Theatre

Theatre (v. frz. théâtre < lat. theatrum < griech.: théatron Placeplace place; v. theasthai looks at) is the name for a szenische Representation an internal and outside happening as artistic communication between participants (actors) and that Public. With the word "theatre" can be meant the building, in which theatre is played, or which process of the theatre making or also generally a group of humans, whatever organization form constituted in one however theatres make. "theatre" is thus a term very amorphous in the reason; those theatre "Landschaft" is so various and differentiated that one, even if one directs the focus only toward Europe (and perhaps still North America), hardly generally valid statements to meet can.

Szene aus einer Tanzperformance
Scene from a dance performance

Table of contents

Sections of the theatre

There are different sections of the theatre:

  1. Speech theatre (Tragedy, Comedy, Play)
  2. Concert hall (, Operette, , oriented its - or freely of such ambitions. Above all it is free a section of the art and therefore, as the Basic Law determines expressly. The theatre tells stories - over humans, about the life. The Zuschauer(innen) can recognize - depending on, which is represented - or discover new; the art form theatre responds intellectually, works by pictures in addition, in the Unterbewusste; to that extent theatre is an holistic experience for a public, as it does not come more mixed at other places practically any longer together. A stage happening can open life drafts confirm or konterkarieren, can new perspectives, sharpen the view for alternatives. While the actors adjust themselves on the stage, give, someone completely different one to be ("lie"), are their figures to the spectator "to appear genuinly", "real". The means, which must be used, in order to reach a public, must be up-to-date and depend also on regional conditions. Historically the theatre has always also religious-ritual roots. But already in that Antique ones (in old Athens) distinguished themselves the artists from the priests (and with these verbandelten politicians), seized with theatre means out their view overhauled Gods -, world and people pictures on, placed rather to questions as that them answers to give wanted. This controversy took place at all times and in different development everywhere in the world. And it takes place, today, also in Germany. Although the theatre is "only" a play. But this play is also again and again (powerful ones) a thorn in the eye.


    History of the theatre

    Urtheater

    Cave pictures that Steinzeithumans betray already early forms of the theatralen play. One assumes that itself ice-age hunters z. B. Skins of animals covered to represent and theatral process the vital procedures like the hunt in advance or afterwards. Thus ceremonies developed holds.

    In that show art different representations of Dancers, and Acrobat of the theatralen development of the lay entertainments at the yard that . In the fourth pre-Christian millenium coined/shaped by the social re-organization and Public administration, as well as by dominant Priest kings developed Mythologies the interpretation of the creation and the Seins. This mental development provided for monumental buildings of splendour as Window blind the theatre play, later for the large festival theatre the developed served themselves and the presentation that State religion served.

    The Egyptian Abydos became during of the middle realm (2000-1500 v.Chr.) to Scene annually Mysterienspiele around suffering, death and Auferstehung of the God . Owing to eingemeisselter designs on stone the realization could be attained over some stations of these theatralen processes.

    That antique theatres

    Theatre for the Polis

    The theatre that is considered as cradle of the evening-rural play and marks with the establishment of the Auditorium a crucial turning point and development of theatre history.

    With the new pre-Christian company form, that and God world, but a bridge to the passive Public to strike, around them one Identity to mediate, it on the national Community obligated.

    In 6. Century combined Peisistratos, Errichter of one Tyrannis in .

    Through in 4. Century sinking spectator numbers led that City state (Polis)"moneymoney money", which should compensate the visitors for their service loss. The meaning, above all also political meaning, the theatre grew ever more. Spectacular one Szenographien and schauspielerische Virtuositaet struggled that philosophical and serious Tragedy ever more the place off and became from large tragedy writers as well as as validityless judges.

    Those Comedy (originally: omit more taenzerischer Masknumzug) successfully the popular custom from the Dionysoskult on and finally rose for most in demand kind that was suitable brightistic Time up. Contrary to that Satyrspiel, which always formed the conclusion of a tragedy, was the comedy more mockery-joyfully, and both Heroen the myths and were exposed to the Gespoett. But also criticism at the dominant policy became above all through Aristophanes, which was closely friendly also with prominent athenischen philosophers, very unencrypted omitted. With end of the democracy however the comedy spent itself off from the policy and besonn itself Everyday life types.

    The Roman Antique ones

    The Roman was the result of a gigantic conquest campaign. In the 3. The Romans the center of the brightistic culture shifted century into their city. They took over those Hierarchy the olympic Gods, left themselves from Greek Architecture, and Philosophy inspire. Greek one became cultural teachers. After the victory in first Puni war the Roman left Senate Theatre performances into those Ludi romani, the city celebrations introduce. Livius Andronicus verfassste first latin tragedy. The theatre became from now on, like also before in and diverson of political Conflicts. Thus also the comedy became generally accepted, those often very discriminating against with their Protagonisten went around. With the turn to Kaiser era in the 1. Century v. Chr. popular play forms solved, mainly Pantomime, those comedy off. Also the topic adultery was frequently used and the imported Greek poets Mimus did as the first without masks and occupied woman roles with women, which should bring many conflicts for the further development of the theatre with the church.

    Important authors that Antique ones

    Quotations

    : All abstraction is derived not from the reason, but from the sum of ersinnlicher experiences. Art is imitation.

    Epikur: The desire is at the beginning and end of a blessed play.

    : The perceptible world is only the distorted shade picture of a world of ideal ideas - therefore not the Wahrnehmnung to safe knowledge, but only the reason leads.

    Theatre in the Middle Ages

    Church power and instrumentalization

    Already in the late the church took to large influence on the theatre world. Thus became in 4. Century n. Chr. the refusal to the theatre in Baptizing confession taken up and to 5. Century became the theatre attendance also Exkommunikation punished. In the beginnings of the with emergence of the Feudalismus became the cultural life almost exclusively from the Christian dominates. That Middle class, which in that Antique one still carrier of the culture was, which applied mainly for the God honour and the daily politics, lost not only political, but also any cultural meaning. The usually brachiale Christianisierung nearly the whole Middle Ages persisted and the church took over complete control of the social and public life - which in particular also the theatre should coin/shape. Which did not undergo of church control, was violent meeting with hostility suspended and became in the late Middle Ages by those Inquisition bloodily pursues. The suppression of the theatralen play, which was regarded as immoral and shameless, led to Entehrung the theatre-playing. They found only as Fool and Gaukler at the edge of the society and for amusing up Fairs and at the Hofe that Noble one their place and applied now more than representatives of the Grotesque one and Animali. The meaning of the numerous names for medieval Unterhalter how Histriones, Joculatoren, Ministrels and Act like hardly designated distinguishable career profiles. Often those had Actor several arts control, around your public with pieces of news, Mockery verses and Hero legends to please. The church instrumentalisierte the arts for the spreading of the Christian Welfare teachings. It tried to seize the holy in all senses and aesthetically to copy and use those and representing art too Educating purposes.

    Mysterien and passion plays

    In 10. Century demanded that Council too Konstantinopel humanizing the Goettlichen. That should become a turning point of the theatre culture. One main header the picture prohibition up and taped religious Rituals. Text extensions that liturgical Singing and the spielerische Process the solemn Ceremony to death and Auferstehung Christi carried for emergence dramatically Roles in the church theatre and later to more complex plays contents, which did not only convert the east he and Christmas theatral, but also Mirakelspiele contained, those the life and the acts of holy ones and Prophet or the fight between skies and hell swore to. With the detachment that Liturgie also those changed itself strictly symbolistic Play way. Jesus appeared now as humans, the religious plays shifted in 13. Century of the church room on the church free area, also the population was also merged into the play, and became against those People language exchanged.

    From this development resulted then also Mysterien and Passion plays, was there one no more to the place of the church bound no single motives, but welfare stories of the emergence of the world and up to Recent court to tell wanted. First were only Cleric in Play taken part, later one pulled then male Citizen near, in order to become fair the numerous roles of the festivals lasting several-day-long, in order to then give the play still later completely to the hands of the citizens. The passion plays found large spreading and became urban no longer only church event Fixed culture. In 14. Century also contentwise emphasis was then changed. No more the admiration Jesu, but the degradation and suffering moved into the center. Those Passion it became the mirror of the new life feeling that through Hunger emergency, and the crisis of the church and political Authority was coined/shaped, and oriented themselves ever more at that empirical Reality.

    Nearly night plays

    Thus developed in lay play forms, which were particularly coined/shaped in France. With the French Farce and Sotie, itself by their critical poet tables the view of the all daily and that scoffing church and national authorities distinguishes and only to Fastnacht one played, emancipated itself also the German Nearly at night play and did not attract Karneval the public in Pubs or up Market places with their usually unrestrained Sexual and Faekalkomik, which went usually at expense from Jews, farmers and women. The tradition of the English Morality Plays, those the fight between Vice and Virtue arrange, lives until today in the usually-played piece of the European stages, that Everyone away, since 1920 the opening that Salzburger of festivals coins/shapes.

    Admitted authors of nearly night plays

    • : It wrote 4000 master songs and 87 nearly at night plays

    Renaissance - ages of the discoveries

    With the end of the Middle Ages the theatre won new functions in the hoefischen and church Representative office. While the citizens the medieval Mysterienspiel had taken over firmly, lit up yards a new Elite culture. Holidays became also celebrated. Hoefi buildings of theatres, theatres within more fuerstlicher Residences, in garden plants integrated Hedge theatre, buildings of churches, those the performance of religious operas and Oratorien permitted witness from the customs change. Those Modern times was coined/shaped by drastic , und geistige Entdeckungen, durch das Scheitern der mittelalterlichen Kirche und durch die Besinnung der Philosophie und Kunst auf den Menschen und die Entfaltung der freien Persönlichkeit. Im Theater der Humanisten erkennt man erste Ansätze zur Tradition des „klassischen Dramas“, in dem eine spannende Handlung durch Dialoge vorangetrieben wird. So folgte auch, dass die Orte der Handlung nicht mehr simultan nebeneinander standen, sondern chronologisch durch Szenenumbauwere animated. One already taught the "antique drama" in the Middle Ages in the schools, however the imaginative power for those was missing antique performance practice. Only it succeeded to reconstruct the human of the modern times antique play forms. took up the new "classical culture wave" with enthusiasm, were however less at details Reconstruction classical dramas interests, how that the human scholars were, but more at splendid equipment and later then at the loosening of the play by addition of burlesken Dances. While the tragedy during that hardly attention got, the comedy was admired. At the Hofe of Ferrara the first glossful center for the revival antique comedies and a little later developed the creation "COMM dia. erudita", a people-linguistic scholarly comedy. Lodovico Arisot, leaders of the Yard theatre from Ferrara, largest successes celebrated also at the Hofe its Stage works as "La Cassaria"and"I suppositi“. But the most famous Renaissance comedies wrote Niccoló Machiavelli, that those antique models aside threw and a sharp Portrait that Customs and Vice into the works built to its time. With the tragedy scholars sit down mainly theoretically apart and led from the work "Poetik"of seal off. To the most important laws the three units of place, action and time belonged. But already early the comedy at meaning lost and "Comedia dell'arte", those Standing grab comedy, as well as that Shepherd play you wrung out the place. The shepherd play combined Komik and Tragik, one dissociated itself from political and social crises of the present and formed gloss world. The shepherd play took large influence on the development of the opera. In 16. Human that discovered century didactical Worth the theatre. To instruction and as the school theatre recommended) took one latin theatres into that Curriculum up.

    Important representatives of the Renaissance

    Comedy

    Shepherd play

    The baroque age

    At no more time the theatre was loved than during the European Baroque. The play on the stage applied in 17. Century as perfect Image and Symbol a glossful world. The fall of the Feudalismus and the victory of the Absolutism old values fell and sharpened consciousness for light and its. The comparison between world and Stage, on each humans it course-thought Role plays, controls the works of and Pedro Calderón. Humans as true image of the society and its-same, God as and spectators - this picture in the entire baroque culture one nachgeeifert and unfolded in more glossful Theatralik. At the absolutist Hofe even the everyday life life theatrical was arranged and with everyone Production one wanted to exceed the previous. The demand after Dramatik and theatralen festivenesses continued to increase, which shifted the profession of the dramatist into a bloom time. In the large cities came more urbaner commercially Theatrical enterprise in addition. Ever more largely becoming crush and extension of the play demanded soon the modification from the hoefischen theatre to Folk theatre - first Looking boxstages developed, later were then furnished auditoriums, with ranks and Logen, the one Hierarchy the society to illustrate should. received in 17. Century the theatre to Goose market, too Times of the fair taped house. The pieces arriving at the performance cost Tragik and Komik out and lived on skillful force productions, dance and music inserts. Spectators of all layers visited the performances. Less fixably that developed commercial theatrical enterprise for the civil Public, which firm of performance places and locally resident troops were missing. Urban one Festival rooms like market places functions could transfer here in the theatrical enterprise. Text basis of the troops became in all rule only in Manuscripts fixed. The enterprises traveled also Repertoire from up to 80 pieces by Europe and selected often locally what had here longer not been played, for those Production out. Hardly more than into the 1720ern in handful fixed head and Act of state ions from this theatrical enterprise in the pressure survived. High Schools integrated theatre performances into the school enterprise - the performance place of most that today as baroque dramas acted pieces.

    The baroque theatre was a catchment basin of most diverse theatraler kinds of the previous Epochs and storage tanks of most diverse cultural art trends, which were taken up again and again by traveler groups of theatres and into their productions were built. Already in that emerging "Comedia dell'arte" was considered as the theatre form absolutely, with it emancipated itself that Play of that . Improvisationskunst and fireworks more mimischer, and more choreographischer Ideas were their characteristic and inspired not only that Middle class with their commercial adjustment. More highly settled in contrast to this the hoefische theatre was, into the center 18. Century European-wide operas and comedies granted privilege. By any means this may not be misunderstood: The operas were since 1600 the high theatre - the pieces published usually printed, in order during the performances to be read, in order to remind after the performance of the piece, in order to become read as poetry and estimated. The most famous opera poets publication their works beside it in expenditures for collecting - those Texts without those conquered, experienced a triumphant advance to that yards.

    The elisabethanische theatre

    1576 built James Burbage first theatre and took over thereby the round form of animal at that timearenas. With this building James Burbage gave the impact for true theatreboom, all social classes were packed by a theatre obsession. This Boom is above all also that Monarchin Elizabeth I. to owe, those with their art and sense of business after that Civil war in 16. Century an economical and cultural center formed. The theatrical enterprise that Shakespearetime won influence in and later on that Repertoire the continental theatertruppen. English the play troops covered approx.. 15 members, up more genossenschaftlicher Basis worked. The actors lived on their part of the Proceeds the conceptions. Played excluding men in a group (also woman roles). One played on the day, around that Lightingto go around sproblem. Also the curtain was unknown. Requisiten during the play on the stage were carried. Costumes were suggested. Important troops were those

    like small business enterprises functioned. The actors brought in as partners Betriebskapital and became at the common Profit taken part. Of the center 16. Century to 1642 became in England approx.. 5000 pieces specified, from which today 620 is received in the pressure.

    Acquaintance Dramatist are here:

    Between 1567 and 1629 developed theatres in London:

    The designated houses were similarly built: A pit formed the stehplaetze for the poorer population. Around these a multi-storey, considered ran Gallery with seats for realms, which turned away meanwhile gladly from the hoefischen theatre and which public buildings visited. In the center of the pit was a increased playlanding, which was well observable also by the galleries. On the large stage were still times a small stage and those Clothes for the actors. On clothes was Balcony, which was covered by a straw roof. On this straw roof was the tower for that Trompeter, which announced the beginning of conception. In the tower was the flight machine for special appearances of the actors. On the roof of the tower the flag with that blew Emblem the appropriate theatre. With the Swan theatre Comedia formed under the over term:

    • Car of sacramentales (einaktige allegorische Fronleichnamsspiele)
    • Comedias EN capa y espada (coat and pieces of sword)
    • Comedias del teatro (complex produced historical plays)
    • Comedias de santos (Holy legends and Martyr tragedies)
    • Comedias de figurón (forerunner the charactercomedy)
    • Entremeses (einaktige farceful intermediate plays for celebrations)
    • Burlescas (Possen and Persiflagen)
    • Fiestas (hoefische festivals also and "- correspond and may only of trained personnel (z. B. of Meeting technicians) to be served - over only some for the numerous build -, to mention fire and safety-relevant editions.

      To the modern theatrical enterprise aufwaendige light and tonanlagen (both today usually computer-controlled) belong, for which also only trained technical personnel is to be begun.

      The large houses have sufficiently large side stages, on which the window blinds and Requisiten for the different scenes of the current piece to become "hidden" to be able. Those Hinterbuehne nowadays in modern productions as welcome possibility is seen of reaching large depth of the spielflaeche. Those Upper stage, that Schnuerboden ("stage skies"), is at least just as high (already because of the iron curtain) as the visible stage. Since hangs above, which with the change of the stage from a scene to the other one at curtains, sceneries u. A. by "courses" to be let down can. In stage proximity one finds artist clothes as well as hand magazines for the daily requirement at Requisiten and decorations.

      Neben den ausgedehnten Magazinen, in denen Kulissen und Requisiten aller abgespielten Produktionen und der Repertoire-Stücke gelagert werden, gibt es auch einen großen Fundus, where the frequently enormous existence (of partially already very old) costumes is kept, to which can be fallen back again and again. In the building of theatres also many workshops (malersaal, carpenter's workshop, lock-making, schneiderei, Maskenbildnerei, electrical workshop) are accommodated as well as the offices of the administration.

      In Opera houses and multi-economical buildings sits between the first seat row and the stage ramp the orchestra in Orchestra ditch, , and Operetten it is lowered, but with play productions is highly driven whereby the stage is extended forward. Large houses have Revolving stages. Facilitates that Scene change and made possible just as inszenatorische characteristics as the possibility, the stage soil in segments lower hydraulically or over the normal level highly to drive to be able. The auditorium in the theatre is to be darkened normally completely, which in particular to Begin of a conception is practiced to remove in order to lead the public in this phase as it were into another world, of "before". The dark auditorium makes possible also Blackouts (with those by "switching off" the buehnen-Scheinwerfer the entire area becomes at one blow dark). Because the auditorium is illuminated during the play darkly, the stage however from direction of the spectators with headlights, the participants on the stage are "dazzled". They do not see the public. They play against the "fourth wall", which is established by the brightness of the EN face lighting.

      Except the stage in the large house the large theatres have sample stages, entrance hall stages and the like. Since the 60's of the last century, when small stages with at that time new pieces and many experiments caused sensation, the large houses have usually also studio stages, workshop stages and podiums, which are shared to this avant-garde competitor outwardly (up to the "open" technology), and in whom a "recent" play plan are maintained.

      Many new buildings turn off from the traditional Looking box stage to Three-dimensional stage, Arena stage and Rundumbuehne, in order to reach another spectator actor allocation (is so again however also not, thinks one of those ShakespeareStage, "Globe"). So that the happening has a direct connection to the public, stage and auditorium turn into architecturally into one another. There is (always times again flashing) a dispute under Theatermachern over it, whether it does not contradict the nature of the theatre, to set the spectators approximately around a stage. Critics of this only practice apparently modern from their view mean, none would develop (stage)"Raum", the secret "behind it", the imaginary other, not visible areas would be lost. In addition be missing the spectator focus on the happening, which fantasy over "behind it" cut. One becomes the observer of the respective other visitors, which prevents the observed ones from the complete concentration, negatively affects it and makes the rezeption of the stage happening impossible with all senses. If one observes the current theatre happening, one determines: Also otherwise freely and unorthodox working Theatermacher seizes, which concerns the allocation stage/auditorium, rather again to "old" practice.

      Structure of a today's theatre

      In a theatre humans co-operate, who have very different occupations. Particularly in the theatres in public working group, in addition, in most with these comparable larger private theatres "is produced" arbeitsteilig. There actors may perform for example no technical work. On good co-operation that artistically and not-artistically persons employed depends the success of theatre productions. It gives however more theatres, in which such divided working is not possible and/or intended.

      Organizational range

      Theatre in public working group usually artistically led of the director (of the Intendantin). Directors of city theatres for example are selected (for a certain time) by the advice of the municipality. Usually (more beamteter) an administrative manager is posed to the side. The director contracts specify the field. In addition details belong, for example whether and how often the director (the Intendantin) produces even in the own house whether and he/they how many foreign public works may take over. Also basic conditions are fixed, so the number (new)Inszenierungen (in the sections and category) per play time and much more besides.

      In close co-operation with that Dramaturgen for, better two years in advance the complete play plan is ergestellt. It is basis for all arrangements up to the loosening of past contracts and too (new)Verpflichtungen within the range artistic personnel.

      The artistic Operating office (KBB) are approach place and tie point for all subranges. The KBB is an organizational unit, the all tasks, persons and procedures coordinated.

      Those Press- and Public work is responsible for the connections after "outside", to the media and other partners,; it publishes press releases, it steers the advertisement (Posters, Flyer, Postcards and Monthly form tractor etc..), and there are specialists for co-operation with visitor rings, schools, with the recent public and other target groups in many houses. The work of the marketing departments of the musical houses and other private theatres is regarded than central for the success of the house. The ladder of theatres in public working group set rather on the alleged attractiveness of their artistic offer, stand for the "sales" of their products reserved opposite and rely on ever less seizing conventional means and ways with the effort to reach it - or a new - public. See in addition also The theatre and its visitors of Armin small.

      The administration, to which also a personnel department belongs, plans, controlled and balances all finance and administrative procedures. The budget of the publicly carried theatres is given by the carriers, including the self-incomes which can be obtained. In the last years no more will not proceed in accordance with the come-ralistic system, on the contrary the theatres receive budgets, which more clearance leaves with using the funds. Already smaller city theatres have alone within the not-artistic range several hundred coworkers.

      Artistic range

      In the theatre many work on and behind the stage:

      Technical range

      Most theatres have own departments, divides into

      • Technical line (technical director with assistants) for the total responsibility and organization of all technical departments,

      From the technical departments large becomes in the theatre Technical skill, invention wealth, Flexibility and understanding for artistic processes requires. In many smaller and so-called free ones and Off theatres is often limited the technical range to a minimum.

      Theatre and economics

      Public working group

      There are approximately 150 theatres in Germany in public working group. These houses are supported with means from land and local households. The incomes by map sales (self-portion) amount in these theatres on the average to approximately 20 per cent entire act. A theatre ticket in Germany is supported on the average with 95,74 euro. Is called turned around: If the support of the theatres would fail in public working group by these public carriers completely, each visitor would have to pay 95.74 EURO to each ticket more than at present. Despite all financial bottlenecks seem the land parliaments and the town councillors, which decide the households to regard these freiwilligen achievements for theatres as in the long run justified; besides they are particularly bound with the not-artistic personnel as employers to collective agreements. There however nevertheless those Subsidies in the last years or also shortened, look the theatres were frozen for other sources: Maezene, sponsors, promotion associations and donations (Federal culture donation).

      Voices, which say, are: Socially weaker one would have frequently neither time nor money to visit a theatre the "theatre consumption" (?) is in superiores property; Playgoers belonged rather to the good breadwinners. A subsidy dismantling would relieve - in such a way the critics mine/state - poorer humans. Besides determine the straight good-earning minority, what has to please humans, and would leave yourself also still the along-financed by tax fundses. There would be other cultural activities (skirt concerts z, B.), which were not promoted with public means, although (or straight because) they would respond a broad mass.

      Appearance theatre

      Not each city, not each municipality can maintain its own theatre, possibly with firm ensemble. An alternative for such municipalities, which attach however importance to a broad cultural and even artistic offer, are appearances: In some cities there are correct theatres, to other cultural centers, hall constructions, Congresszentren or other play places with the appropriate technical mechanisms, which are necessary for good performances. There are also municipalities with own theatre ensemble, which nevertheless make appearances possible of tour organizers in other play places, whereby in these cases usually star of the Business to the course come, of star at violin, piano or other solo instruments over famous symphony orchestras up to current dance performances. The cities and municipalities with play places, but without own ensemble closed to a federation together.

      The advantage of the tour theatre model from view of the guest-giving municipality: It is possible for variety at different performances, since numerous tour theatres offer productions, without the continuous costs of a theatrical enterprise result. Besides the tour stages could be moved because of the competition among themselves more easily too for the organizer more favorable conditions in the last years. Additionally urge in the concert hall (opera, Operette, musical) Eastern European ensemble strengthens to Dumpingpreisen on the market. In addition, the financial advantage of the organizers has a drawback: Because of the falling fees and because with the organizers numerical success (cash income) moved also more and more into the foreground, the general level (refrained from highlights) sank rather. Much maintenance theatre is ordered, to Schwaenke, comedies, crime films. Usually into the ensemble consisting of predominantly young (and thus inexpensive) actors a course horse made of film and television is built. Current authors, contemporary topics, modern piece selection fall to a large extent flat. An ensemble theatre in a city can make completely differently theatres for the city than a tour stage. Those delivers - independently of what runs in the city otherwise - its conception and drives on. From it to make apart theatres with own firm ensemble have also numerous appearances, above all the national theatres, in addition, other stages. Usually many partnerships resulted firm.

      Private theatre

      Beside that approximately 150 publicly carried theatres (city theatres, national theatres and national stages) there are about 280 private theatres. Those are theatres of most different size, artistic adjustment, provenance and tradition. Approximately 80 of these private theatres is organized in the German theatre association (examples: Old schauspielhaus, Stuttgart; Ohnsorg theatre and Schmidt theatre, Hamburg; Comedy at the cure prince dam, Berlin; Comedy in the Bavarian yard, Munich). There is hardly something that applies to all private theatres equally, it is in more artistic or in organizational-administrative or in financial regard. Some of these theatres are more largely than city theatres and have the same "apparatus" (administration, workshops, large ensemble), other private theatres are so small the fact that there is no division of labor and all work makes all involved ones (must).

      While to those not-artistically persons employed at city and national theatres the collective agreements of the public service apply, those work artistically persons employed - with exception of the orchestra musicians - usually on the basis of limited work contracts.

      The private theatres, which must gain larger percentages of their moneys from self-incomes than the publicly carried houses, are not bound to the tariffs of the public service. However they turn usually the "normal contract (NV) stage" on (above all the houses, which from the structure and the size in public working group approximates the stages) - or however they work after individual regulations (free contracts). Usually they can employ neither in the artistic nor within the not-artistic range firmly. One works rather also freely negotiated fees per played conception. Since in small and medium-sized towns only few days per week can be played, the fees fail for the artists, on the month, there low counted. On the stages of the larger private theatres however regularly the German TV- plays and cinema star of Mario Adorf and Uwe ox farmhand over Heiner loud brook to Judy winter, Katja Riemann and Desirée nods. The occupation notes of some private theatres read themselves like "who is who" the German show-bizz.

      For the reasons mentioned the more well-known private theatres in large cities are, there by the spectator arising (inclusive tourists) the enterprise rather count themselves.

      While the publicly carried houses in the play time 03/04 a minus of approximately 300.000 spectators to accept, had the private theatres (to those also the musical houses to belong) had a visitor increase of approximately 500.to register 000.

      Review: Most of the today's city theatres developed on private initiative and were led also first as private theatres. Still at the beginning 20. Century were there only 16 city theatres within local responsibility, but there were 360 private theatres.

      View over the borders: At Broadway there are approximately 30 private theatres, in the capital of our French neighbours 250. A scarce half one hundred of renowned private theatres participate, in those also cinema star such as Gerard Depardieu, Alain Delon or Claudia Cardinale on the stage go.

      Private theatre in Hamburg Private theatre in Bavaria

      As a production is realized

      Within the whole theatre range there is nearly nothing that runs off according to "pattern F". Particularly within the artistic range, where extreme individualists works. The production ways of theatre Ensemblen like the famous Living Theatre, of stages as of Inches Stewart created, world-well-known La mummy experimental Theatre Club or of extravaganten Theatermachern how Peter Brook can hardly be compared with what in (landlaeufig) the German stages synonymously set with "theatre" in public working group is everyday life. Theatre human being and Literaturnobelpreistraeger () Dario Fo and its wife Franca Rame for example went frequently without finished text on the stage, improvised and let a volume run along. Subsequently, the volume was copied, in order to fix the text for the next conception. But were already changed with the next conception on the following day 50 per cent. At the end of a performance series then the text was so far fixed that Libretto sequels for other theatres from it to be made could. Above all Free theatres, many small stages and completely particularly Dance theatre-Ensemble (actually all ensembles, which do not reject arbeitsteiliges producing know or consciously, and itself more than Theatermacher see muddled on or other way similar). Which thereby comes out often is on high artistic Level. The books concerning the different unorthodox functions and methods fill in the meantime . In addition, in the rather conventionally seeming large houses is long no more all 08/15. Here nevertheless once the "classical" career/development of a production is to be after-drawn.

      1. From the enormous quantity of old and new works/pieces the artistic line selected one.
      2. Actor, , Regieassistent and Ausstatter are occupied.
      3. Director and Stage designer provide a conceptional szenischen Draft on the basis one Direction concept.
      4. Dramaturg and director usually provide a line version of the text for their production, i.e.: They shorten. With pieces, which are not subject (more) to copyright (classical authors for example), often also changed over and inserted. With pieces, for the performance rights acquired and according to contracts made (completely besides: also paid) to become to have, is held percentages of profits in the contract, what may make the direction with the text and which not. Is the director of the authors of the work of art, but that means it that he may proceed with each text in accordance with discretion.
      5. In read samples first outlines of the roles are compiled. The actors study their parts.
      6. Stage music (with plays), if it one gives, in order one gives.
      7. The stage designer sketches that Scenery. That Kostuembildner orients itself to that slowly outline winning "figures" and arranges the costumes. If necessary, peruecken are made.
      8. The scenery is presented in a building sample all involved one and marked on the stage.
      9. Parallel one continues to try to find and compile the roles. "classical" line up to the read samples before specified first placing samples, with which composes pictures, constellations on the stage to be found. Whereupon piece samples follow, with which individual scenes are brought in river. In times of shorter sample phases and due to other view of the co-operation of the director with its participants the two kinds of sample are mixed rather with one another. In each case that holds Regieassistent in Direction book with the utmost care and details firmly, which is arranged at courses, gestures, expressions and other darstellerischen details. With pencil - can change because up to the premiere of everything again and again.
      10. Those Window blinds (usually in the theatre workshops) are built. Sample costumes are taken from the fundus and the original costumes in the schneiderei are mostly made or by changes from the fundus provided.
      11. Technical mechanism. The original scenery is developed for the first time in the stage area.
      12. Technical sample light - the headlights are aligned for the performance. In the signal tower in the computer the "pictures" are programmed.
      13. Final samples. Those are usually runs, it are, if it is necessary, to be only interrupted. Old theatre hares, which on record theatre rules coined/shaped by superstition and experience, require seven runs, of it three as main samples.
      14. In the main samples as as possible everything is to run in such a way, as it is meant later; in original costume and in the correct mask is rehearsed, the scenery stands, all Requisiten is in the play and the technology (light and clay/tone, thus music and noise) is complete. The director addresses corrections at the play of the participants, at light and clay/tone bringing or other one after the run. It is today quite usual to make main samples theatre public to thus permit theatre member as spectators. Of it the direction team of explanations promises itself, can intervene on reactions correcting.
      15. Those General sample a run is "with all Drum and to". Only in the extreme emergency in the general sample one interrupts. There is increasingly the practice of public general samples. Depending upon exit of the general sample there are last corrections before that
      16. Premiere. The premiere is first of a whole number of further performances. "classical" meant must be as identical the further performances to the premiere as possible. (Bert break an accuracy did not demand up to the second, in its theatre set it for deviations tolerable from its view conventional penalties. Robert Wilson it produced expirations of stage so precisely exactly that the actors had to feel properly matching merged as into the "machinery".) legal can require the director as authors of the work of art that its production is not amended, also not of the directorship. It is the art of all at a performance took part, which compiled each further mark together up to the premiere repair, reproduces to be able. With layman performances the premiere tension is so large that a packing stage happening is often supplied. Professional actors must be able to develop this tension also with the xten conception. There is then in addition, with professionals famous "second", with which the tension yielded somewhat and easily errors inclusively-calibrates itself. Deviating from the classical view also considerable theatre people regard (as for example George Tabori) the premiere as passage stage. It is for the first time publicly shown, what was up to then reached. And also after the premiere further worked after the slogan: "even if it up to then was good, can it become still better."usually it means also, a production must prove itself in the first seven conceptions before public.
      17. Requisiten and Costumes etc.. by the Requisitenmeister, the Requisiteuren and Garderobieren for the next performances are prepared.

      The controlling of all technical procedures as well as the appearances of the actors during a performance leads that Inspizient. The regieassistent takes over the evening play line, resumption or Umbesetzungsproben of a current piece.

      Literature

      Stage magazines

      See also


      - pictures, videos or audio files
      - pictures, videos or audio files
      - quotations
      - word origin, synonyms and translations

 

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