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Arthur Kahane, Reinhardt's Dramaturge

Published online by Cambridge University Press:  23 January 2009

Henry Kahane
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Extract

I grew up in the world of the Deutsches Theater, a witness of Reinhardt's early period in Berlin, in the years before the First World War. I remember Reinhardt's father, a noble, distinguished-looking gentleman, friendly, quiet, and dignified; Reinhardt's mother, shy and easily worried; their early home in Den Zelten, then later and for many years, the beautiful Old-Berlin house on the Kupfergraben; many evenings with endless telephone discussions between Max Reinhardt and my father, devoted to the interpretation of the play for which Reinhardt was preparing the Regiebuch; the exciting atmosphere of a dress rehearsal; the metropolitan, cosmopolitan glamour of a Reinhardt premiere; summers in Bavaria, where Reinhardt directed the Münchener Festspiele; the summer of 1913, in Massa and Carrara, when Reinhardt tried his hand with the new medium, the film. I came in touch with that world through the role played in it by my father, Arthur Kahane. It is his portrait that I should like to sketch.

Type
Articles
Information
Theatre Research International , Volume 4 , Issue 1 , October 1978 , pp. 59 - 65
Copyright
Copyright © International Federation for Theatre Research 1978

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References

Notes

1. Die Insel der Seligen, 1913; screenplay by Arthur Kahane.

2. Encyclopaedia Judaica, Jerusalem and New York, 1971–1972, XI, 1264–5, Wielka Illustrowana Encyklopedja Powszechna, Cracow, 1929–1938, X, 112.

3. Kahane, A., Das Judenbuch, Berlin, 1931, pp. 49–57.Google Scholar

4. Brügel, L., Geschichte der oestemichischen Sozialdemokratie, IV (Wien, 1923), pp. 86–8Google Scholar; Nagl, J. W., Zeidler, J., Castle, E., Deutsch-Oesterreichische Literaturgeschichte, IV (Wien, 1937), p. 1556.Google Scholar

5. Levetzow, K. M., ‘Arthur Kahane’ [an obituary], in the Tagesbote (Brünn), 10 23, 1932, pp. 3–4.Google Scholar

6. Kahane, A., Tagebuch des Dramaturgen, Berlin, 1928, pp. 132–8.Google Scholar

7. ibid., pp. 157–62.

8. ibid., pp. 189–93.

9. Bab, J. and Handl, W., Wien und Berlin, Berlin, 1918, p. 317.Google Scholar

10. Bahr, H., ‘The Spiritual Sources of Reinhardt’, in Sayler, O. M., ed., Max Reinhardt and his Theatre, New York, 1926, pp. 32–3.Google Scholar

11. Kahane, , Tagebuch, pp. 111–21.Google Scholar

12. Kindermann, H., Theatergeschichte, Europas, Salzburg, c. 1957 ff., III, 266.Google Scholar

13. Kutscher, A., Grundriss der Theaterwissenschaft, Munchen, 1949, pp. 205–18.Google Scholar

14. Kindermann, , Theatergeschichte, IV, 528.Google Scholar

15. ibid., V, 333.

16. ibid., VI, 76.

17. Kahane, , Tagebuch, pp. 9–23, passim.Google Scholar

18. Tagebuch des Dramaturgen, Berlin, 1928; Theater: Aus dem Tagebuche des Theatermannes, Berlin, 1930; Die Thimigs: Theater als Schicksal einer Familie, Leipzig, 1930. A book on the theatre in the form of a novel: Der Schauspieler, Konstanz, 1924.

19. Das junge Deutschland (Monatsschrift für Literatur und Theater: Herausgegeben vom Deutschen Theater zu Berlin), Berlin, 1918–1920 [repr., Nendeln/Liechtenstein, 1969].

20. Clemens und seine Mädchen, Berlin, 1918; Willkommen und Abschied, Berlin, 1919; Die Tarnkappe, Berlin, 1920. The manuscript of his last novel, significantly entitled Die Unzeitgemässen, was lost. A slim volume of poetry, Lieder (Berlin, 1910), an echo of his Viennese style, had preceded the novels.

21. Kayser, R., in Encyclopaedia Judaica, X, 682.Google Scholar

22. ‘Manifesteines Einzelnen’, in Das junge Deutschland, 1:10 (1918) 297–9.

23. In the stage directions to Act I. The name is usually misprinted as Max Sterner.

24. Die 13 Glaubensartikel eines Ungläubigen’, in Das junge Deutschland, II: 1 (1919), 3.