<orgName ref="http://d-nb.info/gnd/1125978589">Little Playhouse [<foreign xml:lang="de"><orgName ref="http://d-nb.info/gnd/1125978589">Kleines Schauspielhaus</orgName></foreign>]</orgName> – <persName ref="http://d-nb.info/gnd/117068055">Friedrich Lobe</persName>, Director – <date when="1932">1932</date>/<date when="1933">33</date> Season Richard S. Levy Institute for the History of the German Jews redaktion@juedische-geschichte-online.net
Beim Schlump 83, 20144 Hamburg

With the kind permission of the State- and University Library Carl von Ossietzky Hamburg.

jgo:source-208 Zwischen „Theaterkrise“ und „Machtergreifung“. Der kurze Auftritt des Kleinen Schauspielhauses von Friedrich Lobe (1932/33) jgo:article-239 Friedrich Lobe Hamburg1932Staats- und Universitätsbibliothek Carl von Ossietzky A/691865 Staats- und Universitätsbibliothek Carl von Ossietzky https://resolver.sub.uni-hamburg.de/kitodo/PPN1693506564_1932_33 English Source:Text deu

LITTLE [KLEINES SCHAUSPIELHAUS] P L A Y HOUSEDIRECTION FRIEDRICH LOBE 1932/1933 SEASON

A drawing of the Little Playhouse from the perspective of the last row of seats in the auditorium, looking toward the stage with lowered curtain. On either side are two sets of box seats. The hall is supported by four pillars, on each of which a chandelier is mounted. A piano stands to the left of the stage. The hand-written caption under the drawing says: “AUDITORIUM OF THE LITTLE PLAYHOUSE.”Auditorium of the Little Playhouse after completion of the renovation

THE LITTLE PLAYHOUSE

ITS PLANS—ITS TASKS

With the founding of the Little Playhouse, in the space of the former Intimate theater at Grosse Bleichen 23-27, an interesting innovation in the artistic life of Hamburg is fulfilled.

The Little Playhouse has set itself the task of giving shape, in the artistic form of the theater, to the universally human, that which sometimes disturbs us and at other times exhilarates us. It will remain absolutely independent. Everything will be performed, from classical tragedy to modern farce, from the pointedly problematic piece to the light entertainment comedy. The only constant condition to be met is that the work conforms to the principles of the theater arts. This legitimates and incorporates the name, Little Playhouse, which has been purposefully chosen.

It shall be linked here to the noble Hamburg theatrical tradition, to the truly legitimate theater play, as manifested in the best of times by the old Thalia Theater. It shall be carried on in this epoch of contemporary theater, a process which must, with fresh minds at work, automatically be accomplished. We will not thereby forget collaboration with the public, the interaction between the audience and the stage which, given the intimate space of the Little Playhouse, can be particularly and specially creative. The house has undergone a complete renovation, furnished with indirect lighting and ventilation systems. The Little Playhouse is under the direction of Friedrich Lobe, sufficiently well-known as dramatist, producer, and director of the Thalia Theater. Joining with him are several members of the former Thalia Theater, among others Charlotte Schellenberg, Marianne Wentzel, Eduard Gerdts, Albin Skoda. For a part of the season, a few well-known players from Berlin will be closely integrated into the ensemble. During the first half of the season — probably in November — the staging of a major work with Hans Albers is being prepared. Lucie Höflich has been won for the period from 15 September until the end of the year. Fritz Kortner will spend a part of the coming season in Hamburg. So, too, will Gustav Gründgens. They will not be coming as visiting celebrities but will rather fully collaborate as productive co-workers of the Little Playhouse company. “Why,” Fritz Kortner asked in a conversation with the director about future plans for the Little Playhouse, “should Berlin be the exclusive “mother city” of theater, why should it not be possible for the national capital to relinquish a few awesome players to the nation’s second largest city?”

More need not be said here. However, to once again characterize the spirit in which the new Little Playhousewill function, this quotation of a few years ago from a well-known theater professional is apt: “There should be created a theater for educated Europeans—a cultivated theater—an elegant theater.”