalist Friedrich they castle (starting from 1921) and the political editor (starting from 1926).

As a theatre critic Jacobsohn was antipode of as theatre leaders and a director far more highly than of Petrol Brahm. Reinhardts turn to an arena theatre, those in Berlin into the change of the circus Schumann to 1919 opened Large schauspielhaus , he flowed disapproved however decided. After the First World War it set large hopes into the work of Leopold Jessner as a director of the national schauspielhauses in Berlin, registered also attentively the productions of Ludwig Berger, Juergen Fehling, Heinz Hilpert, Berthold quarter and finally .

Of Jacobsohn beside the classical authors, here above all . Hopes, which he set on the neoromanitische Dramatik, would not fulfill themselves for it however. That was probably a substantial reason for its 1913 using gradual politicalization. He judged the stage works of the expressionism - with exception of the pieces of George emperor and Ernst Toller - extraordinarily critically: "in this whole generation of poets", he wrote in that Stagestage stage of 14.3.1918, "are the actual Dichtertums too few."

In the time to the Weimar Republic Jacobsohn belonged to the few theatre critics, those immediately the potential of authors how , Arnolt Bronnen and recognized, although it - as it confessed Herbert Ihering 1920 - long theatre tiredness troubled.

By "consulting the correct ones", so Kurt Hiller 1950 in its book Heads and Troepfe, Jacobsohn accomplished a "enormous ascent" of its sheet after the First World War. Remarkable it is above all that Jacobsohn opened it also for contributions to topic areas, which were politico-cultural important for it however in the slightest because of the heart was not. For this above all film criticisms count, for which it Hans Siemsen, Franc Warsaw, Roland pit and Rudolf Arnheim as a coworker to win could. Also in the music criticism set it new accents, by it - Gegener of the music even decided - the social-democratic Wagnerianer Klaus Pringsheim with the music criticism entrusted.

Politically it approached already toward end of the First World War more and more the positions that USPD. 1918 it engaged itself for short time in Hillers Advice of mental workers, left it however soon, because it the editorship work for those World stage , he appeared more important also by parties not to be taken in did not want and to him doctrinaire positions contrary was fundamental. It did not show fears of contact of social contacts about also Oskar of Hindenburg, about what it Tucholsky ironically to Paris reported. As this its journalistic polemik against realm president Ebert, it Jacobsohn with prophetischen words increased, admonished the alleged "betrayer of its class", in the excessive in November 1924:

Leave finally Ebert in peace! First of all you will back-long yourself from its successor bitterly for him. Secondly body extent is not an argument. Thirdly I would like to experience times, what you would say, if a German national delegate were a German national realm president (...) fourth it reached in tough fight the dissolution realm tags, and it that means that I remain keeping further to you and pays content, while you could have looked for me and your money at a new right government in the mass grave.

Jacobsohn was expressed a contentious character. In the column "answers" and in own articles and article rows he attacked also opponents, of whom one could do mine, it his support would have earned: Thus it came along 1913 to a violent conflict Theodor Lessing, after Jacobsohn its appraisals over Hermann Sudermanns play The good reputation had printed and Sudermann therefore the courts endeavored. After it itself already around 1918 also Stefan Grossmann ueberworfen had, state Jacobsohn 1920 due to Zwischentraegereien, Grossmann can from directors for positive criticisms be paid (1922 it had to take this reproach back). he accused 1925 - on a reference of Kurt Tucholsky - Heinrich Fischer unauthorized way of the plagiarism, which to the final discord also Karl Kraus led, - although charakterlich completely similarly stored - it in that Torch/flare one "at morphinism bordering urge to the ' Vorknoepfen '"certified. Jacobsohns actually brought sometimes rashly, because not sufficiently by searches secured attacks it in the course of the years of approximately forty processes, from which it won many, but not all.

Jacobsohn was active also for numerous other Periodika, among them those German on Mondays newspaper (Berlin), those Frankfurt messages, those Weser newspaper (Bremen), those Prager press, that Prager day sheet and those Time in the picture (Berlin/Munich/Vienna).

Its weekly newspaper The world stage became after his death first for some months of Kurt Tucholsky, then of Carl von Ossietzky resumed. 1933 were forbidden it and their archives were konfisziert (it is since then verschollen).

Quotations

• "I believe that it would be a benediction, if all critics of the theatre placed so incessant demands, if all took the theatre as importantly as I. Because I take it not as self purpose importantly, but as means for the purpose. I know that it reflects the life, but I know also that it retroacts in the life. It is my conviction that it with unsrer policy, which public lives, which traffic of humans and each branch of the art in the measure will become better, as the theatre, which I mean, at soil wins; and I hope that I will be uncomfortable still rather for a long time for a society, which completely kannibalisch probably is in putrid conditions of the present, and which does not know at all, why it is to be able to be brought from its peace."(S.[ iegfried ] J.[ acobohn ]: The case Jacobsohn, Berlin 1913)

• "as critics me the life makes happy only if I praise can; and the obstinacy, with which I pursue some artistic land troubles, therefore gets its Unterton of provokingness that I these features its complete lack of praising worthyness bitterly bad. They refuse me to unfold my best characteristic; and this stagnation makes my blood gloomy and intractable. One of the beauty marks, which one notes at me, has here their origin. But one notes it, one notes her all confidently. Because when object of the criticism makes the life happy me only, if I am blamed. This blame waives the laehmende effect of the blame, which I must unfortunately express, again: it keeps me supple."(Siegfried Jacobsohn, in: The stagestage stage, 10.1.1918)

Works

• The theatre in the realm capital, Munich: Albert Langen 1904.
• Max Reinhardt, Berlin: Erich tear 1910.
• The case Jacobsohn, Berlin: Publishing house of the stagestage stage 1913.
• The first days, Konstanz: Reuss & Itta publishing house 1916.
• The year of the stage, 10 Bde., Berlin: Oesterheld & CO. 1912-1920, publishing house of the world stage 1921.
• Max Reinhardt, 4. and 5. completely changed edition, Berlin: Erich tear 1921.
• Letters at Kurt Tucholsky 1915-1926, hrsg. from Richard of pay-hope, Munich, Hamburg 1989.
• Collected writings, hrsg. of Gunther nickel and Alexander Weigel in co-operation with Hanne break man and Johanna Schroen, Goettingen: Barrier stone 2005.

Literature

• Joachim miner: The stagestage stage - the world stage 1905-1933. Bibliography and register with lists of new publications, Munich u.A.: Saur 1991.
• Axel harrow-break: Over Siegfried Jacobsohn, in: Hans Juergen Schulz (Hrsg.): Journalist over journalists, Munich 1980.
• Alf Enseling: The world stage. Organ intellectual linking, cathedrals: C. J. Pale 1962.
• Hans Mayer: Siegfried Jacobsohn before the stagestage stage and world stage, in: Ders.: To the German literature of the time. Connections, writer, books, Reinbek 1967.
• Rolf Michaelis: From the stage world to the world stage. Siegfried Jacobsohn and the stagestage stage, Koenigstein/Taunus 1980.
• Gunther nickel: The stagestage stage - the world stage. Siegfried Jacobsohns weekly revue and its aesthetic program, Opladen: West German publishing house 1996.
• Oswalt, Stefanie: Siegfried Jacobsohn. A life for the world stage, Gerlingen: Bleicher 2000, ²2001, ISBN 3-88350-665-6
• Alfred: S.J. and > the Weltbuehne<, in: The world stage, Jg. 23. NR. 48 of 29.111927, S. 830-832.
• : The solid schwaermer, in: Ders.: The lawyers of the literature, Stuttgart: DVA 1994, S. 203-216.
• Kurt Tucholsky: Memory of Siegfried Jacobsohn, in: The world stage, Jg. 23. NR. 48 of 29.111927, S. 810-812.
• Rolf Schulze: The theatre critic Siegfried Jacobsohn, Leipzig o.J.
• Wolfgang Steinke: The journalist Siegfried Jacobsohn as theatre critics, Berlin 1960.

Web on the left of

• Literature of and over Siegfried Jacobsohn in the catalog that DDB
• Article in that South German newspaper
• Article in New Germany