Gal. 77—P. M. L. A.-1108-10-12-31E-p. 312-B-J-Schinnerer—U. A.
On March 7, 1022, Reigen was produced again without disturbances.
The police had taken elaborate precautions. All entrances but onc were
closed, and every ticket-holder was closely scrutinized. Policemen and
detectives were profusely scattered throughout the fovers, the auditor¬
ium, the stage, and the dressing rooms. Thus the Vienna chapter of
Reigen closes.
It now remains for us to relate briefly the fate of Reigen in other
cities. On December 31, 1920, and at intervals thereafter, it was pre¬
sented to the people of Hamburg in the Kammerspiele. No disorder was
reported until the middle February, 1921, when there was a minor
theatre scandal. Although the audience had been warned against demon¬
strations by Director Ziegler, there were hoots and whistling in the fourth
scene.4
In Munich it had its premièrc on January 22, 1921, in the Schauspiel¬
haus. Contrary to expectations no disturbance tock place. On February
5, however, at the end of thethird scene, a woman shouted“Schweinerei“
and this seemed to be the signal for a general riot. Others yelled Sau¬
stall, Gemeinheit, Unverschämtheit, Frechheit,’ police whistles were
brought into play, and a deafening noise ensued. Weshall let the Münch¬
ner Neueste Nachrichten (February 7, 1021) continuc the account:
Ein Segen von faulen Eiern und Stinkbomben unterstützte die Offensive ... Die
Verwendung solcher Waffen beweist auch, daß der Sturm organisiert war, denn
Stinkbomben pflegen arglose Leute nicht ständig bei sich zu führen. Leider auch
keine Gasmasken. Vorsichtige Damen hüllten ihre Abendtoiletten in den schüt¬
zenden Mantel und besonders Erwartungsvolle hielten den Regenschirm parat.
As there was danger of a panicthe performance had to be discon¬
tinued. The play was thereupon forbidden bythe police.
In Leipzig it was staged in the Kleines Theater on January 22, 1921
by Director Fritz Viehweg. Purchasers oftickets had to sign the following
declaration:
Die Unterzeichneten erklären, daß sie freiwillig die Aufführung des Reigen be¬
suchen, gegen den Inhalt der Szenen keine Einwendungen erheben, und verp¬
flichten sich, die von ihnen gelösten Karten nur für sich zu verwenden oder nur
an gleichgesinnte Personen, nicht unter achtzehn Jahren, weiterzugeben.“
On July 4, 1921, it was produced in the Neues Theater of Frankfurt
a. M. without interference. Admission was limited to subscribers who
hadto declare that they would not take offence. A public protest, how¬
ever, was issued by the Theatergemeinde des Bühnenvolksbundes.?
In Hanover these scenes were acted in the Fesidenztheater in Septem¬
ber, 1921. The president of the police had at first issued a prohibition
against them, but this had been withdrawn the next day. Thirty-eight
Protestant societies and organizations joined in a public protest. Later
in the month a statement denouncing Reigen was issued by the Associa¬
tion of Catholic Societies of Hanover and Vicinity, consisting of eighty
member societics.“ Despite these protests the performances were con¬
tinued.
On December 5, 1021 the people of Königsberg had an opportunity
of witnessing the play in the Neues Schauspielhaus, but it did not cause
much of a stir.
Hubert Reusch and a Berlin troupe brought Reigen to the Schauburg
(Victoria-Theater) in Breslau on May 5, 1921. A number of newspapers
reported favorably about the performance.“ On May 9 the Breslau Dis¬
trict Synod issued a protest against it.° Atthe end of August the presi¬
dent of police Liebermann prohibited the play. Against this decree the
local branch ofthe Schutzverband deutscher Schriftsteller'’ lodged a
protest.5° To circumvent the prohibition an ensemble of the Kleines
Schauspielhaus in Berlin produced Reigen in the theatre of the Bürger¬
park in Krietern, just outside the city limits, on October 18, 1921.
In August, 1922, the Kammerspiele of Hamburg toured Holland, with
Reigen in their repertoire, but without great success. In Rotterdam and
some other cities the dialogs were forbidden, in Amsterdam and The
Hague permission was granted only after certain changes in the text had
been made.5
A production planned by Betty Nansen in 1922 in her theatre in
Copenhagen was inhibited by the censor. In April, 1925, she again made
preparations to stage ihese scenes, but again the censor (Rosenberg)
On March 7, 1022, Reigen was produced again without disturbances.
The police had taken elaborate precautions. All entrances but onc were
closed, and every ticket-holder was closely scrutinized. Policemen and
detectives were profusely scattered throughout the fovers, the auditor¬
ium, the stage, and the dressing rooms. Thus the Vienna chapter of
Reigen closes.
It now remains for us to relate briefly the fate of Reigen in other
cities. On December 31, 1920, and at intervals thereafter, it was pre¬
sented to the people of Hamburg in the Kammerspiele. No disorder was
reported until the middle February, 1921, when there was a minor
theatre scandal. Although the audience had been warned against demon¬
strations by Director Ziegler, there were hoots and whistling in the fourth
scene.4
In Munich it had its premièrc on January 22, 1921, in the Schauspiel¬
haus. Contrary to expectations no disturbance tock place. On February
5, however, at the end of thethird scene, a woman shouted“Schweinerei“
and this seemed to be the signal for a general riot. Others yelled Sau¬
stall, Gemeinheit, Unverschämtheit, Frechheit,’ police whistles were
brought into play, and a deafening noise ensued. Weshall let the Münch¬
ner Neueste Nachrichten (February 7, 1021) continuc the account:
Ein Segen von faulen Eiern und Stinkbomben unterstützte die Offensive ... Die
Verwendung solcher Waffen beweist auch, daß der Sturm organisiert war, denn
Stinkbomben pflegen arglose Leute nicht ständig bei sich zu führen. Leider auch
keine Gasmasken. Vorsichtige Damen hüllten ihre Abendtoiletten in den schüt¬
zenden Mantel und besonders Erwartungsvolle hielten den Regenschirm parat.
As there was danger of a panicthe performance had to be discon¬
tinued. The play was thereupon forbidden bythe police.
In Leipzig it was staged in the Kleines Theater on January 22, 1921
by Director Fritz Viehweg. Purchasers oftickets had to sign the following
declaration:
Die Unterzeichneten erklären, daß sie freiwillig die Aufführung des Reigen be¬
suchen, gegen den Inhalt der Szenen keine Einwendungen erheben, und verp¬
flichten sich, die von ihnen gelösten Karten nur für sich zu verwenden oder nur
an gleichgesinnte Personen, nicht unter achtzehn Jahren, weiterzugeben.“
On July 4, 1921, it was produced in the Neues Theater of Frankfurt
a. M. without interference. Admission was limited to subscribers who
hadto declare that they would not take offence. A public protest, how¬
ever, was issued by the Theatergemeinde des Bühnenvolksbundes.?
In Hanover these scenes were acted in the Fesidenztheater in Septem¬
ber, 1921. The president of the police had at first issued a prohibition
against them, but this had been withdrawn the next day. Thirty-eight
Protestant societies and organizations joined in a public protest. Later
in the month a statement denouncing Reigen was issued by the Associa¬
tion of Catholic Societies of Hanover and Vicinity, consisting of eighty
member societics.“ Despite these protests the performances were con¬
tinued.
On December 5, 1021 the people of Königsberg had an opportunity
of witnessing the play in the Neues Schauspielhaus, but it did not cause
much of a stir.
Hubert Reusch and a Berlin troupe brought Reigen to the Schauburg
(Victoria-Theater) in Breslau on May 5, 1921. A number of newspapers
reported favorably about the performance.“ On May 9 the Breslau Dis¬
trict Synod issued a protest against it.° Atthe end of August the presi¬
dent of police Liebermann prohibited the play. Against this decree the
local branch ofthe Schutzverband deutscher Schriftsteller'’ lodged a
protest.5° To circumvent the prohibition an ensemble of the Kleines
Schauspielhaus in Berlin produced Reigen in the theatre of the Bürger¬
park in Krietern, just outside the city limits, on October 18, 1921.
In August, 1922, the Kammerspiele of Hamburg toured Holland, with
Reigen in their repertoire, but without great success. In Rotterdam and
some other cities the dialogs were forbidden, in Amsterdam and The
Hague permission was granted only after certain changes in the text had
been made.5
A production planned by Betty Nansen in 1922 in her theatre in
Copenhagen was inhibited by the censor. In April, 1925, she again made
preparations to stage ihese scenes, but again the censor (Rosenberg)