: a LILY # 4NT) SASK C17 2 OG ts 2 ewes 2 ess a CCAS bef GETTY CENTER LIBRARY MLA 3 3125 00929 7652 MAX ‘REINHARDT and His SALZBURG cA “Portfolio of “wenty “Drawings by Lucie “R. Sayler With an Introduction by Max “Reinhardt ©Brentano’s 27th Street at Gifth Avenue ~ ~ New Vork _ 7 } eS ee a a —— @he Edition of his “Portfolio is Limited to wo Hundred and Gifty-nine Copies, of ‘Which Gwo Fundred and Gifty cAre for Sale. This Copy is No. SS eieenenencanemnan ee eS ee o | = a } SALZBURG “Home of ey Cheatre 6) HIRTY YEARS AGO, as a boy of twenty, I came to Salzburg from Vienna. The municipal theatre of Salzburg opened its doors for its very first season, and it hap- pened to be also my first season as an actor. One year later, I left for Berlin, whence I returned to Salzburg only after a quarter of a century. Behind these dry data are the ambitions and the sentiments of a lifetime; but the necessary brevity of a foreword to the charming drawings of Lucie R. Sayler happily denies me the opportunity of giving vent to my feelings. Once more back in Austria, I am essentially conscious that in the passionate work inspired by the activity of a great city theatre, the most precious thing is lost: the sense of play, which is so strong in childhood and cannot be dispensed with in art and especially in the theatre. I realize, too, that the North German stage does not provide sufficient nourishment either for the musical elements in the theatre or for the dramatic elements, as they are found in the old Austrian and Bavarian theatre, such as the commedia dell’arte, the production of mystery-plays and religious works. Strongly convinced of all this again in my home landscape, I have felt the desire to create a theatre there where the theatre originated, on Austro-Bavarian soil, in the city where I began my career. Here is real folk-poetry (Oberammergau, Zell-am-See, etc.) and this poetry does not exist to be read in books, but has sprung from the joy of play. Only thus can the true theatre originate. Salzburg, because of its situation, its architecture, its past history, and Mozart, is the natural place for this theatre. A truly festival spot, where all men gather to spend their holidays. Whether it be to climb mountains; or to enjoy the beautiful, almost undis- turbed architecture of earlier times, or music. So it was a logical idea to found there a theatre, the Salzburger Festspielhaus, that would be likewise in festival and holiday spirit, that would be built on principles different from those under which a theatre enterprise in a great city suffers, that would be as free as possible from all commercial conditions. In this way, Salzburg has become much more to me than a reminiscence of my youth and a dreamy abode for repose and retirement. Oliver M. Sayler has called Salzburg the “cradle and capstone” of my art. I hesitate to become any more entangled in theo- rising about myself and my art, but this I will say: Salzburg is the home of my heart. De eR ee Vill XI XI XI XIV XV XVI XVII XVIII XIX xX List of “Plates Franziskanerkirche and Dom from the Monchsberg Leopoldskron, Home of Max Reinhardt, from the South Hohensalzburg Nonnberggasse North Facade of Schloss Leopoldskron Brunnhausgasse Franziskanergasse The Untersberg from the Terrace of Schloss Leopoldskron Pfeifergasse On the Nonnberg The Gaisberg from the Grounds of Schloss Leopoldskron ciel Veverhc wetllecneldsiron Gisela-Kai The Hercules-Pond of Leopoldskron Stift St. Peter Kaltenhaustor The St. Margarethenkapelle from the Catacombs The Terrace of Schloss Leopoldskron A Salzburger Farmhouse St. Wolfgang, in the Salzkammergut | | ( \ ————— i ! | foe 42 Uy \u il 7 q Se ‘ A SILT Al | | ZB AN i fis Ei. _— ¥en Bayt ALN Me tay d| Plate Eleven. ie = = ae — —_—— ae » eit et SS —— ———— a = =o ed Plate Gwelve- fee as Y/ : y] QBQyZ Ys (Ce | 7p "iy .~ (ZZ 7) aati pee tf ee ee well Plate Fourteen. Jie : \ \ h | sil M ! . q | | - Fla 3 | | Lig ‘ i i ye m well Plate Sixteen. er = a 2 1é pale a a = e a =| | ga Dim Ml ole Ley i 1 {ii Pe ji eg | is | ze - fl WH Lp poe > a IIL 4] Plate Eighteen, Jer ! 1 es | as | Se 2 PS aa Ta eAS & L, ase wee SSO” GOES SAS 3 ae i a= y wed] Plate Nineteen, fee Z Z (4 well Plate Gwenty fee a SY LOOT DOGPUKV! ROA COOK x J | 4 ry if i Se oo NOK OOOO OW) ie C®