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ESTUDIS ESCÈNICS. núm. 44. 2019

Theatre Architecture Mapping: Catalogue of Performing Spaces Bri Newesely [email protected] Biographical note: Professor of Scenography and Theatre Architecture at Beuth Hochschule Berlin. Her career has focused on the fields of the fine arts, architecture and set design.

Abstract

The digital reproduction of the theatre architecture collection of the Tech- nische Universität Berlin provides extensive documentation for research and contextualisation. With more than 10,000 photographs, drawings and other materials, it offers a unique insight into the panorama of 20th century Central European theatre construction. Based on these sources, we are creating a theatre mapping of Berlin, along with a catalogue featuring about 250 venues, both historical and still existing. In eight time periods the dynamic change of the performing spaces of the German capital is shown, allowing a comparison of the architectural, scenic and technical structure, as well as analysing it in the context of urban development.

Keywords: theatre architecture, digitalisation, performing spaces ESTUDIS ESCÈNICS 44 n o Grays ineig har aciet. e a rsosbe for theatre the responsible of examples major twoWuppertal, was and Bochum in theatres the He architects. theatre pioneering Germany’s of one the documentsandtheiravailability opennewavenues ofresearch. view of the location, scope and state of the cultural buildings. The quality of the and Russia. The graphic sources provide a well-founded 500 theatre buildings located in Germany, Austria, France, , Poland, turmuseum.ub.tu-berlin.de available online in the database of the Architekturmuseum: https://architek An important first step has been taken: the theatre architecture collection is of the Technische Universität Berlin ArchitectureOnline: TheTheatre Collection context of urbandevelopment. the architectural, scenic and of technical structure, comparison as well a as analysing it allowing in the shown, is capital German the of per spaces the forming of change dynamic the periods time eight In active. and existing transformed, vanished, venues, 250 about featuring catalogue a with along into thepanorama of20thcenturyCentral European theatre construction. 10,000 photographs, drawings and other materials, it offers a unique insight chronology of theatres in the Berlin and German urban field. With more than and mapping the extensive of contextualisation and providesinto research for documentation 2016-2018) al., et (Laube Berlin in Universität nische Techthe of collection architecture theatre the of reproduction digital The Spaces of Performing Berlin Catalogue Mapping: Theatre Architecture Bri erhard G gerhard 1. Graubner,Gerhard example an as using architecture modern of tributions Newesely At the same time, the collection provides a valuable insight into the con The collection contains materials from the period 1939-1969 on more than Berlin, of mapping theatre a creating are we sources, these on Based raubner (1899-1970) wasaGermantheatre architect andteacher.

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NEWESELY ESTUDIS ESCÈNICS 44 . Theatre Architecture Mapping: Catalogue of Berlin Performing Spaces Performing Berlin of Catalogue Mapping: Architecture . Theatre Figure 1.Mapof thecityof Berlin in 1690and1750. 3 NEWESELY ESTUDIS ESCÈNICS 44 . Theatre Architecture Mapping: Catalogue of Berlin Performing Spaces Performing Berlin of Catalogue Mapping: Architecture . Theatre respective political systems underconstruction. of representation of society are in constant tension with the structures of the materials, form a The as theatre of impact acoustic upheavals. and visual the and practices artistic and forms and cultural political, century 20th to tures (their materialisation, order and location) are related in many respects work. The starting point is the certainty that theatre and set design architec frame technological and theoreticalcurrent the in it re-evaluate and lected col data the contextualise and evaluate to is research our of objective The New Perspectives approach, sotoday thedocumentationtellsitsown story. new brand a enable process scanning the during documents with concern recovercases,the of best the in and, past” the of “present the light to bring to us enables jects ob original and auratic with Working documentation. significant very ally also — particularly in its now digitalised format — culturally and institution mained unpublished(Zielske, 1971). Kranich, rich collection reached the Institute of Theatre Studies in Hanover, where Fried­ the time first the 1947,for In recovered. were dossiers theatre 319 war the in a photographic and graphic format and with a standardised questionnaire. war,weretheatresongoing recorded 500 than 1944more and between1939 technology.and science scenic werethe expertsin who Despite consultants Berlin team of architects a and art to historians, severalentrusted draughtsmen wasand other German externalproject this old of the development The in Reich”. “Great buildings theatre existing the all of descriptions sign cus of the theatre architecture collection is on a collection that Albert Speer architecture of post-war modernism and urban reconstruction. The main fo 1929 hewrote BühnentechnikderGegenwart Iandin1933 BühnentechnikderGegenwart. II 3. during theSecond World War. architect Speerwaschief to A Speer(1905-1981) albert Minister wasaGermanarchitect, of ArmamentsandWarP 2. also have animpactontheurbanspace. and importance, political outstanding of been always have are, they forms art public the as theatre, and Architecture 1945. to 1933 from Reich, Third the during reconstruction the as well as modernity, this of stagnation the other,the document on objects and, the 1930s and 1920s the of evolutionist consultant, used the material for his later research, but the manual itself re itself manual the research,but later his for material the used consultant, Theater (GermanTheatre). entitled planned was manual complete a Reich: the of capital the for Inspector Building General as capacity his in 1939 in commissioned Friedrich Kranich (1880-1964)wasaGermantechnical director (Bayreuther Festspiele), teacher andwriter. In On the one hand, the collection takes stock of the visionary and modern The theatre architecture collection isnot only a historical collection but The The material in this manual contains detailed architectural and set de set and architectural detailed contains manual this in material The manual remains unpublished. At the end of end the At unpublished. remains manual Theater Deutsches Das 3 who had previously been involved in the project as technical as project the in involved been previously had who . However,loci. genius great the and distance historical the dolf H itler before upministerial office. taking roduction ofroduction the Das Deutsche Das Third R eich 4 ------2

NEWESELY ESTUDIS ESCÈNICS 44 . Theatre Architecture Mapping: Catalogue of Berlin Performing Spaces Performing Berlin of Catalogue Mapping: Architecture . Theatre Figure 2.Mapof thecityof Berlin in 1800and1880. 5 NEWESELY ESTUDIS ESCÈNICS 44 . Theatre Architecture Mapping: Catalogue of Berlin Performing Spaces Performing Berlin of Catalogue Mapping: Architecture . Theatre Figure 3.Mapof thecityof Berlin in 1910and1940. 6 NEWESELY ESTUDIS ESCÈNICS 44 . Theatre Architecture Mapping: Catalogue of Berlin Performing Spaces Performing Berlin of Catalogue Mapping: Architecture . Theatre as the Dessau Theater, the Saarbrücken Theater, opened with the name Gau theatresNaziwerenew the few during surprisingly built since regime, such theatre,of case however, space,involvedinterior mainly and this content its effective propaganda instruments for the manipulation of the masses. In the Berlin. Figures 4and5.G named “bordering territory theatres” (Zittau, Bautzen, Flensburg, Klagenfurt Schauspielhaus Berlin became Theater des Volkes and some others were re theater Westmark, andthe Apollo TheaterinCologne. The rulers of the Nazi era sought to make architecture one of the most the of one architecture make to sought era Nazi the of rulers The o poaad proe, h tete wr rnmd Te Grosse The renamed. were theatres the purposes, propaganda For round floor and cross section round floorandcrosssection of theG rosses Schauspielhaus Berlin, Architekturmuseum - - 7 NEWESELY ESTUDIS ESCÈNICS 44 . Theatre Architecture Mapping: Catalogue of Berlin Performing Spaces Performing Berlin of Catalogue Mapping: Architecture . Theatre and its insertion in the historical and current mapping material providesmaterial currentmapping and historicalin the in insertion its and point geo-reference the Therefore, process. ongoing an is it again: changed and Wall;rebuilt Berlin renamed, grows,the is it of effect and building the by war; it is rebuilt, the streets are renamed, and the centre and outskirts reversed analysed through aninterdisciplinary approach. and historiographically examined is metropolis the of buildings theatre of development urban the tool, a as geo-referencing Using buildings. theatre concerning conception and evaluation on, debate future the of derstanding ble tothepublicinaunifiedandeasily readable way (Danilsen etal.,2017). availaresearch the of results the makes and tools design architectural uses that established is communication visual of form a systems, signalling oped medium term will be available in full detail. With the help of specially devel the in which landscape, theatre Berlin the of picture multi-layered a duces structure, aswell asanalysingitinthecontext ofurbandevelopment. technical and scenic architectural, the of comparison a allowing shown, is capital German the of spaces performing the of change dynamic the periods time eight In planning. urban and architecture arts, performing the to tion rela in works theatre intangible and sites cultural physical of maps ceptual and performative places — also in public spaces — and presents them as con existing. still and historical both venues, 250 about featuring catalogue a with along tre construction (Laubeetal.,2018). thea European Central century 20th of panorama the into insight unique a With10,000morethan photographs,offers drawingsmaterials,it other and Catalogue of Berlin Performing Spaces Theatre Architecture Mapping: ence totheroyal box oftheAge ofAbsolutism. to install a personal box for Adolf Hitler, an element that makes direct refer out carried were interventions places many In others). Ratibor,among and tory (Schäche, 2013). his Berlin’surban of framework the within listed then and chronologically first analysed are buildings theatre structures, social and urban regional of development the to linked necessarily are climate theatre a of development ism sector (Bürkle, 2013). Assuming that the construction of theatres tour and the and cultural the and economy creative the strengthening thus value, a as didactically conveyed is such, as construction of type the by ognisable fitting oftheatre spaces. or operation construction, the for conditions urban basic the on formation The of Berlin constantly changes, expands, renews and is destroyed by un advance will material historical the of preparation complex The A new comparative analytical inventory, developed for this purpose, pro theatre of diversity the examines spaces performing of catalogue The Berlin, of mapping theatre a creating are we sources, these on Based Theatre as intangible cultural heritage, whether visible or not and rec and not or visible whether heritage, cultural intangible as Theatre

8 ------NEWESELY ESTUDIS ESCÈNICS 44 . Theatre Architecture Mapping: Catalogue of Berlin Performing Spaces Performing Berlin of Catalogue Mapping: Architecture . Theatre drawings, the same colour system for the ground floor of the stage and au and stage the of floor ground the for system colour same the drawings, Figure 6. fied representation methodology. has been established based on the drawings made using an agreed and certi approach an buildings, theatre of plans floor ground the of analysis detailed more a For comparable. directly are buildings the system, colour same the and drawings the for scale same the timeline, same the Usingtracked. tions renova and reconstructions and located be can innovations technical ners, plan stage and architects the listing By data. technical the of visualisation graphic and analysis exact the as wellFerrera, as and 2009), Berlin; versität Technische1929-1933,(Kranich,the Uni point of Archivecentral so-called the of data geo-referencing the system, localisation same the and ditorium The comparison is possible thanks to a timeline, the same scale for the for scale same the timeline, a to thanks possible is comparison The DeutscheOperBerlin. 9 - - - - - NEWESELY ESTUDIS ESCÈNICS 44 . Theatre Architecture Mapping: Catalogue of Berlin Performing Spaces Performing Berlin of Catalogue Mapping: Architecture . Theatre public areas (in blue tones) accessible to the audience. This creates an addi an createsaudience. This the to accessible tones) blue (in areas public the other,are the there on tones); yellow and red (in actors and technicians by example, for used, are which areas, non-public internal are there hand, one the on building: theatre the of schemes spatial basic and arrangements visible; theyeven re-reflect thesizeofentrances andsanitaryfacilities. become auditoria the of accessibility and location arrangement, spatial the way,this In auditoria. theatre the of picture detailed more much a provides spaces andasurbannodesthrough theflow oftheirusers. transitional as created are theatres howshows analysis the Thus, event. the the gravitate after spectators flows and before of Outside, towards space public city’s the courtyard. rear third or second the in was stage the and ings ditorium was through the entrances of the courtyard of the apartment build au the and foyer the to entrance the destroyed,now in theatres the of most in that, clear is Forexample,it option. comparison visual tional Figure 7. tain authorisationaspublic spaces. activity,day.this enduredto has ob first to linkedreligionhad not to Places the of intermittency and meaning of changes interruptions, with combined that, value social great a been has audience an of front in stage a on forming The cultural history of European theatre shows that, since Greek times, per Ephemeral Architecture, Transitory Spaces, Cultural Tools Berlin Performing Spaces project asaninterfaceforfuture research. of formats, methods and mapping possibilities is the focus of the standardisationThis analysis. of instrument essential an architectureatreis A scheme of differentiated colours characterises the various structural various the characterises colours differentiated of scheme A The definition of standardised and normative methods to describe the describe to methods normative and standardised of definition The schematisation this project, the to prior tools the with this Comparing Theater amNollendorfplatz. Catalogue of 10 ------NEWESELY ESTUDIS ESCÈNICS 44 . Theatre Architecture Mapping: Catalogue of Berlin Performing Spaces Performing Berlin of Catalogue Mapping: Architecture . Theatre eae h Friedrichstadtpalast, the became ism. In1919hedesignedtheG hansP 7. forshows withacapacity 1,895people. centre byMaxR theFriedrichstadt-P 6. R 4606, register no. 1590. Universität Berlin) and the book of searches of the stage elaborate with masses the for style management new the here: oped Reinhardt, pielhaus in combination with other aspects such as the ideas of director Max Schaus Grosses the in exemplified perfectly is Wall.This Berlin the of fall sions during and after the Second World War, as well as the construction and conver and adaptations destructions, reconstructions, their with Berlin, of city the in spaces theatre historical the on is focus the section, next the In The Grosses Schauspielhaus Berlin proscenium arch asamultipurposehall(Huesmann, 1983). nium, such as the Grosses Schauspielhaus, to the small auditorium without a rangements: from the inspiration for the huge arena with a changing prosce ar of variety great a show projects Their space. theatre the in changes the behind force driving the were architects, than more even directors, why is That possible.were confrontation of principle the than other arrangements play and observation, assures theatre itsutopiandimension. between distinction the is, that difference, of preservation The awareness. tion of experiences and imagination that can generate knowledge and create intensifica and condensation attention, increasing of space temporary a is a viewtotheproscenium. with arrangement its and auditorium the of orientation longitudinal typical rents inherent to their time. The widely used proscenium arch transmits the cur cultural and aesthetic to witnesses are buildings theatre restructured, or renovated and rebuilt burned, repeatedly modernised, Often chitecture. ar theatre existing the of diversity the in reflected also proliferationis This which partlyexplains thecurrent concentration ofstate andurbantheatres. countries, German-speaking in created were theatres many 1784, in tution” which closeddefinitively in1980. built onthecircus R 5. sets,massscenesandmusic. spectacular intherenewal of moderntheatre.importance Opposedtonaturalism, heproducedanddirected plays andfilms with 4. Austrian theatre Max Reinhardt had built according Hans Poelzig’s Hans according built had Reinhardt Max theatre Austrian for the old circus Renz. Above all, a new dimension for theatre was devel was theatre for dimension new a all, Above Renz. circus old the for diverse history oftheconstruction oftheAmZirkus1. See the digitalised map portfolio no.See the digitalised 42 Max R Parallel to Friedrich Schiller’s presentation on “Theatre as a Moral Insti In 1919, the Grosses Schauspielhaus was opened in Berlin, which later which Berlin, in opened was Schauspielhaus Grosses the 1919, In With the early 20th century technical, artistic and social changes, spatial It observing. and acting of dialectic the in developed mainly is Theatre einhardt (1873-1943). A oelzig (1869-1936). painter HewasaGermanarchitect, andsetdesigner, exiled, alignedwith expression- 4 einhardt. I einhardt. other visionary theatre projects by Hans Poelzig, or the highly the or Poelzig, Hans by projects theatre visionary other enz theatre from 1873theG alast isatheatre inBerlin, oneof thesymbols of thenightlife I of theGermancapital. t reopened in 1984andisagiganticvenue for variety, iceskating andvarioustypes of rosses Schauspielhaus Berlin. That venue, usedasavarietytheatre andcircus wasconverted intoaperformance ustrian, Jewish,exiled, wasafilmproducerandtheatre andfilmdirector of great Theater d. Volkes of the rosses Schauspielhaus from for 1919,withcapacity 3,000 people,and 6 n wih h drco ad one of founder and director the which and General Building G rosses Schauspielhaus Berlin, 3.2.41 (T nspector for the imperial capital, inventory inventory forInspector the imperial capital, 5 7 echnische plans t was 11 ------NEWESELY ESTUDIS ESCÈNICS 44 . Theatre Architecture Mapping: Catalogue of Berlin Performing Spaces Performing Berlin of Catalogue Mapping: Architecture . Theatre machinery and the intensive use of the revolving stage in powerful producpowerful in stage revolving the of use intensive the and machinery Figure 8. tectural andspatialconcepts ofexisting old buildings. archi the of use the reflects also future, the in and today represent, should and be should theatre what about debate The them. use creators theatre as soon as language different completely a speak to begin buildings spective, per this Fromexperience. history,rather of or materialisation a as also but with itscircular seatarrangement andstage arena. impressed was audience the seats, 5,000 with Schauspielhaus, Grosses the In time. his of people theatre most than medium cinematographic the in ed design, language, music and dance. Max Reinhardt was much more interest set shows: the in interactionstreamlined and coordinated a as well as tions, Schauspielhaus Berlin. This shows that architecture does not function as just a physical space physical a just as function not does architecture that shows This G rosses 12 - - - - NEWESELY ESTUDIS ESCÈNICS 44 . Theatre Architecture Mapping: Catalogue of Berlin Performing Spaces Performing Berlin of Catalogue Mapping: Architecture . Theatre Figure Unter 9.Staatsoper denL are often tolerated during reforms in order to maintain the historical loca historical the maintain to order in reforms during tolerated often are The Schaubuehne amLehniner Platzw shows. 1742, of Linden den Unter Staatsoper the Berlin, in exists still that theatre of constant change to remain technically usable, as the example of the oldest and a small square on the outskirts, designed as a new urban centre,urban squarenew outskirts,a small the as a on designed and estab completion, must be adapted to a constant process of change so that the per after even stage, expansion or adaptation Each structure. urban the in tion (Dördelmann, 2015). site new a for looking was Kreuzberg, in Ufer Hallesches in performed ly Platz Leh niner am Schaubühne the when remodelled completely was interior the 1981, to 1978 Fromdisco. a as 1969 from and cinema; a as used and rebuilt building was seriously damaged during the Second World War. Later it was tres and cinemas, comparable to the Paral·lel in Barcelona in the 1920s. The Kurfürstendammlished avenuean as leisure,thea of rangeof wide a with sohn. old cinema Universum in Kurfürstendamm, built in 1928 by Erich Mendel the is use theatre to adaptation architectural of example outstanding An built inthe1920sbyE theSchaubühneL am 9. and thecinemaUniversum inBerlin. sionist architecture, whowouldsuffer exile hewasaJew. because Between 1925 and1931 hecreated theWoga-Komplex 8 in processes transformation The usable. technically remains space forming inspired bythestudent protest movement. Berlin, a theatre company that was one of the main focuses of the theatre renewal of the 1960s and 1970s and was p 10. the beginningof the21st century. acquired international fame becoming throughout that decade, oneof themostprestigious theatres inGermany at the Schaubühne am Schaubühne company, under its main director,Stein, Petermain its company,under Schaubühne without fixed separation of auditorium and stage, was introducedrooms when the variable in arranged be could which distribution, spatial new The e . rich Mendelsohn(1887-1953) wasarenowned thegreatest Germanarchitect, 20thcentury exponent of expres On the other hand, logistical restrictions and overcrowded conditions overcrowded and restrictions logistical hand, other the On The stages, even after they are built, must be able to adapt to the process eter Stein (b. 1937) is a German theatre director who founded the Schaubühne am 8 The architectural site of the Kino Universum, with dwellings, shops 9 inden. opened as a multifunctional venue with separable auditoria. separable with venue multifunctional a as opened alleschen UferHalleschen company created in 1970 by a group of with director actors rich Mendelsohninaconsistent rationalist style. Since 1982 ithasbeentheheadquarters of ehniner Platz isatheatre inBerlin that occupiestheoldandrenovated cinemaUniversum, alleschen UferHalleschen in West 10 which usual which P eter Stein and that 13 ------NEWESELY ESTUDIS ESCÈNICS 44 . Theatre Architecture Mapping: Catalogue of Berlin Performing Spaces Performing Berlin of Catalogue Mapping: Architecture . Theatre of the Second World War there were districts in the city with a high con high a with city the in districts were there WarWorld Second the of beginning the until that seen be can It 2014). (Ramon, development urban technology. theatre lawand building by requirementsdemanded current the to adapted and renovated rebuilt, often such, as used still and theatres as built ditoria au includes quarter last the and stations; pumping or churches factories, as such activities for intended wereoriginally that buildings of up made are quarter a warehouses;example,about or for stations police discos,cinemas, original, the than other functions with used now are quarter another atres; the existas longer researchedno venues 250 almost the of quarter a About ofBerlin, theCapital Theatre face achallengeofcreativity. Thisissueisalsonotedin themapping. adapted to the spatial and functional needs and of a modern enlarged cultural industry,is sites we old the on building existing the When theatre. new a of construction the than difficult more almost provedhave building old the them exist today. of Alte-Jakob-Strasse.NoneCentral-Theater in the and Friedrichstrasse in Orpheus-Theaterthe Mehringdamm, current Belle-Alliance-Theaterthe in the with happened similar century.Something 20th the on mark their Wallnertheaterstrasseleft in (Ost) Schiller-Theater the and Chausseestrasse in (Nord) Schiller-Theater the Charlottenstrasse, Walhalla-Theater in the Republik, der Platz in Kroll-Oper the others, Among theatres. of centration Figure 10. Schaubühne amL The research also shows to what extent theatres function as drivers of of drivers as function theatres extent what to shows also research The ehniner Platz. 14 - - - NEWESELY ESTUDIS ESCÈNICS 44 . Theatre Architecture Mapping: Catalogue of Berlin Performing Spaces Performing Berlin of Catalogue Mapping: Architecture . Theatre Figure 11.Mapof thecityof Berlin from 1945. structed for theatre purposes. These theatres weretheatreslargelydestroyed These purposes. during theatre for structed con buildings new were study of objects the all almost 1939,Until centre. bourgeois city’s the in built were halls concert renowned1900, from while, — theatres variety small and theatres backyard —mainly built were venues 1877, Ingenieur-Verein, 1896and1983). und (Architekten- blue in marked bombs, by destroyed stages1750,the analysed: 1800, 1880, 1910, 1940 1945,until and city the with of each developmentin urban major a to followingdue yearsworkedthe on tory of the city of Berlin in 1690, with historical maps of the city, and we have catalogue.the Wewithin his the to analogously theatremapping our began figures and drawings information, more with completed and inventoried plac es the to correspond flags red the on numbers The data. chronological 1987; Kranz, 1990;Stiftung Stadtmuseum Berlin(Ed.),2015). Kleihues, 1948; Ihering, 1985; Hofmann, 1988; Freydank, 1998; (Ed.), al. et sition of very different and diverse phenomena (Bauert, 2013; Fischer-Lichte superimpo the account into taking interaction social and spatial the of part important an as culture theatre and urban city.interprets the It of platform oped is an integral part of the exploration of urban space as a communicative The significance of the role of the urban fabric in which the theatre is devel The City inthe21st Century In densely-populated industrial and working-class districts, very small very districts, working-class and industrial densely-populated In with prepared maps city the on visible become developments Theatre 15 - - - - - NEWESELY ESTUDIS ESCÈNICS 44 . Theatre Architecture Mapping: Catalogue of Berlin Performing Spaces Performing Berlin of Catalogue Mapping: Architecture . Theatre among the population is progressively and simultaneously renewed (Frey renewed simultaneously and progressively is population the among know change, so the relevance of theatre as a manifestation and relationship tury require different artistic and social practices, and the methods we cen 21st horizons. new technologies, new sensibilities, new lifestyles, new complementary: become can be can theatre of concept the and arts, visual and performing other to extending are borders their disciplines, other into ally), must beheard andmust perform. gy: the experimenting today more than ever to recall their origin in Greek etymolo are theatre of forms Modern interaction. local for need the replace cannot internet the now and television cinema, century 20th early as such Factors Theatre as Tangible Architecture andIntangible Structure the past. with continuity of sense a creates and atmosphere special the to nificantly sig contributes building original the characterof the which createdin been havestructures pre-existing in inserted particular,spaces performing many in years recent In theatre. traditional a of infrastructure technical the lack spaces these although design, set as place the of architecture the capture to theatregrowth.of aims period “foundspaces” a the approach in to stillThis is city the stopped, almost has theatres new of construction the Although variety.of degree high a by characterised is space theatre current the why explains which purposes, performing for buildings of structures and toria . the divided city, with a neighbouring and visible location with respect to the War,Cold the within during declaration political a as served buildings,representa tive many like but, purpose cultural a had only not buildings new These (West). Künste der Akademie the and Welt der Kulturen der the Haus Philharmonie, the spaces: open left had war the where city, the of tre westerning.architecturalthe unusual in Their place their found cen forms (Danilsen, 2016). centre city the in buildings the all almost were War,as World Second the as anessentialfactor? practice?social and Toservice uniqueness its extentaffirm what to able it is public a place,as physical a as expressionand artistic an as city the with act inter to position a in today theatre Tois space.extent public what to lation city,re Europeangrown in the historically of has forms theatre,the with combined of location the of issue The structure. urban the with interaction in changing, constantly is construction, of also but art of form a as Theatre, as a physical space but as a materialisation of history or rather of experience. defont, 2014). enhl, h budre o cascl har fras r dissolving are formats theatre classical of boundaries the Meanwhile, audi existing of (re)use the been has 1960s the since trend constant A This makes the three new buildings built after the war even more amaz In this respect, we approach the issue that architecture works not only not works architecture that issue the approach we respect, this In théatron, the physical place from where one can see (really and virtu 16 ------NEWESELY ESTUDIS ESCÈNICS 44 . Theatre Architecture Mapping: Catalogue of Berlin Performing Spaces Performing Berlin of Catalogue Mapping: Architecture . Theatre commitment and interfaces between creation centres and creators, compa creators, and centres creation between interfaces and commitment visibility,mutual show to levels many on interacts and space theatre the of entirety complexity. grasp its and to in difficult linked physicality is the It to is interacts, it which with and activates it that factors intangible the all and networks connection its processes, creative its with theatre, Contemporary Liquid Spaces, Time Factor, Utopian Dimension fleeting artthatfindsitdifficultto leave itsmark. a of story the is it day: this to theatre of perception the and history shaped Schiller’s of prologue the as amoving spacewithinthetemporal spaceofthetheatre (Braulich, 1966). transformations. As a concept of ephemeral architecture, the stage functions nology machinery underlines the performing nature of space through scenic bilities offered by performance to the development of theatre. Theatre tech this day.virtually,this rebuilt augment being areof them help of the Some with to another or way one in survived and mark their left have which of all plac es, theatre of mosaic unstoppable an to compared be thus can city The stage. the of vision ideal-typical an from negotiated been always have and Ballhaus Ost, Dock11,Sophiensaele, Theaterdiscounter andUferstudios. the city, presenting their productions in places as diverse as Hebbel am Ufer, in work disciplines and genres all of producers and performers groups, ent this densityandwiderange ofaesthetics andstyles (Bauert, 2014). with theatres find we can Germany of Republic Federal the in else where No development. ongoing its and construction theatre current of ination exam the in especially this, reflect institutions and groups arts performing lin, 2001a,2001b, 2002, 2003). Ber Stadtmuseum (Stiftung institutions and performers festivals, and nies in thetheatre space. role independent its play to begins also and behind scenography the leaves discussions and scenes for backdrop a as planning urban and architecture pre-existing space, performing the of interaction This Socialism. National before existed that landscape cultural rich the record to orderreality, in ed The theatre buildings built in Berlin todayincreasinglyBerlin revealin theatre built The buildings possi the “Posterity weaves no garlands for imitators.” This often cited line from line cited often imitators.”This for garlands no weaves“Posterity The issues of the city, urban planning and public space are under debate In addition to the major state and private theatres, around 400 independ numerous the and settings diverse its with Berlin, of city theatre The drse a hnmnn ht has that phenomenon a addresses Wallenstein 17 ------NEWESELY ESTUDIS ESCÈNICS 44 . Theatre Architecture Mapping: Catalogue of Berlin Performing Spaces Performing Berlin of Catalogue Mapping: Architecture . Theatre Freydefont, Marcel. International symposium Place dutheatre –forme. delaville Freydank, R Fischer-Lichte, E Ferrera Esteban, José L Dördelmann, Birte. Methodenentwicklung zurBestandsaufnahme theatraler Huesmann, Heinrich. Welttheater Reinhardt: Bauten, Inszenierungen Spielstätten, . Hofmann, Jürgen. Theaterbuch Berlin. Berlin: Klaus G Schäche, Wolfgang (E d´espaisescenics.Barcelona:Ramon, Antoni.Observatori UPC,2014. Laube; Naegelke; Newesely. Theaterbausammlung,; Ritter Berlin 2016-2018. Final Kranz, Dieter. Berliner Theater . Berlin: Henschelverlag, 1990. Kranich, Friedrich. BühnentechnikderGegenwart IundII.Berlin/Munich: Oldenbourg, Kleihues, Josef. 750 Jahre Architektur undStädtebau inBerlin. Stuttgart: Verlag Gerd Theaterstadt Berlin –EinIhering, Herbert. Almanach . Berlin: Henschelverlag, 1948. Danilsen; Newesely. “Theatrale Kartographien fürBerlin”. Die Vierte; Ritter Wand , Stefanie.Bürkle Szenografie einer Großstadt – Berlin alsstädtebauliche Bühne. Braulich, Heinrich.Max Reinhardt. Theater zwischen Traum undWirklichkeit . Berlin: Bauert, Monika;Buschmann , Ulf. Berliner Theater Verlag,. Berlin: Berlin Story 2014. Bauert, Monika.Berliner . Berlin: BerlinTheaterpläne zuBeginn des20.Jahrhunderts Archive of the Technische Universität Berlin . Kranich’s personalbequest with Architekten- undIngenieur-Verein zu Berlin. Berlin undseine Bauten , Berlin, 1877, Bibliography Danilsen, Olivia. Nantes: ENSA 1988. Siebenhaar Verlag OHG,1998. Berlin: Beuth Hochschule,2015. final project. Raumstrukturen inBerlin-Kreuzberg –SchauSpielOrte seit 1850. Master’s degree Munich: P report. Berlin: DeutscheForschungsgemeinschaft,report. 2018. 1929-1933. Hatje, 1987. (Berlin: Initiative Berlin: Beuth Hochschule,2016. Berlin: P Henschelverlag, 1966. Verlag,Story 2013. U manuscripts of several operasandplays. 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