About the memory of a theatre
Theatre buildings – and all historical buildings alike – have their memory, in which, as time passes, everyday events are recorded. The memory of theatres is, however, slightly different. In addition to real events, it also stores up the fate of people acting in all the invented stories, the characters of which march past the stage every evening to mediate, in the special manner adopted by the theatre, the cognition of the world.
It is interesting and exiting to become absorbed in reading the imaginary chronicle of a theatre building. In it, we can find the signs of time penetrated by imagination, which is necessary for the birth of every work of art. It appears as if the walls of the theatre inhaled all the past endeavour, and it is just these walls that give rise to the special atmosphere that is perceived here with greater intensity and sensitivity than elsewhere. Let us try to cast a glimpse at the memory of a theatre that, today, bears the name of Jiri Mahen, a Czech writer and playwright. The names given to the building in the course of time symbolize a mirror, in which passing time with all its metamorphoses is reflected: Deutsches Stadttheater (German City Theatre – until 1918 and during the Protectorate), divadlo Na hradbach (Theatre on the Wall) (1918 – 1945), Janacek Opera (1945 – 1946), Janacek Theatre (1946 – 1965), and, at the present time, Mahen Theatre (since 1965; after the new theatre building, which is home to the opera and ballet, was erected in Brno, it is this building that now bears the name Janacek Theatre.)
The history of the Mahen Theatre can be divided into two periods. The first one is German: the building was built as the German City Theatre, and between 1882 and 1918 it served as the main home of the German theatre in Brno. The second period of this building is Czech: after the coup d etat in 1918 (the end of Austria-Hungary, a former monarchy, and the establishment of the Czechoslovak Republic), the theatre went to Czechs and it became (in addition to the old theatre in Veveri-Street) their main theatre building where, first of all, operas were played, but also stagings of well-known plays, ballets and operettas were given. After difficult negotiations, two playdays were assigned to the Germans (Monday and Tuesday), while Czech theatre was played on all the other days of the week. The handing-over of the theatre from German hands to Czechs did not go without strong emotions on both sides. For example, when Jurij Baklanov, a Russian bass-singer, appeared on the stage of this theatre as a guest in the German staging of Bizets Carmen, a crowd of Czech nationalists broke into the lobby during the performance and tried to disrupt the performance by creating a disturbance. In this way, some Czechs protested against the fact that a Slav appeared as guest at a German theatre... Luckily enough, such petty considerations disappeared with time, peace prevailed and both theatres – the Czech and the German – even started to cooperate in many important cultural events. However, the situation changed again in 1939 after the Protectorate of Bohemia and Moravia had been established; the German theatre settled in the building again and the Czech theatre was assigned two playdays only. The Czech theatre returned to the building, once and for all, as late as 1945 when World War II terminated; and after all Germans had been removed from the Czech lands, the German theatre in Brno ceased to exist.
Let us call to mind some interesting moments and names, at least, that are linked with this building and help form its hidden internal life. Under Austria-Hungary, Brno was referred to as a "suburb of Vienna", and thus, it is no wonder that many a well-known artist who became famous, not only in Vienna but, later on, throughout the world, started his or her career at the German City Theatre in Brno. They include, to name but a few, Maria Jeritza and Leo Slezak, the opera singers who, after an engagement at the theatre in Brno, became members of the Vienna Court Opera, and permanent guests of the Metropolitan Opera in New York. Or Paula Wessely, a famous and popular Austrian artist, who also played on the stage of this theatre in Brno. Of the famous artists that were engaged at the German Theatre, let us mention Leopold Jessner, a director, who directed here the staging of Shakespeare's Macbeth (1922). Of the managers of the German Theatre in Brno let us recall Hans Demetz, a director and dramatic adviser, who left Brno for the Vienna Comedy Theatre in 1932, and, later on, for the Volkstheater in Vienna.
The first nights of operas composed by Janacek, which are nowadays in the repertory of all leading opera houses all over the world, are among the most important events that took place at the Czech Theatre when it gave its performances in the building of what is now the Mahen Theatre. Katya Kabanova (1922), The Cunning Little Vixen (1924), Mr. Broucek's Excursion to the Moon (1926), The Macropulos Case (1926), From the House of the Dead (1930), and the Fate (1958) were staged at this theatre, to name but a few. Most of Janacek's first nights were conducted by Frantisek Neumann, a director and manager of the Czech Theatre in Brno. E. F. Burian, a Czech avant-garde director, introduced the Three penny Opera by Brecht and Weill in this building, Jindrich Honzl directed the staging of Androkles and the Lion, a play by G. B. Shaw. At the end of the 1920s, Oldrich Novy, a star of the Czech comedy-opera theatre, directed and played here, too. Later on, he also became famous for his performance in a series of musical films. Under the choreography of Ivo Vana Psota, a famous representative of the Czech art of dancing, Romeo and Juliet, the famous ballet by Prokofjev, had, in 1938, its first night on the stage of what is now the Mahen Theatre.
The list of famous artists could continue – with Karel Hoger and Martin Ruzek making their appearance on the boards of this theatre, with Vilem Pribyl singing here... There is no point in mentioning other names because it is impossible to cite all those who would merit being added to this list and who, just at this theatre building, helped shape the Brno and European theatre. Let us remember only that about 40,000 theatrical performances of all genres were held at the Mahen Theatre during the period of its existence, these performances having been attended by 16 to 20 million spectators. This means 40,000 evenings, on which spectators longing to encounter a unique theatrical experience, took their seats in the auditorium. The history of the Brno theatre – the Czech and the German – testifies to the fact that, many times, they were witness to really unique artistic events. If you pass the lobby of the Mahen Theatre, or if you take a seat in its auditorium, remember all the human fates connected with this theatre – the real, personal ones as well as the fictitious, theatrical ones. And should you have the impression that there is too much theatrical nostalgia permeating the atmosphere of the theatre, then you should know that today, the Mahen Theatre is living its full theatrical life, too. Every evening, the lights of the auditorium dim for new characters to return to life on stage as they are created by the ensembles of the National Theatre in Brno. Time that converts itself into history, and is being stored in the rich memory of this beautiful theatre building is passing today, too.
Vaclav Cejpek
The Building and its art decorarion
The building of what is now the Mahen Theatre, formerly the German City Theatre, the Theatre on the Wall and the Janacek Theatre, is not only one of the first-rate architectural monuments of Brno but its art, technical and cultural importance makes it, in addition, part of the European cultural heritage
The fact that the theatre was located on the eastern fringe of the city centre is connected with a large-scale urban redevelopment carried out in Brno in the second half of the 19th century. According to the 1861 – 63 regulation plan made by Ludwig von Forster, a Viennese architect, and Johann Lorenz, a city building contractor, large boulevards, official public buildings, apartment houses and promenade parks were built to replace the demolished city-walls. Similar to what happened a short time before in Vienna, a circular road was placed between the historical core and the outskirts. The new development carried out in the area of the former city-walls, particularly from the 1860s to the 1880s, represented the beginning of a dynamic transition of the Moravian metropolis to a modem city. This transition was completed by the radical redevelopment of the city centre at the turn of the century.
The construction of the new theatre was initiated by the City Council and, especially by Gustav Winterholler, the then Lord Mayor of Brno. The construction was started on July 18, 1881, and on October 31, 1882, the ceremonial "laying of the closing stone" took place so that the construction took only 18 months, including the design work. The building has an area of 2, 700 m2, and it cost 500,000 gold coins. A number of entrepreneurs, artists and craftsmen from Vienna and Brno participated in the construction of this building.
Ferdinand Fellner jun. (1847 – 1916) and Hermann Helmer (1849 – 1919), both architects from Vienna specializing in designing theatre buildings, were entrusted by the investor to make the architectural design. They designed 48 theatres in the territory of the former Austrian-Hungarian Monarchy, and in countries bordered by the Monarchy, reaching from Hamburg to Odessa.
In Bohemia alone, there are another four. They were built, in general, for German minorities living in Czech cities and towns, or in areas occupied predominantly by Germans (Liberec, 1881 – 1883; Karlovy Vary, 1883 – 1886; Prague – Smetana Theatre, 1886 – 1887; Jablonec, 1906 – 1907). Among them are also the City Theatre in Mlada Boleslav, the exterior of which was, however, designed by Rudolf Krizenecky and Emil Kralik, architects, and the Prozatimni divadlo (Interim Theatre) on what is now Zerotinovo square in Bmo (formerly Ratvinovo square, 1871) which was demolished in 1882. The plans which were made by the above-mentioned architects, and are now deposited in the Archives of the City of Brno, were implemented by Josef Arnold, a Brno building contractor, under the supervision of Josef Nebehosteny, a Viennese architect. Of Brno's craftsmen, F. Dressler, a sculptor, Johann Lang, a monumental mason, Georg Weiss, a stuccoer, and Karel Jelinek, a gardener, took part in the construction.
The theatre has a rectangular layout and is turned with the shorter side of its main front toward what is now Malinovsky square. The space in front is designed to fol1ll a circular eye-level flower bed. The segmental arms of the arrival ramp end in a three-axis portico situated in the middle. Its Tuscan columns and pillars support a balkony on the upper floor. On the balcony rests a loggia with Corinthian columns and a three-part entablature on which rests a three-angled shield as wide as the loggia, with a full plastic figural decoration. The middle has a figure of Dionysus, the Greek god, standing in a carriage drawn by lions and panthers. The four animals and the carriage are accompanied by winged geniuses with flaming torches. The resting female nude statues in the comers of the tympanum represent, on the left, Calliope, the Muse of heroic poetry, and, on the right, Melpomene, the Muse of tragedy. The side parts of the front have an entrance on their axes. Above the entrance, there is an aedicular window on the upper floor, the segmental fronton of which is completed by figural allegories representing Tragedy and Comedy. The building is enclosed by a conic balustrade skirting the whole periphery. At the front corners of the building, a pair of amoretti hold shields on which there used to be inscriptions in gold: A stand to Beauty – a home to the Muses. The middle of the front is accentuated by a roof arch carrying plastic city-arms, and it is completed by the Thalia-group sitting on a swan. The glory of the group is blazoned by two trombone players. The three-dimensional sculptural works are completed by two bas-reliefs: a three-part frieze with playing amoretti in the loggia, and festoons connecting the capitals of pilasters. The sculptural decorations of the interior and exterior of the building were made by Theodor Friedl (1842 – 99), a Viennese, who followed, in his concept, baroque sculpture. He completed a number of other theatres designed by Fellner and Helmer with plastic decorations which are similar, in terms of their themes and style, to those applied in the completion of the building of the theatre in Brno. In terms of architecture and decoration, the other facades of the building are treated in a more modest manner. The figural allegories with putties between the upper windows were made, in sgraffito, by Adolf Roth, a Viennese painter.
The exterior of the building represents evidential signs of historicizing architecture from the last stage of the period of strict historicism (1850 – 1880). Its creators drew on the late-Renaissance architecture typical of the areas of Tuscany and Venice. In doing so, they put the scientific study of historical patterns in balance with their creative transformation. Unlike the neo-Renaissance architecture of the exterior of the building, the neo-Baroque architecture prevails in the interior, the latter being characteristic of the period of late-historicism. While the exterior of the building shows a harmonizing trend, the interior shows clear efforts to achieve an emotional effect. Fellner and Helmer were among the first architects who, with the construction of the Brno City Theatre, took up this change of style. Addressing the works of art created by these two Viennese architects, Renate Wagner-Rieger, one of the best connoisseurs of the historicizing Viennese architecture stressed their great richness, decorative safety and playful easiness.
A three-part lobby, as wide as the building itself, is situated behind the entrance front. Another three-part lobby on the upper floor corresponds with that on the ground floor. Behind the lobby, a monumental three-arm staircase is integrated into the space opened by galleries. The principal arm of the staircase leads to the boxes in the pit, the other two lead to the corridor on the upper floor which connects the lobby with the auditorium. The tall staircase-hall between the lobby and the auditorium represented an exceptional example within Czech theatres. It was also rather rare in the theatre buildings designed by Fellner and Helmer. The circular ceiling of the auditorium which has a horseshoe-shaped layout, is decorated by six lunettes with distempered paintings representing the allegories of Tragedy, Dance, Lyrics, Comedy, Song and Music painted by Julius Schmidt (1854 – 1935), a Viennese, and by Olga Fialkova (1848 – 1930). Of a great number of boxes in the pit and on the two balconies, those in the proscenium are accentuated with further art decorations. The remaining space under the ceiling is filled with the gallery for the third and fourth circle. The fronts of the boxes are decorated with pilasters and, in the dress circle, with karyatids. The proscenium as well as the ceiling is framed and subdivided by bordures with rich plastic and painted decorations. The curtain with a sophisticated Makartian figural composition made by Franz Lefler (1831- 1898), a Viennese painter, has not been preserved. All parts of the interior of the theatre which are open to the public are covered with a continuous ornamental decoration consisting of plastic and painted elements, all of them having a rich gilding made by Johann Schonthaler of Vienna. It is particularly with the staircase that the architects, together with the decorators, fully developed their concept which, in the spirit of late-Historicism, revived the strongly official tendencies of baroque style.
There were fires in several theatres in 1881. In the spring, the theatre in Nice burnt down, and, in August, the National Theater in Prague. Then, there was fire in the Ringtheater in Vienna, this fire having the most tragic consequences. These events were reflected in the new Austrian building code, and they led to some basic alterations to the theatre in Brno. The number of exits as well as that of the vaulted staircases leading to them were raised. In general, the rooms took on dimensions that made it possible for the audience to leave the theatre, in case of emergency, as fast as possible. However, the principal step included the decision to electrify the theatre. The electrification was carried out by the Societe electrique Edison, a Paris-based company, in co-operation with Bruckner, Ross and Comp., a Vienna-based limited-partnership company for the use of electricity. In 1882, Francis Jehl, the assistant of Thomas Alva Edison, the famous inventor, came to Brno to design and install the electric lighting in the theatre. Francis Jehl participated in Edison's attempts to create a suitable thread for the first bulb. A new steam power plant was erected in what is now Vlhka-Street, formerly Offermann-Street, to cover the demands of the theatre. Thus, the theatre in Brno has won a remarkable primacy: it has become the first theatre on the European continent to be fully equipped with electric lighting. One of Edison 's bulbs has been deposited in a decorative copper case and put in the "closing" stone. (Today, it is on display in the show case next to the main staircase.) Edison himself visited Brno in 1911.
After its completion, the City Theatre in Brno enjoyed the extraordinary attention of experts and the general public. The press stressed the fact that the theatre competes with the most significant buildings in Vienna in terms of architecture, art and operation. It has become the first building to fully correspond with the new, more stringent technical and safety regulations for theatre buildings which had been introduced. This was stated, for example, by the members of the Austrian Society of Engineers and Architects who made – upon the invitation of Gustav Winterholler, the Lord Mayor, – an excursion to Brno to visit the new theatre as early as December 17, 1882. All leading journals dealing with electrotechnics reported on the electric lighting in great detail.
The building of the theatre kept for 90 years its original form and original technical equipment. Between 1971 and 1978 it underwent a complex reconstruction. The reconstruction covered all technical networks which were exchanged and their capacity enlarged. The technical operation of the theatre was renewed, extended and modernized. The new equipment did not touch the essence of the building as an architectural monument because it was installed, primarily, in the rooms not used by the public. All segments of architecture and all decorations were restored by experts; the missing details were replaced by copies made in accordance with the preserved fragments. The terrazzo of the lobby was replaced by a new plaster made of two kinds of marble with simple ornament. A new chandelier was fixed to the ceiling; it was adapted from a model which was manufactured in series. The necessary accessories of the interior – atypical light fixtures, buffet bar, show cases, seats, loud speakers and the coverings of radiators – were designed by Jindrich Kumpost jun., a Brno architect, to conform with the style of the theatre. The renewal of the theatre was followed by the opening of the Little Theatre on the Wall, a low-capacity room under the auditorium to serve as a solo-performer theatre, for recitals and similar purposes.
Jan Sedlak
