IDENTITY STATEMENT
Reference code(s): GB 0367 BAA
Held at: Institute of Germanic Studies
Title: Auerbach, Berthold (1874-1960) and Archive of Germanic Theatre
Date(s): 1881-1998
Level of description: Collection (Fonds)
Extent: 7 boxes
Name of creator(s): Auerbach | Berthold | 1874-1960 | theatre agent
Institute of Germanic Studies
CONTEXT
Administrative/Biographical history:
Berthold Auerbach was born into a Jewish family in Thorn in Western Prussia (now Torun in Poland). He attended school there, until his parents moved to Berlin in 1885. He had already begun studying Latin and in the next few years added French and Greek to his curriculum.
In December 1891 he began his working life by going into commercial training with the firm of H. Holde in Berlin. He remained with them until October 1894. Between 1895 and 1897 he trained in business and commerce with Albert Meyer (Speditions-, Commissions- und Bankgeschäft) but was most unhappy, realising that this type of career was not for him.
He joined the Literarische Gesellschaft in Leipzig, which had been founded by Carl Heine, and in March 1898 began work there as actor, Treasurer and Secretary. Out of this society grew Heine's Ibsentheater. The dramatist Frank Wedekind was also a member of the company. The Ibsentheater toured Northern Germany until the end of 1898 when it ceased to exist.
After a brief period as a reporter in Berlin, Auerbach started a career as a theatrical agent. He was to pursue this career for the next thirty-six years and became skilled in matching directors and companies with suitable actors and actresses, not only in Germany, but also in Austria and Switzerland. In this way many famous names in German theatre owed their careers to him through discovery by him and subsequent support and protection for their talent. Amongst these were Adolf Roff, Elsa Wagner, Emil Jannings and Carl Ebert. He was untiring in his travels to review productions and was enthusiastic about contemporary drama. His conduct and industry won him many lasting friendships in the profession: Helene Riechers, Carl Ebert, Elsa Wagner, and the Dumont/Lindemann Düsseldorfer Schauspielhaus.
In October 1898, Auerbach went to work for the theatre agency E. Drenker & Co. In 1907 he married Anna Pergams who came to Berlin from Königsberg, Prussia (now Kaliningrad in Russia). In 1915 he was called up for military service and sent to Königsberg for training, where the director of the Stadttheater 'Neues Schauspielhaus' gave him free tickets for all performances. His old firm of Drenker managed to secure his release from the army and he remained with them until 1929, when the firm closed. At this point the State founded an official agency for stage and film, Paritätischer Stellennachweis der Deutschen Bühnen, where the Actors' Union and the Union of Theatre Directors were represented on equal terms. Auerbach remained with them until 1933, when he was dismissed after an SA (Sturmabteilung) raid, albeit with a creditable testimonial. He was called back and re-employed for short periods four times, having become indispensable to the Agency, until Goebbels personally put a stop to this.
Despite numerous letters from the acting profession and others urging his re-employment, Auerbach remained unemployed in Berlin from 1934-1939 when he and his wife, after much heart-searching, decided to leave Germany to join their daughter in England. They were not allowed to bring out their two sons. During the first few years of the Nazi regime, Auerbach was sent free tickets for performances at most of the Berlin theatres, but this largely ceased once Jews were forbidden to enter German theatres, and he could only attend performances in the few special Jewish theatres.
After his arrival in England, Auerbach was interned in a camp on the Isle of Man for a few months. In 1945 he was invited back to Germany to take up his profession again, but he decided it was too late to start afresh. In 1951 he made his first visit to Düsseldorf and Berlin. When he revisited Germany his reception was tumultuous. He wrote an address for Helene Riecher's 85th birthday in 1954, which was read out at her memorial sevice in 1957. She died one month after Auerbach's wife.
In November 1959, Auerbach celebrated his own 85th birthday and received presents and tributes from the entire German theatrical profession, including the Unions. During his exile, he never lost touch with the German theatre scene and derived immense enjoyment not only from the letters he received but from the journals which were sent to him regularly.
Auerbach was also a poet of not inconsiderable talent. There are examples scattered through the collection and in relevant literature.
CONTENT
Scope and content/abstract:
Papers of Berthold Auerbach, and archive of Germanic theatre, 1881-1962, comprising:
Personal papers of Berthold Auerbach, including school reports, 1881-1889; testimonials from former employers, 1894-1933; published and unpublished writings, c 1941-1954; general correspondence
Germanic Theatre Archive - Context: comprising programmes, playbills, flyers, posters, production photographs, reviews (including German language performances of Shakespeare's plays in Germany, Austria and Switzerland, 1973-1982), arranged alphabetically by playwright or librettist
Germanic Theatre Archive - Individuals: comprising correspondence, photographs and memorabilia relating to writers, actors, agents, directors and producers, arranged alphabetically, subjects include Else Lehmann, Helene Riechers, Gustav Lindemann and Louise Dumont, Elsa Wagner, Eduard von Winterstein, Frank Wedekind and his daughter Pamela, Fritz Valk, Isadora Duncan, Anes Soma, Gerhard Hauptmann, Arno Holz and Jûrgen Fehling
ACCESS AND USE
Language/scripts of material: German
System of arrangement:
Papers arranged in three classes: Auerbach's personal papers, Germanic Theatre Archive: Context and Germanic Theatre Archive: Individuals. Within the Germani Theatre Archive papers are sorted alphabetically by individual.
Conditions governing access:
Researchers should apply to consult material at least forty-eight hours in advance by letter, facsimile, e-mail or telephone. The Library staff need a name and contact number, a concise and clear idea of the nature of the enquiry and a date and time for consultation.
Conditions governing reproduction:
Photocopies may be made, although this is at the discretion of the Librarian and is dependent on the nature of the material.
Physical characteristics:
Finding aids:
List, copy deposited at the National Register of Archives (NRA 29443)
ARCHIVAL INFORMATION
Appraisal, destruction and scheduling information:
Accruals:
Archival history:
The Berthold Auerbach Collection was deposited in the Institute's archives in October 1986 by his daughter Hilde Auerbach. Due to the difficult conditions still pertaining in the German Democratic Republic at that time, where Auerbach's other relatives were still living, his daughter considered the Institute of Germanic Studies in London both a safe and a highly suitable repository for her father's valuable papers.
With Auerbach's papers as the nucleus, the archive has been expanded to include all documents relevant to Germanic theatre productions, particularly in the United Kingdom, but also Germanic productions of English drama, e.g. Shakespeare. The object is to illustrate the close cultural ties between the English and German-speaking countries. Items include programmes, playbills, posters, photographs, reviews and exhibitions and correspondence.
Immediate source of acquisition:
Deposited by Auerbach's daughter, Hilde Auerbach, 1986
ALLIED MATERIALS
Existence and location of originals:
Existence and location of copies:
Related material:
The Institute also holds other papers relating to German theatre, including the Mynatt/Kapp papers (Ref MYK), which include material about Bertolt Brecht and his circle, the Garten Papers (Ref HFG), which contain material about the expressionist playwright Georg Kaiser (1878-1945) and the Gundolf Papers, which include material on his translations of Shakespeare.
Publication note:
DESCRIPTION NOTES
Note:
Archivist's note: Compiled by Jennifer Hogarth, revised by Alan Kucia as part of the RSLP AIM25 Project.
Date(s) of descriptions: Revised Apr 2002