Description
This study’s intellectual center of gravity is Reinhardt’s experimental early work in Wilhelm and Berlin, culminating in the 1913/14 Deutsches’ Theater Shakespeare Cycle, but touching as well on large-scale postwar productions at the Grossess Schauspielhaus. More than a half-century after his death, Max Reinhardt (1873-1943) and the once vibrant theater associated with his name remain only a vague and distant memory. In America he is remembered chiefly for large-scale spectacular productions, for Everyman because of its continued association with the Salzburg Festival, and for the memorable 1935 Midsummer Night’s Dream film, one of Hollywood’s costliest productions up to that time. Other significant aspects of Reinhardt’s distinguished career, such as his fascination and lifelong experimentation with all manner of theatrical styles, emerging stage technologies, acting techniques, and theatrical venues have by now mostly been forgouen. In Europe, where memory runs deeper, Reinhardt’s genius and achievements are still periodically celebrated.
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