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{{Short description|German stage and screen actress}} |
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| ⚫ | '''Lotte Meyer''' (22 February 1909 - 7 June 1991) was a |
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{{lead too short|date=June 2019}} |
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| ⚫ | '''Lotte Meyer''' (22 February 1909 - 7 June 1991) was a German stage and screen actress.<ref name=LMlautKS>{{cite web|title=Meyer Lotte, Schauspielerin|url=http://saebi.isgv.de/biografie/Lotte_Meyer_(1909-1991)|author=Kathka Schroth|date=7 October 2012 |publisher=[[:de:Institut für Sächsische Geschichte und Volkskunde|Institut für Sächsische Geschichte und Volkskunde]], [[Dresden]]|accessdate=8 June 2019}}</ref> |
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==Biography== |
==Biography== |
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Lotte Meyer was born in [[Bremen]]. She was born into a theatre family. During the nineteenth century her grandparents had run their own theatre company which had toured across Germany, Russia, Austria and Switzerland. He mother, born Fanny Musäus, was a stage actress who had learnt her profession from her own parents. Alfred Meyer, Lotte Meyer's father, was a stage actor and comedian. Preparing to follow in the family tradition, she took acting lessons from Alice Verden at the [[:de:Sächsische Staatstheater |
Lotte Meyer was born in [[Bremen]]. She was born into a theatre family. During the nineteenth century her grandparents had run their own theatre company based in [[Merseburg]], and which had toured across Germany, Russia, Austria and Switzerland. He mother, born Fanny Musäus, was a stage actress who had learnt her profession from her own parents. Alfred Meyer, Lotte Meyer's father, was a stage actor and comedian. Preparing to follow in the family tradition, she took acting lessons from Alice Verden at the [[:de:Sächsische Staatstheater|Dresden State Theatre (Staatstheater)]].<ref name=LMlautKS/> |
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Meyer was just 19 when she made her stage debut, playing "Lucy", the daughter of the police chief, in [[Leopold Jessner]]'s production of [[The Threepenny Opera]] at [[Theater Chemnitz |
Meyer was just 19 when she made her stage debut, playing "Lucy", the daughter of the police chief, in [[Leopold Jessner]]'s production of [[The Threepenny Opera]] at [[Theater Chemnitz|Chemnitz]]. After that she had a successful stage career at the [[:de:Sächsische Staatstheater|Dresden State Theatre (Staatstheater)]] between 1930 and 1935. <!---She then married.(needs source, but it's what wiki-de says)---> Her sons [[:de:Christoph Schroth|Christoph]] and Peter were born in 1937 and 1940: she took a break from her stage work till 1945.<ref name=LMlautKS/> Sources are silent about Mr. Schroth, the boys' father.<!---most likely died in war?---> After Lotte Meyer returned to the stage in [[End of World War II in Europe|1945]], her two sons shared their mother's itinerant theatrical lifestyle as they grew up.<ref name=CSlautKR>{{cite web|url=https://www.cottbus.de/.files/storage/file/56c0ee01-814b-47a4-a7a7-3e3f8049c0a4/Christoph_Schroth.pdf|title=Würdigung der Verdienste von Herrn Christoph Schroth um die Stadt Cottbus |author=Karin Rätzel (Oberbürgermeisterin Stadt Cottbus)| date=29 November 2003|publisher=Stadt Cottbus/Chóśebuz, Amt der Oberbürgermeister| accessdate=9 June 2019}}</ref><ref name=Musäus-MeyerschenLinielautPS>{{cite web|title=Warum Pension Schöller ein Heimspiel ist|work=Theatermann Peter Schroth findet Philipp Klapproth, Koppenbrück und Kyritz an der Knatter klasse: Ein Interview mit dem Erfinder der Schöller-Festspiele, die dieses Jahr in die 9. Auflage gehen.|url=https://www.maz-online.de/Lokales/Ostprignitz-Ruppin/Neustadt/Warum-Pension-Schoeller-ein-Heimspiel-ist-Interview-mit-Theatermann-Peter-Schroth|date=30 July 2018|publisher=Verlagsgesellschaft Madsack GmbH & Co. KG (Märkische Allgemeine), Hannover|author=Wolfgang Hörmann|accessdate=9 June 2019}}</ref> |
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Returning to the stage in 1945 she became part of the group around [[Erich Ponto]], supporting his efforts to rebuild the [[Staatsschauspiel Dresden|"Staatsschauspiel" theatre]] in [[Dresden]] and resume its theatrical traditions. She also appeared at the city's newly founded "Komödienhaus" (''loosely, "Comedy Theatre"'').<ref name=LMlautKS/> The central third of Germany, including [[Dresden]], had ended the [[Second World War|war]] [[Soviet Military Administration in Germany|administered]] as the [[Soviet occupation zone]], to be relaunched in October 1949 as the [[Group of Soviet Forces in Germany|Soviet-sponsored]] [[German Democratic Republic | German Democratic Republic (East Germany)]]. It was in East Germany that Lotte Meyer now built her career. Towards the end of the 1940s she began to travel around more (always within East Germany), appearing at theatres in [[Stralsund]], [[Schwerin]] and then, via [[Eisenach]], joining the Berlin-based [[Berliner Ensemble | Berliner Ensemble theatre company]].<ref name=LMlautKS/> Here she worked with [[Bertolt Brecht]], a convinced [[Marxism|Marxist]] who remained an iconic figure for the political left even if he was by now becoming a thorn in the side of the "Marxist" [[Socialist Unity Party of Germany#Politburo of the Central Committee|East German Politburo]]. For Meyer, work with Brecht was a constant learning opportunity.<ref name=LMlautKS/> |
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Later she appeared at [[Erfurt]], at the [[:de:Theater Junge Generation|Theatre of the Young Generation]] in [[Dresden]], the [[Deutsches Nationaltheater and Staatskapelle Weimar|(East) German National Theatre]] in [[Weimar]] and at the [[Maxim Gorki Theater|Maxim Gorki Theatre]] in Berlin. In 1951, while [[Bertolt Brecht|Brecht]] was still very much alive, she took the lead as "Pelagea Vlassova" in [[The Mother (Brecht play)|Die Mutter (''"The Mother"'')]] in the playwright's own production at the "[[Deutsches Theater (Berlin)|Deutsches Theater]]". Other roles for which Meyer is remembered include that of "Lyubov Ranevskaya", the lynch pin character in [[The Cherry Orchard]], Mrs. Alving in [[Henrik Ibsen|Ibsen's]] [[Ghosts (play)|Ghosts]] and the title role in [[Helmut Baierl]]'s "Mrs. Flinz". There were many more major character roles, generally from the more serious end of the theatrical canon.<ref name=LMlautKS/> |
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Lotte Meyer returned to Dresden in 1967, meaning that her career had both its beginnings and its endings at the [[:de:Sächsische Staatstheater|Dresden State Theatre (Staatstheater)]]. This was also where her father had enjoyed his greatest comedic stage triumphs. She remained closely involved with the Dresden theatre till shortly before her death. She was much loved by comrade thespians, and during the immediate run-up to the [[Die Wende|changes]] which heralded the beginnings of a [[1990 East German general election|democratic East German state]] and then, half a year later, [[German reunification|reunification]], Meyer's apartment was used as a meeting point for many members of the "Dresden ensemble" community. Her home was also the scene of various [[East German Round Table|round-table-style]] meetings, discussing art, politics and the methodologies of the theatrical profession, with a focus on how the situation in East Germany might be changed. Participants included Meyer's own grandchildren and frequently also took place in the presence of her most important friend, the [[Dresden]] artist [[:de:Christoph Wetzel (Künstler)|Christoph Wetzel]].<ref name=LMlautKS/> |
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Her stage appearances during this later stage in her career tended still to focus on "character roles" such as Marthe Bull (''"Mother"'') in [[Heinrich von Kleist|Kleist's]] [[The Broken Jug]]. It was only towards the very end of her career that Meyer took on some significant film roles, notably in "Die gestundete Zeit" (''loosely, "Time deferred"''), a film for television directed in 1989 by [[Bernd Böhlich]]. She also appeared two years later in Böhlich's "Kein Wort Einsamkeit" (''loosely, "Not a word about loneliness"''), another television. Her final film appearance came only in late 1991 or early 1992, by which time she had died. This time she featured in [[Ula Stöckl]] rendition of "Das alte Lied" (''"The Old Song"'').<ref name=LMlautKS/> |
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Lotte Meyer died in [[Dresden]]. Her ashes were laid to rest at the city's [[:de:Urnenhain Tolkewitz|Urnenhain Tolkewitz garden of rest]]. |
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==Awards (selection)== |
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{{columns-list| |
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* [[:de:Verdienstmedaille der DDR|Verdienstmedaille der DDR (''loosely, "East German Medal for Distinguished Service"'')]] |
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* 1979 [[:de:Martin-Andersen-Nexö-Kunstpreis|Martin-Andersen-Nexö-Kunstpreis (Martin Andersen Nexö Arts Prize)]] for a lifetime's work from the [[Dresden|City of Dresden]] |
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wiki-de |
wiki-de |
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Es folgten anschließend Auftritte am Stralsunder Theater, in Schwerin, Eisenach, Erfurt, Weimar und Berlin. (I think - from source - only some time after 1945). |
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Sie verstarb 1991 und wurde auf dem Urnenhain Tolkewitz beigeset |
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Nach ihrer Hochzeit und der Geburt ihrer zwei Söhne, war sie 1945 eine der ersten, die wieder auf der Bühne standen. Sie beteiligte sich unter Erich Ponto am Wiederaufbau des Dresdner Theaters, welches nach der Dresdner Bombardierung zerstört war. In Brechts Theaterstück Die Mutter spielte sie 1951 die Rolle der „Wlassowa“. Im Jahr 1953 wurde sie Mitglied des Berliner Ensembles. Ab 1957 war sie wieder in Dresden am Theater der Jungen Generation tätig, ab 1960 auch am Deutschen Nationaltheater in Weimar. |
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Meyer wurde mit der Verdienstmedaille der DDR ausgezeichnet. Im Jahr 1979 bekam sie den Martin-Andersen-Nexö-Kunstpreis der Stadt Dresden für ihr Lebenswerk verliehen. Sie verstarb 1991 und wurde auf dem Urnenhain Tolkewitz beigeset |
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KS |
KS |
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Nach 1945 widmete sie sich im Kreis um Erich Ponto aktiv dem Neubeginn der Dresdner Schauspielbühnen und spielte am neu gegründeten Komödienhaus. – Ende der 1940er-Jahre begann M.s lange Wanderschaft. Ihr Weg führte sie über Stralsund, Schwerin und Eisenach ans Berliner Ensemble, wo sie unter Bertolt Brecht arbeitete. Für sie bedeutete dieser Beruf eine ständige Lernsituation. Sie ging später nach Erfurt, spielte am Theater der Jungen Generation in Dresden, dem Deutschen Nationaltheater Weimar sowie am Maxim-Gorki-Theater in Berlin. Ihre Rollen waren u.a. die Pelageja Wlassowa in Brechts „Die Mutter“ (1951), die Ranjewskaja in Anton Pawlowitsch Tschechows „Der Kirschgarten“, Frau Alving in Henrik Ibsens „Gespenstern“, „Frau Flinz“ von Helmut Baierl (1969) und viele weitere Charakterrollen der Theaterliteratur. – 1967 kehrte M. wieder nach Dresden an das Haus zurück, an dem auch ihr Vater als großer Komiker Triumphe gefeiert hatte. Dem Staatstheater Dresden, Ausgangs- und Endpunkt ihrer Karriere zugleich, blieb sie bis kurz vor ihrem Tod eng verbunden. Sie war ein geachtetes und geschätztes Mitglied des Dresdner Ensembles und so wurde ihre Wohnung in der Zeit vor der politischen Wende 1989/90 zum Ort der Kommunikation für viele ihrer Kollegen. Bei M. am „runden Tisch“ wurde über Kunst, Politik und Methodik des Theaterberufs diskutiert sowie darüber, wie die DDR verändert werden kann. Bei den Gesprächen waren oft auch ihre Enkelkinder und ihr wichtigster Freund, der Dresdner Maler Christoph Wetzel, anwesend. Auch in Dresden spielte sie große Charakterrollen wie Marthe Rull im „Zerbrochenen Krug“ von Heinrich von Kleist oder - als großen Abschluss eines langen Theaterlebens - die Maude in Harold Pinters „Harold und Maude“. – Ihre wichtigsten Filmrollen spielte M. erst im hohen Alter, u.a. 1989 in „Die gestundete Zeit“ (Regie: Bernd Böhlich), 1990 in „Kein Wort Einsamkeit“ (Regie: Bernd Böhlich) sowie in dem 1992 erschienenen Film „Das alte Lied“ (Buch und Regie: Ulla Stöckl). – Für ihre Verdienste wurde M. mit der Verdienstmedaille der DDR ausgezeichnet und erhielt 1979 den Martin-Andersen-Nexö-Kunstpreis der Stadt Dresden für ihr Lebenswerk. |
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[[:de:Christoph Schroth|Christoph Schroth]] |
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[[:de:Ula Stöckl |Ula Stöckl]] |
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[[:de:Christoph Wetzel (Künstler)|Christoph Wetzel]] |
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---> |
---> |
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==References== |
==References== |
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{{reflist|35em}} |
{{reflist|35em}} |
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{{DEFAULTSORT:Meyer, Lotte}} |
{{DEFAULTSORT:Meyer, Lotte}} |
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[[Category:German stage actresses]] |
[[Category:German stage actresses]] |
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[[Category:German film actresses]] |
[[Category:German film actresses]] |
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[[Category: |
[[Category:Actresses from Bremen (city)]] |
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[[Category: |
[[Category:Actresses from Dresden]] |
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[[Category:1909 births]] |
[[Category:1909 births]] |
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[[Category:1991 deaths]] |
[[Category:1991 deaths]] |
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Latest revision as of 08:32, 27 November 2024
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Lotte Meyer (22 February 1909 - 7 June 1991) was a German stage and screen actress.[1]
Biography
[edit]Lotte Meyer was born in Bremen. She was born into a theatre family. During the nineteenth century her grandparents had run their own theatre company based in Merseburg, and which had toured across Germany, Russia, Austria and Switzerland. He mother, born Fanny Musäus, was a stage actress who had learnt her profession from her own parents. Alfred Meyer, Lotte Meyer's father, was a stage actor and comedian. Preparing to follow in the family tradition, she took acting lessons from Alice Verden at the Dresden State Theatre (Staatstheater).[1]
Meyer was just 19 when she made her stage debut, playing "Lucy", the daughter of the police chief, in Leopold Jessner's production of The Threepenny Opera at Chemnitz. After that she had a successful stage career at the Dresden State Theatre (Staatstheater) between 1930 and 1935. Her sons Christoph and Peter were born in 1937 and 1940: she took a break from her stage work till 1945.[1] Sources are silent about Mr. Schroth, the boys' father. After Lotte Meyer returned to the stage in 1945, her two sons shared their mother's itinerant theatrical lifestyle as they grew up.[2][3]
Returning to the stage in 1945 she became part of the group around Erich Ponto, supporting his efforts to rebuild the "Staatsschauspiel" theatre in Dresden and resume its theatrical traditions. She also appeared at the city's newly founded "Komödienhaus" (loosely, "Comedy Theatre").[1] The central third of Germany, including Dresden, had ended the war administered as the Soviet occupation zone, to be relaunched in October 1949 as the Soviet-sponsored German Democratic Republic (East Germany). It was in East Germany that Lotte Meyer now built her career. Towards the end of the 1940s she began to travel around more (always within East Germany), appearing at theatres in Stralsund, Schwerin and then, via Eisenach, joining the Berlin-based Berliner Ensemble theatre company.[1] Here she worked with Bertolt Brecht, a convinced Marxist who remained an iconic figure for the political left even if he was by now becoming a thorn in the side of the "Marxist" East German Politburo. For Meyer, work with Brecht was a constant learning opportunity.[1]
Later she appeared at Erfurt, at the Theatre of the Young Generation in Dresden, the (East) German National Theatre in Weimar and at the Maxim Gorki Theatre in Berlin. In 1951, while Brecht was still very much alive, she took the lead as "Pelagea Vlassova" in Die Mutter ("The Mother") in the playwright's own production at the "Deutsches Theater". Other roles for which Meyer is remembered include that of "Lyubov Ranevskaya", the lynch pin character in The Cherry Orchard, Mrs. Alving in Ibsen's Ghosts and the title role in Helmut Baierl's "Mrs. Flinz". There were many more major character roles, generally from the more serious end of the theatrical canon.[1]
Lotte Meyer returned to Dresden in 1967, meaning that her career had both its beginnings and its endings at the Dresden State Theatre (Staatstheater). This was also where her father had enjoyed his greatest comedic stage triumphs. She remained closely involved with the Dresden theatre till shortly before her death. She was much loved by comrade thespians, and during the immediate run-up to the changes which heralded the beginnings of a democratic East German state and then, half a year later, reunification, Meyer's apartment was used as a meeting point for many members of the "Dresden ensemble" community. Her home was also the scene of various round-table-style meetings, discussing art, politics and the methodologies of the theatrical profession, with a focus on how the situation in East Germany might be changed. Participants included Meyer's own grandchildren and frequently also took place in the presence of her most important friend, the Dresden artist Christoph Wetzel.[1]
Her stage appearances during this later stage in her career tended still to focus on "character roles" such as Marthe Bull ("Mother") in Kleist's The Broken Jug. It was only towards the very end of her career that Meyer took on some significant film roles, notably in "Die gestundete Zeit" (loosely, "Time deferred"), a film for television directed in 1989 by Bernd Böhlich. She also appeared two years later in Böhlich's "Kein Wort Einsamkeit" (loosely, "Not a word about loneliness"), another television. Her final film appearance came only in late 1991 or early 1992, by which time she had died. This time she featured in Ula Stöckl rendition of "Das alte Lied" ("The Old Song").[1]
Lotte Meyer died in Dresden. Her ashes were laid to rest at the city's Urnenhain Tolkewitz garden of rest.
Awards (selection)
[edit]References
[edit]- ^ a b c d e f g h i Kathka Schroth (7 October 2012). "Meyer Lotte, Schauspielerin". Institut für Sächsische Geschichte und Volkskunde, Dresden. Retrieved 8 June 2019.
- ^ Karin Rätzel (Oberbürgermeisterin Stadt Cottbus) (29 November 2003). "Würdigung der Verdienste von Herrn Christoph Schroth um die Stadt Cottbus" (PDF). Stadt Cottbus/Chóśebuz, Amt der Oberbürgermeister. Retrieved 9 June 2019.
- ^ Wolfgang Hörmann (30 July 2018). "Warum Pension Schöller ein Heimspiel ist". Theatermann Peter Schroth findet Philipp Klapproth, Koppenbrück und Kyritz an der Knatter klasse: Ein Interview mit dem Erfinder der Schöller-Festspiele, die dieses Jahr in die 9. Auflage gehen. Verlagsgesellschaft Madsack GmbH & Co. KG (Märkische Allgemeine), Hannover. Retrieved 9 June 2019.
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