Maria Pospischil - Knowledge (XXG)

732: 713: 2543:"Magda was much warmer and even nicer, more likeable (than her Fedora). In the third act, nice shades of humour flashed through, but everything was rigidly determined, strong, sophisticated. The whole of her art, it seems to me, is a scale of effects of vocal, passionate, and maddened exclamations; her voice is strong like a bell, without vocal timbre, tenderness and womanly charm. … She must have trained herself with iron diligence and perseverance to become such a brilliant virtuoso. … Although meant to impress in the first place, she cries so naturally, she even uses a handkerchief that I believe she probably cries alone. But I didn't see tears in her eyes... She rages around the scene with two movements she constantly repeats: her hand in her hair (they say copying 1759: 315: 659: 334: 2323: 682: 1319: 991: 69: 1307: 425:"The systematic killing of my talent and my health by the director of the National Theatre, Mr. František Šubert, pushed me to resign immediately. I will explain the details of the behind-the-scenes intrigues and love affairs of which I am the victim to my beloved audience later, when I am of a cooler mind. God knows I hate to say goodbye to an audience that has always treated me so kindly and dearly, and I assure here on my honor that I would serve this national institution until my last breath if it were led by a man who values the sacred purpose of the National Theatre more highly than his appetites." 1095:. Wolter had the right to keep the roles she had already studied (which was most of the classical repertoire). She made herself clear that she would not give up any role to Pospischil when she reached the age of one hundred. But she did not have the exclusive right to be cast in new plays. Director Burckhard, however, could not or did not want to deal with the aging diva and cast her as the young romantic lead. At the same time, he started Sunday afternoon discounted shows for workers, and there was a rumor that, in addition to his social sensibilities, he needed to find dates for a young tragedian. 475: 2342: 2304: 2273: 1379:, who repeatedly expressed his disapproval of her return. His arguments were that Pospischil performed in German theaters in Czech-German cities and thereby undermined Czech culture (especially in the German Theater in Prague). She also gravely insulted him in the press and did not publicly apologize to him. He presented her conciliatory attitude as calculation. He also predicted that her return would endanger the discipline of the ensemble, because the members would know that they could stand up to the director and after some time they would be forgiven and accepted back. 1334: 353: 369: 1631: 826:"Maria Pospischil played the role of Messalina, and what Mrs Wolter owed her, she embodied in an almost ideal way. Wolter didn't represent Venus, the woman into whose arms the intoxicated Marcus stumbles like a blinded moth into the scorching light was missing. In Miss Pospischil's portrayal, the love scenes in particular gained an irresistible magic. The way she, gracefully cast on the colorful leopard skin, sweetly lured the dreamy youth to her, the way she rested wreathed with roses on the snowy cushions of the Venus temple…" 2360: 1535: 701: 2432:"She is one of the few actresses who does not let us think that the role has long been written. She fulfils Grillparzer's commandment to forget technique when doing art, frees the precious property entrusted to her from the dusty layer of routine and plays Maria Stuart as if it had been written for her and for her only. This freshness, which gives every speech and every part of the performance the charm of something new, a confident ability to shape to shape a character, conveys a truly extraordinary impression. 1295: 303: 1661:. She became the first Czech actress with a higher contractual salary than an actor. She also specifically mentioned in the contract that the director would not have a final say in the decision on her role choice - she thereby completely excluded Šubert, as the director of the theatre, from influencing her career. This step, accepted by Růžička, would have destroyed Šubert's influence on the running of the theater without precedent. Šubert, in his published memoir, tried to achieve an objective view: 461: 1825: 1527: 116: 2368: 92: 1778: 2705: 2697: 1802: 2484:“Miss Pospichil switches between brutal scorn and the softest sounds of emotion, but we can only believe there’s roughness in soft Magda, not that there’s softness in the rough one. Both are performed with equal virtuosity, but one seems to hear different instruments being played one after the other with the same skill: no harmony emerges. Miss Pospichil's ability is certainly significant, but after yesterday's performance she seems more of a virtuoso than an artist.“ 2232:, seems to have sufficient dramatic power and beauty to do without any additions or alterations. But modernity wants to invent the perverted whim of an immature girl who would cause disaster. Are the demands of these poets too great and the subject too complicated to be dramatized with honor, or are they speculating on the desire of the general public for spicy and strong drinks, for aphrodisiacs to whip up the weary nerves of our age? The obscenities of the French 1451: 983: 1790: 1349: 2292: 1814: 2192: 1387: 1270:'s empress Valeria Messalina. Here Pospischil's stagecraft reached its peak for the first time. These doomed characters often ended in a tragic death of the main heroine and required luxurious gowns and costumes, which at that time the actresses had to provide at their own expense, often causing them to seek rich patrons to sponsor them as each role demanded another set of expensive costumes, often of various historical styles, ranging from 2717: 1422:"What penance would be great enough to atone for all this guilt? Some are of the opinion that such a thing cannot be atoneed for at all. Only the purifying fire of a miracle is strong enough to eradicate these pro-German feelings deeply rooted under one's skin, but others are of the opinion that Miss Pospischil would be such an effective figure as a national Magdalene that even the most fanatical German-haters would have to forgive her." 2518:"The long, all too long dying is happening before our eyes. And Maria Pospischil dies with an art that gets to your heartstrings. You sit there and want to freeze in horror. I am convinced that many women who were at the theater didn't sleep a wink the entire following night. Maria Pospischil is admirably capable of great tragic tones. This death scene was full of "truth of life" and at the same time of the finest artistic stylization." 1663:"Losing Pospischil was, on the one hand, a loss for the theater, but given the conditions under which the artist was supposed to work and their consequences for the theater, it directly saved the theater: because the inevitable consequences of that ill-advised contract would have completely destroyed the situation inside the troupe in a few months. The effect of that contract on all other members of the theatre without distinction." 1097:“The management of the Imperial and Royal Hofburg Theater, as well as the great actress Charlotte Wolter, who, however, thinks and acts very pettily in "certain" things, is doing everything in their power to spoil the position of this talented and important artist at the Burgtheater. Mrs. Wolter likes to try to "play" Miss Pospischil out of the theater in a similar way she once successfully managed to get rid of Miss 1702:-system in the National Theatre. Therefore, as soon as someone became a star in the National Theatre, they had to either go abroad or voluntarily compromise their demands. The system mainly consisted of not allowing the artist's ego to grow too high. Therefore, once someone excelled in a great role, they could be sure that they would immediately be removed to some secondary role or cast against their type." 1865:"A large number of actresses' contracts have stated that marriage is an immediate reason for termination. … This basically means that at least the smaller stages take into account the sexual attractiveness of their actresses, and that the sexual interest of the men's world is weakened if the actress in question does not necessarily appear to be "free" but is officially claimed by a marriage alliance." 2110:

arrogance. Her management was described as conflict-ridden “belligerent”. Artists complained about strict military conditions (all communication had to be in writing, management did not accept personal meetings). Several artists filed complaints to the court for harassment and disregard for personal freedoms. However, in the trial after hearing the witnesses Pospischil was acquitted of all charges.

1674:"Mr. Šubert welcomed me as the last of the last employees of your theater. And to my explanation that I'd like to introduce myself as a new member of the theater appointed by you, he answered that he does not agree to any reconciliation. I was accepted against his will and that my contract protects me from his persecution and I imposed conditions to which he would never accede." 27: 1101:. However, we believe that this time, despite the strong support of the director Dr. Burckhard, she will not succeed, and we are certain that Miss Pospischil is sensible enough to calmly defy all hostility and intrigue, for at that time Mrs. Wolter was 18 years younger, whereas today, even if she herself does not believe it, she has already become a matron.” 2555:"All the triumph of the exterior, from the great toilets to the volcanic passion of the young lady, fascinated and conquered. The theater audience, which understands primarily only through the external sense organs, must have been captivated by these performances. She is the right actress for them, for all his perception, for all his hungry senses." 1715:, Miss Pospischil represents an excellent will and passion, strong moral and physical figures, a sparkling foam of whimsy and boredom. The strong air of naturalism she exudes in many of the knife-edge scenes where the words sizzle around your lips like saliva is as healthy and fertile for the auditorium as it is for the stage. … So her Magda in 196:, who gifted her a three-story house in the centre of Prague in admiration of her talent (when she sold the house in 1896, it was worth 46,000 guilders - i.e. eight times her annual income in 1896). Being supported by rich patrons was a common practice in German theater, less common in Czech society. This earned Pospischil a dubious reputation. 2522:"A terminally ill woman and wife who dies after a painful death struggle before the eyes of the audience. Marie Pospispil struggled with death in the Berliner Theater in such a nerve-shattering manner that the entire success of the play was called into question and in subsequent performances this brutal death scene was moved behind the scene." 1006:, she eventually gave up the fight with Wolter. "Young" Pospischil got more opportunities only when "old" Wolter was indisposed and sick and the young ambitious actress felt that her potential was not being fully utilized. The conflict between the two divas became a subject of a discussion about the future and direction of the Burgtheater. 606:. All other theatre companies did not have a permanent building and traveled around Czech-speaking regions, or they were German theatre houses in the German-speaking regions of Bohemia. She, not willing to be a touring actress, was forced to pursue a career on the German stage. Her first performance in German took place at the 2439:"In her portrayal, all sides of the character of the great courtesan were represented: the seductive grace of the hetaera, the demonic sensuality, the capricious mind, the insatiable thirst for revenge, the cunning of the upstart, but at the same time all the still shining through features of an originally great nature." 731: 2566:"The actress, previously known only as a declaiming and posing iambic heroine, showed herself for the first time from a new, very remarkable side. She even almost succeeded in creating a real, living woman of flesh and blood on the stage from the literary material provided by the author - almost, but not quite!" 2453:"Miss Pospischil is a heroine; she has mastered a character type. She brings physical means and a natural passion that many colleagues may envy; she is also modern enough to seek simplicity in her delivery, but as a heroine she believes she is obliged to offer a masterpiece of declamation at the right time. 154:. Pokorný was the first one to mould her talent and her cast her in her fist major role. Here she met her stage mother Terezie (surnamen unknown), an old experienced actress whose name has been forgotten. At this time in her career, Pospischil had a brief love affair with her colleague, the young actor 1554:

was threatened by student demonstrations. The National Theatre was besieged by hundreds of rioters and the actress had to be escorted by police upon entering and leaving the theatre. Later when she appeared in front of the public on stage, hundred hired protesters rioted against her in the auditorium

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before her but without such a striking triumph), but this time radical patriots saw in her comeback, as well as in her success in Berlin and Vienna and lavish gowns sponsored by German aristocrats, a mockery of their efforts for the language equality of Czechs with the German minority in Bohemia. The

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She became a socialite in Vienna and often appeared in society, famous for her lavish gowns designed according to Paris fashion (Pospischil took trips to Paris for inspiration, and some of her outfits might have been purchased in Paris). During that period Pospischil performed for German audiences in

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She could move audience to tears. But some critics also mentioned "spots in the sun" in her acting style, that were to be overcome later in Vienna, "excessive facial expressions that tire the audience's attention, overuse of dramatic tones in places requiring calmer diction, and movements - sometimes

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The acting style of the great tragic heroines - the one that Maria Pospischil mastered - went out of fashion during her lifetime. She preferred the classic repertoire of tragic roles, although she was often forced to appear in contemporary farces and social dramas, which she did not appreciate. Some

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However, her ambition was thwarted after an unsuccessful personal meeting with director Šubert, who made it clear to her that he hated her presence in the National Theatre. To this day, there is controversy about what happened between them on the meeting. Pospischil left indignant. She went directly

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This quote was both published in newspapers and handed out in the National Theatre on the day of Bittnerová's performance. Pospischil, who refused to submit to Šubert's demands, was the first and only one to speak publicly about Šubert's sexual relationships with actresses. Some newspapers hinted at

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Most of her career, she had a stable position in an ensemble in the rank of tragic heroines and "Salondamen". But she toured Germany and many European countries. In her home stage, she often performed contemporary repertoire. For her touring career, she had a list of glamour roles (so called Glanz-

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Pospischil first decided to go back to Germany after finishing the contracted performances, but during the tour, when the situation calmed down, she started negotiating a contract with Růžička. Šubert explicitly asked Růžička to be excluded from the contract negotiations. He was openly avoiding her

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The subjects of her national treason were as follows: in the 1890 census, when she was living in Vienna, she stated that she was of German nationality. In Germany and Austria, she used the German spelling of her name instead of the Czech one (this was common practice at the time - even other Czechs

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Her Prague German appearances caused very negative reactions and feelings in Czech patriotic circles, because it was customary for Czech actresses to play only in Czech in the territory of Bohemia. If they played in German, it was outside the territory of the Bohemian Kingdom. The worst attack came

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and she rose to become one of the leading actresses of the Provisional Theatre. What was particularly praised was her sonorous voice. Pulda continued guiding her artistically for many years, they became lovers and eventually partners and Pulda left his wife and son in Prague to accompany her during

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Pospischil was known for her frenetic activity on stage. Some critics condemned her for her restless running around the stage, and in her early years for overacting and convulsive facial expressions. Her rivals accused her of superficiality, but she thought about the interpretation of roles, about

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Her era was an artiscic success but the theater had financial difficulties and Pospischil's husband, a military officer, managed the theater together with her and 21 artists left in the first season and another 18 in the following season (actors, opera singers and orchestra players) because of his

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wrote about her "Who deserts, shoot them" and criticized her violation of national discipline, and lamented about the fact that Prague bourgeoisie was blinded by the splendor of her outfits: "It is a shame how both (the strongest Czech) political parties lay at the feet of a lady who has beautiful

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and easy to understand due to the proximity of both languages. Her repertoire was very wide and she performed a number of new roles in Poland, probably boosted by her very enthusiastic reception. Her Polish audience couldn't fully understand her, so she was forced to focus on the physical means of

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Pospischil was willing to give up other lucrative European offers in order to perform at the National Theatre again and eventually to return to Prague but her efforts to reestablish a career in Bohemia were thwarted not only by Šubert's ongoing antipathy of her but also the ultra-radical national

1368:.She kept repeating that she would love to return to her beloved homeland (i.e. abandon her stellar German career). She was still remembered by her Prague fans. Part of the subscribers wanted her to return and even wrote a public petition as early as 1886 for the theater to strive for her return. 1013:

a “Wolter-crisis” (Wolter-Krise) broke out Wolter declared that she would resign from the Burgtheater because of "insults from the management" which she could no longer tolerate - i.e. Pospilchil taking over some of the roles previously played by Wolter. Satirical magazines considered her demands

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Her success was all the more astonishing because she played many of these roles for the first time. In addition, the acquisition of more than a dozen expensive period costumes, including several months without work, required a large financial and time investment that she (and Pulda) could afford.

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in Prague (National Theatre was a successor of the Provisional Theatre). Acting at that time was divided into "characters" ("emploi" in French, "Fach" in German, similar to a "stock character"), i.e. sets of roles requiring similar physical appearance, voice, temperament, sensitivity, and similar

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Prague bourgeoisie was enthusiastic. They admired Pospischil's strength to resist the rioters, but also her expensive white fur coat as her performance was also Prague's biggest fashion show of that day. Four gowns in which she performed that evening were estimated at 7,000 guilders (roughly ten

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After the most aggressive rioters were arrested, Pospischil could begin her performance. While in public opinion, the star was triumphing over the rioters, Pospischil announced backstage to the board members that she would complete her Bohemian tour and return to Germany. She did not want to be

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Both, she and Pulda, were dismissed. They tried to reconcile with Šubert, but in vain. Šubert did not accept their apology and he never forgave Pospischil for her media insult. A number of Czech politicians tried to soften the director's harshness and lobbied for Pospischil, but in vain as well.

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Her natural beauty (dark brown eyes and thick golden-blond hair, so thick she didn't wear wigs) was her great asset. In her time she was considered one of the most beautiful Czech women. Especially roles of fallen women, "détraqués" (mentally unstable women), courtesans and wicked aristocrats

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in the character type of classical mothers and older character roles (Rollenfach: klassische Mütter und ältere Charakterrollen). Critics and audiences began to consider Pospischil too old for the tragic Rollenfach and she abandoned this character type voluntarily. She was under 50, while other

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In the spring of 1895, Pospischil attempted to return to the Czech stage. Her personal motivation remains unclear. One of the reasons could be the death of her close friend and possible lover Antonín Pulda, who during one of his visits to Prague, died suddenly of a severe stroke. Also, Barnay

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style to contemporary designs. Pospischil became famous for investing great sums of money in her lavish gowns and the newspapers often admired her fashion style and gained the status of a fashion icon in Berlin. This practice of lavish costuming was widely criticized as it distracted from the

873:. Although her contract at the time still tied her to the Deutsches Theater for two years, Burthardt managed to release Pospischil from her old obligations by paying a considerable penalty. Pospischil became a court actress and for that reason she turned down an attractive offer to perform in 1494:

just left Prague). Thun was involved in supporting the actress. Šubert complained about him in a letter to the chairman of the board of trustees, that. "I was invited at the police headquarters, 1/ to write back to that lady that I forgive her 2/ to agree to her engagement." Later, writer

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from the Czech journalist Emanuel Bozděch, who partly made a living by writing for Prague's German newspapers. In a German-written feuilleton he questioned the choice of Pospischil for this great Schiller figure - because she - as was a common knowledge - was neither German nor a virgin.

2469:, the actress emphasizes from the beginning of the role the woman broken by the shame of imprisonment and avoids all the heroic and energetic accents that are emphasized by most Stuart actresses, especially in the scene with Burleigh. Here the artist uses a more melancholy ironic tone." 712: 1596:

The standing ovations were continuously increasing as the evening progressed, and after Aria's big scene in the third act, they turned into outbursts of joyful demonstrations. Unfortunately, police got involved again yesterday, this time during loud applause in honor of Mrs.

406:, drafted the memoirs, which after his death Šubert collected from his literary estate and destroyed). Since scandals of this kind rarely appeared in the media of that day, Prague theatre circles were amused by the information, true or fake, about Pospischil slapping Šubert. 436:

Most of the newspapers were silent about the incident. Some accused Pospischil of a calculated move, having planned to start a career on the German stage and looking for an excuse. Most newspaper articles passed over the reasons for her departure and the protest in silence.

558:. These were popular show-off roles - a part of the regular repertoire of all the most outstanding actresses of salon comedies in Europe. Usually impressive, but also dangerous because it gave opportunities for comparison. And Polish audicence was aware of work of 1563:

exposed to the risk of further displays of hatred. The actress began negotiations with her Berlin agent. German and Austrian newspapers tried to capture the event objectively, but at the same time underlined the nationalist and misogynistic aspects of the affair.

1576:"A quick walk, indifferent greetings, nods of the head, short, terse questions, and grandiose casualness scared away all cordiality... There was nothing sweet or soft in her gaze. She looked coldly as if in ill-concealed anger. Maybe it just seemed that way." 2378:

Pospischil was an interpreter of the classic roles of heroines in the grand style of the late 19th century. Both, her acting and lifestyle were to impress audiences in the theatre and on the street. She was comparable to the greatest actresses of her time,

2205:"Since I am for truth and nature on the stage, I am in full favor of the fact that an actress should allow herself to be kissed and kiss her stage partner if her action requires it. Sometimes the effect of the whole scene depends on an actual real kiss." 1121:

but neither of them was able to keep the position either. Pospischil later regretted this decision, because Wolter's career was slowly coming to an end and Pospischil assumed she could have soon become the first tragic heroine of the Imperial theatre.

621:. Pospischil did not speak German well (which was rather unusual, as most Czech actors were bilingual at that time) and had to memorize all the German roles phonetically. Later in her career she became fluent in German and minimized her Czech accent. 1669:

to the chairman of the board of trustees, Dr. Růžička, and tore up the contract in anger. Letters from both Pospischil and Šubert, addressed to Růžička, are kept in the Prague literary archive and describe the whole affair in their points of view.

2447:"She was a Messalina of fiery sensuality, of blazing passion, full of hot longing in the first scenes, of melting devotion in the love scene with Marcus, of wild despair at Marcus's coffin, sinister in the bacchanalian frenzy of the final act." 79:(born Marie Terezie Vondřichová; 23 January 1862 – 28 May 1943), was one of the great stage actresses of the 19th century, active on German and Czech stage. She was also a writer and theatre director with several appearances in the German 658: 169:. There was a vacancy in the "character type" ("emploi" in French, "Fach" in German, similar to a "stock character") of a young romantic lead after the actress Ludovika Rottová left (she ended her theatre career after getting married). 1382:

It is possible that the board of trustees were using Pospischil to test the authoritative director and only were using her as a means of power struggles, which had been very tense between the director and the board for almost a year.

1443:. Pospischil agreed to change the spelling, apparently wanting her name to be pronounced correctly rather than garbled. The strongest moment of treason, which Pospischil was denying all her life, was her performance in favour of the 1578:

Before Pospischil's second performance, which again could have turned into riots, Kvapilová, as cold as Pospischil's behaviour, expected a more enthusiastic attitude from the star towards her performance at the National Theatre.

643:. Her first German success must undoubtedly be credited to her tutor Pulda, as the certainly undeniably talented actress did not have enough experience to portray new leading roles in a foreign language she did not fully master. 333: 1863:. However, this does not necessarily mean that these are the actress' real opinions. She only might have presented herself publicly in that way in order to have wider opportunities for engagement in the contemporary context. 583:"It was a true manifestation of cordiality: – Miss Pospiszilówna, when she first appeared on the stage, was greeted by a veritable hurricane of applause and thousands of shouts: "Na zdar! Cheers!... Long live the Czechs!..." 1684:Šubert's motivation for his strong absurd resentment of Pospischil is hard to explain. According to many accounts, the director's personality did not get along with other prominent artistic personalities. The opera singer 2457:

operatic "Deborah" could only benefit from her performance. The author puts four great arias into the mouth of his heroine; Miss Pospischil made the impossible possible and spoke the gruesome curse with serious, strong

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Bittnerová was also said to be self-centered and ambitious as Pospischil, and she vilified her younger colleagues, left the troupe twice when her expectations had not been met, and Šubert excused her exclusive demands:

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characteristics, and actors were hired and cast according to their character type. Pospischil started as a young romantic female lead but from the very beginning she strove for a position of tragic heroine, occupied by

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has made the most profound impression on me, the most profound one I have ever got in theatre so far. The piece opened up and deepened with sincerity and inner experience, with that painful, broken, agitated fabric of

423:. Šubert assigned the role of Claire, the female lead to Bittnerová. Pospischil, who also wanted the role of Claire, refused to submit to him any longer and published her critical opinion on conditions at the theatre: 1404:"The young lady does not hide her internationalism despite various journalistic statements, and her entire life so far is proof that the essence of our displeasure towards her actions she couldn't understand before." 2092:“She ran the theater with honest artistic endeavors and one should have been satisfied with her; the undue and unjust demands of her members led to a conflict in which she finally fell victim to the "organization."” 1037:, Pospischil became inpatient because she didn't get many performance dates and openly complained about the lack of employment to director Burckhard. Her complaint was justified, because in the first two months of 412:"Mrs. Bittner was given the opportunity by the National Theater to achieve great artistic goals, but it was not possible to satisfy her claim that she would be the only one for all the first roles as she expected." 681: 1758: 376:

According to many accounts, Pospischil was very stubborn, self-centered and difficult to work with. She often had the impression that she was entitled to more significant roles. The dramaturge of the theatre

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from her older repertoire, but the status of a freelance artist gave her the opportunity to choose her own Rollenfach and roles. She started to work on her French repertoire and played Marcelina de Targy in

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For Šalda and many others, her return to Germany in 1895 was an irreplaceable artistic loss for the Czech theatre, and they blamed Šubert, who made Pospischil's return impossible due to his inplacability.

314: 1861:"I don't want to get married because I have absolutely no intention of giving up my art, to which I am passionately attached, and because I firmly believe that art is not compatible with marriage.", 2211:

still banned actual kissing, and acting manuals had to explain how to simulate it. She published a memory of her stage mother - a tribute to forgotten touring actresses - both in German and Czech.

2547:) – and then she touches her ribs with both hands and slides her hands forward under her breasts. The whole performance is like a raging wind or perhaps the sea, noisy, sheer force and certainty." 2527:“Maria Pospischil was an actress of great style, but with too much style. Her mind and tongue were not quick enough to portray more complicated or, more correctly, more natural female characters.” 1014:

excessive and ridiculed her for another fifty years at the Burgtheater. Wolter also expressed disapproval of Pospischil as her successor and suggested other actresses instead of Pospischil, esp.

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her engagements abroad as her impressario. It is surmised he was also her lover. Her whole career, she spoke of him as her mentor and she even went so far as to pay for his grave when he died in

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A new feud with Wolter began when the Burgtheater management decided to cast 58-year old Wolter in a role of a 26-year old tragic heroine (and her young romantic partner played by 65-year old

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After being dismissed, Pospischil appeared as a guest star on Polish stages from January to May 1885. Unemployed actress took the opportunity (most likely suggested by writer and journalist

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in heroines and first tragic lovers (Rollenfach: Heroine und I. tragische Liebhaberin) . Here she gained the greatest fame and popularity with the audience. In particular, her portrayal of

882:"If Pospischil is smart, she'll learn from Wolter what she can. The rest is in good God's hands. We can be modest and considerate and you drink lemonade gazeuse if we don't have champagne." 2341: 1692:, who also had a love affair with Šubert, was strongly prejudiced against the director in his memoirs, but he briefly characterized Šubert's artistic management of the troupe, this 1567:

times her fee that evening) and it was speculated that they had been of Parisian provenance (they were actually designed in Viennese dressmaker Hermine Grünwald's fashion atelier).

591:"However, we can rightly conclude that such a cordial reception of the artist and passionate celebrations of her and our brother nation was bestowed upon its worthy representative." 1109:

did not help her break through. "Miss Pospischil, who was unable to establish herself either in the repertoire or with the public, leaves Vienna." Pospischil decided to go back to

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of the 1860s, initially met with strong opposition in Germany, are now derided as harmless and have achieved record attendances. And even ten years ago, most of the works of Mr.

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She was an enormous success and was received very favorably and even enthusiastically. Not only a great artist was welcomed, but also a "representative of her fellow nation", as

176:. He, a very intelligent and experienced teacher, brought out the performing skills of Pospischil in surprising depths. The first role he coated her in was the role of Louisa in 2303: 1649:

Pospischil did not accept Růžička's contract draft and negotiated an unprecedented salary of 8000 Golden a year, which was more than twice the salary of the highest salaries of

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She was already such a well-known and notorious celebrity artist around Europe that a number of German and British newspapers printed her answer from a German theater enquiry:

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Her capitulation should have been accepted. Later, Šubert was not able to find a suitable substitute for Pospischil's talent, that young and breathtaking, albeit defiant charm.

1203:. Here she began to move from the roles of young naive lovers (such as Juliet or Louisa Miller) to the genre of mature tragic heroines (such as Lady Milfort in of Schiller's 2553:, was equally critical and biting towards Pospischil. He wrote that the young lady wanted to be a world artist and she succeeded only on the route Berlin - Vienna and back: 1678:Šubert, who contradicts himself in his description, was of the opinion that his behavior towards the actress was correct, however, he noted that the actress left saying: 1227:'s Jenseits von Gut und Böse. She received high for her ability for portraying such unsympathetic roles as Meerheim and Isotta commendably. She also performed in Russia. 2549:

Kvapilová considered herself the opposite of Pospischil, but she was also older, tended to be fat, and had a weak voice that was not always understandable. Her husband,

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dramatic text and the performance of the actress. Bernhard Bauer quoted as saying that the poster should tell both the name of the actress and of her fashion designer.

2397:"Maria Pospischil is a heroine with the appearance of a salon lover and the voice of a sentimentalist, and her character is welded together by the passion of feeling." 398:Šubert resented her diva-like attitude and demanded discipline and obedience. Pospischil defied the authority of the director, who was known, among other things, for 257:

Although she was accused of "devouring" all the female leads of the repertoire, the rest of her thirty roles at the National Theatre were mainly supporting parts and

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She was often criticized for her lack of tenderness. That's why, for example, she didn't impress in the role of Juliet, but she was praised in Lady Macbeth. Actress

1740:

Pospischil was not the only Czech talent who was rejected and condemned to a career abroad by director Šubert. In 1897, he did not recognize the talent of the young

1333: 1832:

After her unsuccessful attempt to return to Bohemia, Pospischil decided to return to Germany and opened the season with a controversial role of wild and passionate

772:. She became a member in the character type of tragic heroine from 1887 to 1890. She was praised for her portrayals of the characters of Adelheid von Walldorf in 1408:"If a Czech actress was driven to a German stage by intrigue or destitution, Czech public forgave her. However, she was not allowed to stand out too much there." 2074:

in German-speaking part of Bohemia. The grand opening of the opening theater became a spectacular cultural event in 1909. Pospischil reprised the title role of

1306: 1594:(The ovation was mainly a demonstration of admiration for her strong nationalist attitude, the actress was known for her outdated stiff declamatory acting.) 5043: 5023: 1165:

popular in Vienna at that time. The Viennese journalists and public opinion was that she was histrionic and had many breakdowns she had to recover from in

402:

in exchange for casting opportunities or a salary increase. Whether Bittnerová was Šubert's lover is questionable, but not impossible (her husband, actor

1582:

Police supervised all performances. When violent riots became risky, the claque began to use positive boytot, such as calling to fame the national icon

1559:

was common in 19th century Central European culture. Likewise, riots during performances. However, this was an unusually large public shaming of women.

150:

touring theatre company, one of the most respected Czech touring companies, where she achieved her first significant success in the role of Gretchen in

1139:"Miss Pospischil is still young and beautiful; Her youth and beauty make us believe in many things that we must have forgotten about the tragic actress 589:. It was not just the panslav feelings in the audience. The Polish audiences were truly amazed by Pospischil. In the same review, Kozłowski concluded: 1412:

Her return had very bad timing during a time of strong national turmoil between Bohemian Czechs and Germans. The Czech company was shortly after the

48: 35: 1447:, a German association to support German national education, especially against the growing nationalism of the Slavic peoples in imperial Austria. 5028: 1471:

actress made a public apology for her earlier improper behavior, explained her attitudes in an interview with journalist and war correspondent

756:

Pospischil's performance in Prague's German Theatre attracted the attention of many German theatre agents and directors. Artistic leader of the

416:

In the winter of 1884, Pospischil had fierce disputes with the director over his casting decisions in the highly expected new French melodrama,

352: 3779:

name Marie Pospíšilová and Maria Pospischil (also sometimes spelled Pospischill) or Maria von Hirschberg in Austria, Germany and Great Britain.

2488:

One of the trademarks of Pospischil's acting was the prolonged death scenes in the finale. Both critics and spectators greatly appreciated how

2014:. She decided not to enter any other engagement and turned down an offer of an American tour to start touring in German speaking countries. In 628:, she mainly performed French salon repertoire, Pospischil started with a new set of roles, this time German classics in the original version. 1920:

Mary Pospischil declares that "as long as a woman believes in youth and clings to her youth she appears young even when she is not really so."

1133:

and she was successful in recreating her acting style. Her youth and grace were her great assets, as in the case of Adelheit von Walldorf in

700: 2428:"Her brilliant roles include those in which a glowing sensuality is expressed, such as Messalina and Udaschkina in Freytag's Graf Waldemar." 2838: 1709:, the most famous Czech literary critic of his time, considered Pospischil to be one of the greatest Czech actresses, if not the greatest: 1487: 251: 1991:, a play rarely staged in Germany at that time (Pospischil only directed the production, she did not star in it; the main female lead was 441:

Pospischil, although later she was repeatedly asked about the reasons for her actions and choice of words, never commented on this topic.

1873:

and created several of his plays, major hits at that time, e.g. operetta singer Nelly Sand in Die Brüder and Elise Maineck in Die Erste.

3151: 1042: 913: 842:, one of the greatest German tragic heroines, a generation older actress of the same repertoire and a darling of the Viennese audience. 2557:

And he further regretted that the young lady had to leave eleven years ago, but he considered the reason for her departure to be that

665: 302: 2603: 2090:

etc.) in her glamour roles. Pospischil used her earlier theatrical contacts to invite a number of guests, especially opera singers.

1615: 247: 142:

Pospischil's career began at the age of fourteen in Prague's summer vaudeville theatres, which mostly presented undemanding trivial

3008: 2643: 2509: 1849: 1765: 1340: 777: 1462:

Although Pospischil was not the first Czech actress who had returned to Prague after a successful German career (so had done e.g.

990: 599:

In Kraków candies called "Sleczna Pospiszilówna" (Miss Pospischil) appeared in the confectionery shop of Mr. Hendrich and Rehman.

68: 5048: 434:"mysterious incidents behind the curtain making the return of previously very obedient and respected Pospischil hardly possible." 2564:

critics, however, judged that, and on the contrary praised her performance as mother Dorothee in Mutterrecht by Adelheit Weber:

3641: 2970: 1777: 1294: 474: 2490:"she was dying very naturalistically - actually not pretty, but anyone who has witnessed a death will recall it watching her." 5033: 3586: 2635: 265:, and still she impressed both the audience and the critics. Also, many of the shows didn't stay in the repertoire for long. 2199:

Pospischil was also active as a writer. She frequently answered German theatre newspaper inquires. In 1895 she answered the

1911:

major Georg von Hirschberg and they had a daughter and a son. Later, she often used Maria von Hirschberg as her stage name.

135:. She had two sisters but not much is known about their lives (one also became an actress, another got married and lived in 2363:

Maria Pospischil's guest star role list with her Berlin agent contact (similar to contemporary opera singers' presentations

1672:

Pospischil, clearly trying to make peace with a man who had been harming her all along, felt insulted and lost her temper:

1475:

and donated the salary for the first four Czech performances to charity, but this did not calm the nationalistic passions.

1402:

believed that the problem was Pospischil's cosmopolitan life attitude, which provoked resistance in the Czech environment:

3776: 2860: 1022:(Sandrock was eventually artistically more significant, and also more progressive. She actually joined the Burgtheater in 1945:

was celebrated as brilliant by many Hamburg newspapers. She was pursuing her stage career until 1907, mainly in Hamburg.

1173:. However, many Viennese regretted her departure because she was no longer there to replace the aging sixty one year old 596:

too violent - for a set of a parlour (of a French comedy Divorçons). The artist's playing lacks peace and concentration.

4887:

Tragedy, Gender, Performance: Women as Tragic Heroes on the Nineteenth-Century Stage. In Comparative Drama 30/2. p. 151.

3569: 2817: 2639: 1957: 445: 262: 166: 4665:

Divadelní ředitel mezi společenskymi ideály a vlastni kariérou. In. Zločin a trest v české kultuře 19. století. p. 124.

1801: 378: 3516: 2935: 2849: 2685: 2627: 2466: 2419: 2314: 1845: 1611: 1212: 1058: 854: 785: 636: 236: 2430:

These roles were risky because the audience got opportunity to compare the performance of various touring actresses:

1706: 1507: 1789: 1348: 483: 273:'s historical drama Smiřičtí (Smirziczky family), where she played a minor role of Salomena Smirziczky, also twice. 4629:

Pohostinské hry slečny Pospíšilovy. In. Rozhledy národohospodářské, sociální, politické a literární 1895/7. p. 484.

3158: 2959: 2928: 2291: 2240:'s muse would certainly have been rejected by sensitive audiences and relegated to the realm of brothel cabarets." 1813: 1195:, after her three-year contract expired, she left Vienna and returned to Berlin. She obtained an engagement in the 917: 773: 769: 757: 618: 468: 368: 40: 3438: 3036: 2842: 2538: 2454: 2411: 2043: 1602:

Subsequently, she performed at the National Theatre several more times, always with great success. She played in

797: 204: 2831: 1630: 270: 5038: 3196: 3074: 3001: 2663: 2359: 2207:

In her time, such an attitude, not uncommon among actresses, still could be risqué. Many reputable theatres in

1534: 846: 805: 147: 4482:

Correspondence. Letter from 16 April 1895. Literary heritage in the archive of Památník národního písemnictví.

3674: 2094:. Among the most significant cultural acts is her commitment to the installation of a commemorative plaque to 1134: 1092: 888:. The risqué décolletage of her costume became the talking point of her first performance. She also performed 452:

Later, however, he reduced his sentence and left the decision on her return to the management of the theatre.

387:

Both Pospischil and Pulda were not content with the authoritative leadership of the National Theatre director

4926:

Feuilleton. In. Berliner Tageblatt und Handels-Zeitung, Morgen-Ausgabe, May 8, 1897, 66. Nr. 40, P. 223-224).

1884:

for guest performances at the Dresden court theater, but the tour didn't result in a contract. She played in

1395:

faction of Czech patriots, who did not want Czech actresses to pursue a career on the German-speaking stage.

865:(who became the director after Förster's sudden death) hired her as a replacement for the Romanian tragedian 3292: 2738: 2219: 1885: 1733:

Thirty years later, Kvapil abandoned in his memoirs his previous bitterness and cross judgements and wrote:

1583: 1255: 1215:). After her arrival she appeared in a.i. the double role of young widow Victorine von Meerheim and Italian 835: 209: 3259: 1444: 1428: 1224: 3637: 3385: 3057: 2966: 2871: 2824: 2768: 2753: 2023: 1619: 1607: 518: 420: 343: 228: 224: 3389: 2501: 1665:

She signed a contract with the board of trustees of the National Theatre and entered into an engagement.

1491: 1376: 1177:, who had become too old to portray certain youthful roles, although her acting skills were still great. 1062: 388: 3412: 3127: 1893: 1125:

It is important to note that Berliner and Viennese theatre critics originally mocked Pospischil for her

1046: 909: 460: 3402: 2853: 2103: 1824: 1526: 1511: 340: 232: 115: 108: 4962:

Letters to František Adolf Šubert. Literary heritage in the archive of Památník národního písemnictví.

2047: 1635: 1467: 1463: 1196: 578: 392: 213: 104: 5018: 5013: 4590:

Divadlení ředitel František Adolf Šubert - vizionář, nebo zpátečník? In Divadelní revue 2020/2 p. 41.

3579: 3546: 3368: 3178: 3171: 3147:

1891 - Graf von Esser oder die Gunst der Fürsten by Banks, Brook, Jones and Ralph - Countess Ruthland

3134: 3110: 2742: 2677: 2611: 2150: 2114: 2071: 1841: 1371:

She was invited to Prague by the board of trustees of the National Theatre, namely head of the board

1098: 1081: 1019: 925: 921: 905: 901: 869:

who she complained that she didn't get enough role opportunities and decided to pursue her career in

761: 567: 240: 3743: 2367: 2027: 1689: 1685: 1654: 1372: 91: 3667: 3372: 3224: 2864: 2772: 2704: 2696: 2674: 2615: 2587: 1984: 1837: 1658: 1555:

for eleven minutes. They shouted and whistled to prevent the actress from performing. This type of

1472: 1247: 1234:

was one of Pospischil's most frequent stage partners. Pospischil performed with him as the lead in

1088: 897: 889: 444:

Discussions about her possible return were going on for more than ten years. In 1890, for example,

244: 173: 100: 96: 4974:

Das höchste Gesetz. In. Erstveröffentlichung: Magazin für Literatur 1897, 66. Nr. 40, P. 223-224).

2372: 1650: 1365: 403: 372:

Maria Pospischil's announcement about director Šubert's love affairs in Národní listy Dec. 30 1884

216:

at that time. Both held their jobs tightly, and Pospischil was kept in the field of naive lovers.

3755: 3463: 3185: 3043: 2783: 2681: 2599: 2348: 2310: 1996: 1539: 1243: 1162: 929: 688: 615: 465: 281: 177: 1479: 1450: 1161:

which is a derogatory term of a Czech peasant girl, after Mařenka, the main role of Czech opera

1114: 999: 982: 866: 718: 1416:. Pospischil was chosen to be a warning example for other actors. She was called the "national 1325: 3736: 3729: 3558: 3539: 3339: 3312: 3141: 3029: 2942: 2911: 2798: 2779: 2721: 2667: 2631: 2623: 2607: 2575: 2530: 2472: 2352: 2329: 2254: 2253:

She was one of the first women Faustologists, i.e. writers who interpret Goethe's tragic play

2191: 2099: 2075: 1980: 1571: 1220: 1204: 1106: 1050: 885: 789: 781: 765: 749: 632: 625: 547: 535: 514: 285: 181: 151: 136: 3660: 3650: 3562: 3535: 3419: 3207: 3189: 3103: 2903: 2794: 2659: 2493: 2407: 2279: 2225: 2131: 1897: 1712: 1603: 1547: 1386: 1361: 1263: 1251: 1174: 1142: 1003: 977: 937: 933: 839: 821: 817: 745: 722: 586: 551: 539: 531: 450:"Miss Pospischil left the National Theatre in a disgraceful way that can never be forgiven." 2716: 2087: 430:"theatre directors are trying their luck in love, but they hit Miss Pospíšil's heart hard." 4566:

Profesní a soukromý život divadelních hereček od 60. let 19. století do roku 1918. p. 206.

3445: 3214: 3018: 2890: 2709: 2673:, a character of a woman who was forced to leave home and succeeded abroad, rarely staged 2651: 2550: 2388: 2380: 2127: 1927: 1726: 1589: 1455: 1399: 1267: 1066: 949: 945: 809: 607: 563: 523: 277: 2622:, Among her greatest stage successes were great roles of German repertoire as Schiller's 2039: 1364:

became the new director. However, after only one year, he left the artistic direction to

4383:

Fräulein Marie Pospischil. In. Münchener Kunst- u. Theater-Anzeiger, Jan 19 1895, P. 1).

4360:

Pohostinské hry slečny Marie Pospíšilovy. In. Zlatá Praha 1895, May 10, Nr. 26, P. 312).

1592:

Aria and Messalina, domestic tragedian Mrs. Sklenářová-Malá was enthusiastic applauded.

631:

Other roles she performed in German in Prague, also by Schiller, were Princess Eboli in

3704: 3096: 2997: 2952: 2749: 2423: 2237: 2122: 2095: 1417: 1413: 1118: 1077: 1015: 880:

Pospischil was expected with high anticipation and approved even by Wolter's admirers:

858: 850: 611: 559: 4985:

Berliner Theater. In. Münchner neueste Nachrichten, Vorabend-Blatt, Oct 8 1897, P. 2).

1420:". The German media used the opportunity to point out Czech xenophobia and chauvinism: 5007: 4605:

Letters received. Literary heritage in the archive of Památník národního písemnictví.

3599: 3504:

1896 - Renaissance by Franz Koppel-Ellfeld and Franz von Schönthan - Marchesa Gennara

3335: 3308: 3061: 3025: 2979: 2907: 2670: 2647: 2571: 2544: 2534: 2475: 2415: 2384: 2333: 2247: 2208: 2079: 1923: 1716: 1231: 1208: 1200: 1186: 1070: 862: 793: 543: 417: 399: 258: 128: 4434:

Rozmluva se slečnou Pospíšiilovou, In. Národní lisy. 1895/27. 27 January 1895. p. 5

3719: 3612: 3550: 3078: 2805: 2619: 2579: 1971:, Pospischil opened her own theater company, Pospischil-Ensemble, and performed in 1942: 1744: 1737:

Pospischil expressed regret of the forced end of her career in Bohemia repeatedly.

1599:

Unlike many other actors, Sklenářová-Malá tried to remain neutral in the conflict.

1271: 1239: 801: 321: 266: 193: 155: 4075: 4073: 4071: 2790: 1546:

Her first public appearance in Prague in April 1895 as Russian princess Fédora in

602:

At that time, the National Theatre was the only Czech theatre in the territory of

527: 4908: 4906: 4237: 4235: 566:. To honor the Polish hosts, she also staged the comedy Fat Fish (Grube ryby) by 95:

Maria Pospischil on the front page of Paleček magazine in 1882 (Theatre director

4996:

Aus dem Berliner Kunstleben. In. Die Gesellschaft: 13. 1897, Quartal 1, P. 411).

3678: 3470: 3351:

1895 - A Night at Karlstein by Jaroslav Vrchlický - queen Elizabeth of Pomerania

3282: 2875: 2520:

Another review of the same show revealed the impact of her naturalistic acting:

2442: 2437:

brought her fame, as states a review of her rendition of Wilbrandt's Messalina:

2392: 2243: 2164: 2146: 1992: 1870: 1275: 1259: 1216: 1170: 813: 741: 669: 490: 220: 80: 3646:

1900 - The Vikings at Helgeland (Nordische Heerfahrt) by Henrik Ibsen - Hjördis

4740:

Mannheimer Journal : Amts-und Kreisverkündigungsblatt, Jan 15 1898. P. 4.

3910: 3908: 3493:

1897 - Götz von Berlichingen by Johann Wolfgang Goethe - Adelheit von Walldorf

2583: 1506:

She, however, did have many supporters, as the literary critic and journalist

1496: 1084:

who, however, played modern heroines in addition to the classical repertoire.

639:. She continued to play these roles throughout her career, both in Vienna and 4653:

Mnoho povyku pro nic a za nic. In. Zlatá Praha 1895, June 14, Nr. 26, P. 367.

1041:

she only performed at the Burgtheater only three times as Queen Kunigunde in

4026:

Drugi gościnny występ p. Marji Pospiszilównej. In. Gazeta Lubelska. 1885/77.

3916:

Diaries. Literary heritage in the archive of Památník národního písemnictví.

3828:Česká činohra 19. a začátku 20. století: Osobnosti; , II. Part: N-Ž. p. 765. 3265:

1893 - Die guten Freunde (Nos Intimes) by Victorien Sardou - Madame Caussade

3164:

1892 - Les pattes de mouche (Der letzte Brief) by Victorien Sardou - Suzanne

3117: 2595: 2172: 2157: 1988: 1699: 1642:

and during the month she was performing, Šubert took a vacation and went to

1556: 1360:

resigned as director of the Berliner Theater. Playwright and theatre critic

1235: 3627:

1899 - Frou-Frou by Henri Meilhac and Ludovic Halévy - Gilberte (Frou-Frou)

3348:

1895 - Frou-Frou by Henri Meilhac and Ludovic Halévy - Gilberte (Frou-Frou)

3318:

1894 - Frou-Frou by Henri Meilhac and Ludovic Halévy - Gilberte (Frou-Frou)

3203: 2655: 2403: 1976: 1551: 1435:

and Anton "Dvorzak"). Nobody seemed to care that during her Polish tour in

1150: 941: 555: 510: 502: 192:

Pospischil also won many admirers and patrons, including Bohemian Governor

124: 26: 2533:, no friend of Pospischil, both admired and criticized her performance of 2371:

In the dressing room - Maria Pospischil as Praxedis in Kaiser Heinrich by

1747:, and rudely rejected her, forcing to also start a new career in Germany. 1586:, who played the virtuous Aria alongside Pospischil as lustful Messalina. 1002:, she remained overshadowed by one of the greatest German tragic heroines 4948:

Anne Russell, Die Meisterspiele in Prag, Götz von Berlichingen in Hamburk

4267:

In. Osterreichische Musik- und Theaterzeitung, 1891 : Heft 19. p. 2.

3554: 3345:

1895 - Arria und Messalina by Adolf Wilbrandt - Empress Valeria Messalina

3301:

1894 - Arria und Messalina by Adolf Wilbrandt - Empress Valeria Messalina

3244:

1891 - Arria und Messalina by Adolf Wilbrandt - Empress Valeria Messalina

3230:

1892 - Arria und Messalina by Adolf Wilbrandt - Empress Valeria Messalina

2233: 957: 585:

The orchestra wrapped up the performance playing the Czech national song

289: 1486:

Pospischil was referred to her as the mistress of an unpopular Governor

381:, who kept notes on the actors of the ensemble, noted about Pospischil: 4851:

The Problem of the Actress in Modern German Theater and Thought. p. 83.

3269: 3050: 2513: 2451:

Voice was one of Pospischil's greatest assets, next to her sex-appeal.

2168: 2083: 2051: 2003: 1937:

with a contract "under brilliant conditions" where she began acting in

1934: 1908: 1877: 1833: 1769: 1741: 1054: 961: 874: 870: 603: 146:. She got no formal theatre education. In 1878, she became a member of 4599: 4597: 3067:

1889 - Eine Lüge von Emil Schönfeld - the fallen woman (die Gefallene)

269:'s Sulamit, where Pospischil played Lilith, was performed only twice, 239:, a role that later became iconic in Czech culture, especially due to 2591: 2505: 2497: 2395:

admire described her character at the time with the following words:

2283: 2229: 2180: 2176: 2118: 2031: 2019: 2011: 1972: 1953: 1889: 1279: 1166: 1110: 893: 640: 506: 498: 293: 132: 4542:

Marie Pospíšilová, In. Literární pozůstalost Hany Kvapilové, p. 217.

4506:

Rozhledy národohospodářské, sociální, politické a literární. 1895/7.

3863:

What I Know: a hundred chapters about people and events from my life

3070:

1889 - Die Basallin by Albin Rheinisch - Countess Agnes von Boulogne

2590:

actress of her time, creating the playwright's major female leads -

2574:), she avoided contemporary progressive dramatic work (e.g. Ibsen's 2163:

In 1943, she suffered a heart attack on the train on her way to the

2145:, she returned to her acting career appearing in three minor German 1731:"No genius, no creative power, no struggle with an ideal - nothing." 3899:

Reading about the National Theatre: scraps of history and destinies

3656:

1902 - Emilia Galotti by Gotthold Ephraim Lessing - Countess Orsina

3250:

1891 - Emilia Galotti by Gotthold Ephraim Lessing - Countess Orsina

3123:

1890 - Emilia Galotti by Gotthold Ephraim Lessing - Countess Orsina

2896:

1884 - Divorçons by Victorien Sardou and Émile de Najac - Ciprienne

2680:, woman who sees little difference between biting and kissing, and 1653:, the first tragedian of the troupe, or the highest paid actresses 4674: 4672: 4326:

Zpráva k mimořádné valné hromadě Družstva Národního divadla. p. 7.

2715: 2703: 2695: 2465:"With wise economy and artistic calculation on this key moment of 2366: 2358: 2190: 2135: 1823: 1643: 1629: 1533: 1525: 1490:, who was her big fan (and whose previous mistress, ballet dancer 1449: 1385: 989: 981: 473: 459: 367: 143: 114: 90: 67: 4315:

Z poslední galerie, Divadelní kritiky Vavřince Lebedy II. p. 300.

1933:

Her further artistic career was connected to the city theatre in

489:

Pospischil performed in Czech, which was found a nice gesture of

276:

However, her talent was widely recognized. When visiting Prague,

158:. Both of them became major theatre stars in their later career. 3692:

1900 - Iphigenia in Tauris by Johann Wolfgang Goethe - Iphigenia

3451:

1897 - Das höchste Gesetz by Telesfor Schafranski - Marie Treder

2479: 2142: 2067: 2063: 2035: 2015: 2007: 1999:). The company, though short-lived, was a considerable success. 1968: 1949: 1938: 1904: 1881: 1856: 1436: 1192: 1038: 1034: 1027: 1023: 1010: 965: 831: 737: 692: 673: 325: 219:

Her greatest opportunities were the role of courtesan Marion in

200: 186: 162: 3996: 3994: 3621:

1899 - Das Recht auf sich selbst by Friedrich von Wrede - Anina

3528:

1898 - The Maid of Orleans by Friedrich Schiller - Joan of Arc

3425:

1897 - The Maid of Orleans by Friedrich Schiller - Joan of Arc

1131:"declamatory style and strove for natural truth in expression" 904:. She starred in many other roles, such as, Ibsen's Magrit in 624:

After her Polish tour, where, next to the role of Gretchen in

20: 3624:

1899 - Gewitternacht by Ernst von Wildenbruch - Maria Josepha

3608:

1899 - Intrigue and Love by Friedrich Schiller - Lady Milfort

3398:

1896 - Intrigue and Love by Friedrich Schiller - Lady Milfort

3354:

1895 - Much Ado for Nothing by William Shakespeare - Beatrice

3014:

1887 - Intrigue and Love by Friedrich Schiller - Lady Milfort

2195:

Postcard with Maria Pospischil in a pensive pose, around 1900

2134:) kept the tragic repertoire until a much older age, despite 4827:

In Berliner Börsen-Zeitung, Morgen-Ausgabe. 2 February 1895.

4764:

Beliner Börsen-Zeitung, Morgen-Ausgabe, June 29, 1906, p. 6.

3304:

1894 - Graf Waldemar by Gustav Freytag - Countess Udaschkina

2982:

by Friedrich Schiller - Julia, Countess and imperial dowager

2733:

František Pokorný Theatre Company, Bohemian touring company

4421:

Goethův sborník památce 100. výročí básníkovy smrti. P. 347

4050:

The Old Guard of the National Theatre: Drama, Opera, Ballet

2993:

1887 - Donna Diana by Agustín Moreto y Cavana - Donna Diana

2203:

enquiry - debate about how real a kiss should be on stage:

1538:

Maria Pospischil as Mařenka (a dumb Czech peasant girl) in

834:, she was invited to Vienna by the director of Burgtheater 284:

advised her to pursue career in Germany. Viennese comedian

4002:

Marie Pospíšilová w Krakowie. In. Wielogłos. 2007/1 P. 85.

3725:

1913 - Richard III by William Shakespeare - Queen Margaret

1262:'s Maria and Magdalena, the treacherous Countess Zicka in 4875:

Erläuterungen zu Goethes Faust, erster und zweiter Teil.

2259:"Erläuterungen zu Goethes Faust, erster und zweiter Teil" 2102:, which had inspired the composer when writing his opera 1960:

with great success and the newspapers referred to her as

1258:. Her other roles included Magdalena von Hohenstraßen in 4938:

In: Hannoverscher Kurier, Hannoversches Tageblatt. P. 3.

4839:

Cultural History of Theatre in the Age of Empire. P. 118

4014:

Drugi występ panny Pospiszilówny. In. Czas. 1885 P. 104.

3525:

1898 - Don Carlos by Friedrich Schiller - Princess Eboli

3522:

1898 - Maria Stuart by Friedrich Schiller - Maria Stuart

3484:

1896 - Maria Stuart by Friedrich Schiller - Maria Stuart

3381:

1895 - Maria Stuart by Friedrich Schiller - Maria Stuart

3247:

1891 - Maria Stuart by Friedrich Schiller - Maria Stuart

3092:

1890 - Maria Stuart by Friedrich Schiller - Maria Stuart

3089:

1890 - Don Carlos by Friedrich Schiller - Princess Eboli

2990:

1887 - Don Carlos by Friedrich Schiller - Princess Eboli

2570:

As most of actresses of her rank (with the exception of

1076:

Pospischil was also overshadowed by the young tragedian

764:

invited her for guest performances of Princess Eboli in

4861:

Die Schamhaftigkeit auf der Bühne. Eine Rundfrage." In

4773: 4771: 4222: 4220: 4129:

Münchener Kunst- u. Theater-Anzeiger, Mar. 1 1895. P. 3

1026:, but left due to disagreements with the management in 740:

new year's issue of Der Humorist, artistic trio of the

478:

Maria Pospischil in An der Schönen Blauen Donau in 1890

4803:

In. Illustrirtes Wiener Extrablatt, Jan 19 1911, p. 9.

4791:

In. Ohligser Zeitung und Tageblatt, Jan 24 1911, p. 2.

4692:

Berliner Tageblatt und Handels-Zeitung, Oct. 20, 1895.

3859:

O čem vím: sto kapitol o lidech a dějích z mého života

3233:

1893 - Bernhard Lenz by Adolf Wilbrandt - Sarah Roland

2764:

1883 - Strakonický dudák by Josef Kajetán Tyl - Lesana

1588:"During yesterday's performance of Miss Pospischil in 1287:

Return to Prague and media outburst against Pospischil

172:

There, her talent was soon recognized by the director

3592:

1898 - Das Goldene Flies by Franz Grillparzer - Medea

3431:

1897 - Die Weisheit der Aspasia by M. Löbel - Aspasia

3288:

1894 - Richard III by William Shakespeare - Lady Anne

3220:

1892 - Deborah by Salomon Hermann Mosenthal - Deborah

3167:

1892 - Richard III by William Shakespeare - Lady Anne

2463:

using vocal means, screams and emotional breakdowns:

1324:

Maria Pospischil in a hunting outfit by photographer

486:, who was well acquainted with Polish culture life). 250:

and Emma Králíčková, the female lead of Czech comedy

119:

Maria Pospischil, “although trying, can’t get higher”

4914:

Maria Pospischil, k.k. Hofburgschauspielerin. P. 38.

4899:

Maria Pospischil, k.k. Hofburgschauspielerin. P. 21.

4243:

Maria Pospischil, k.k. Hofburgschauspielerin. P. 13.

4081:

Maria Pospischil, k.k. Hofburgschauspielerin. P. 28.

3618:

1899 - Die Journalisten by Gustav Freytag - Adelheid

3459:

1895 - The Feast at Solhaug by Henrik Ibsen - Magrit

3275:

1894 - Macbeth by William Shakespeare - Lady Macbeth

3154:

by Franz Grillparzer - Queen Kunigunde von Massovien

2156:

She was widowed in 1930 and lived her last years in

2082:

and later guest starred in local theatres (Magda in

2070:

she was the first director of the German theatre in

968:, and Czech patriots later reproached her for that. 4578:

Dějiny Národního divadla v Praze 1883-1900, p. 402.

3605:

1899 - Die beiden Leonoren by Paul Lindau - Leonore

3507:

1896 - Sohn des Khalifen by Ludwig Fulda - Morgiana

3497:1896 Saint Petersburg tour (Alexandrinsky Theatre) 3408:

1896 - William Tell by Friedrich Schiller - Armgard

2975:

1885 - William Tell by Friedrich Schiller - Armgard

2018:she had a big tour around German cities, including 1153:, became sensational. She was often referred to as 4815:In. Teplitz-Schönauer Anzeiger, Feb 20 1911, p. 4. 4813:Die angeblichen Zustände am Aussiger Stadttheater 4046:Stará garda Národního divadla: Činohra-opera-balet 2516:. The Berlin review of Das höchste Gesetz stated: 1574:captured Pospischil's behavior the following day. 3278:1894 - King Lear by William Shakespeare - Goneril 3011:by Johann Wolfgang Goethe - Adelheit von Walldorf 2886:1884 - Faust by Johann Wolfgang Goethe - Gretchen 2559:"it is not in her nature to remain in one place." 1499:satirically described their liaison in his novel 1149:Her expensive costumes and jewels, esp. those in 1113:. The position of first tragedian was offered to 1105:Even her friendship with the influential actress 838:in an effort to find a replacement for the aging 812:'s Arria and Messalina (a role originated by the 610:in the summer of 1895, being invited by director 4801:Eine Entkleidungsszene in der Theater-garderobe 4704:Die Frau als Schauspielerin. Ein Aufsatz. P. 61. 4189:In. Wiener Allgemeine Zeitung, Nov 10 1892, p. 7 3428:1897 - Mutterrechte by Adelheit Weber - Dorothee 3298:1894 - Dora by Victorien Sardou - Countess Zicka 2218:, in which she fiercely criticized the emerging 2171:. She subsequently died in a nearby hospital in 1983:Medea. She presented her first stage direction, 1057:). Wolter appeared in all the major roles (e.g. 672:on the front page of Die Bombe magazine in June 3710:1908 - Die Erste by Paul Lindau - Elise Maineck 3630:1899 - Die Erste by Paul Lindau - Elise Maineck 2586:'s naturalistic novels). She was a significant 1844:as well as in her showcase roles of Schiller's 1073:, and appeared on stage four times more often. 928:'s Lady Tartuffe, or Duchess of Marlborough in 845:After guest star presenting Countess Orsina in 391:who often prioritized his own protege, actress 111:are crying because they have become superfluous 4354: 4352: 4350: 4039: 4037: 4035: 4033: 3895:Čtení o Národním divadle: útržky dějin a osudů 3481:1896 - Theodore by Victorien Sardou - Theodore 2038:. She taught acting and had several students. 808:. After her portrayal of Empress Messalina in 4064:Činohra Národního divadla do r. 1900. p. 108. 3703:1908 - Die andere Gefahr (L'Autre danger) by 3653:/Julius Horst - Empress Agrippina the Younger 3434:1897 - Die Brüder by Paul Lindau - Nelly Sand 2010:. She ended her engagement and moved back to 687:Maria "Pospischiller" Pospischil ruling over 494:acting (voice work, gestures and body work). 8: 4337: 4335: 4333: 3401:1896 - Heinrich und Heinrichs Geschlecht by 3262:- Victorine von Meerheim / Isotta degli Atti 2688:bore a paradoxical resemblance to her life. 1869:She became a favorite actress of playwright 1680:"My efforts at reconciliation were in vain." 857:and Countess Udaschkina in Graf Waldemar by 3714:Berlin, Theater in der Königgrätzer Straße 3689:1900 - Sappho by Franz Grillparzer - Sappho 3670:by Henrik Ibsen - Irene, the traveling lady 3595:1899 - Sappho by Franz Grillparzer - Sappho 3490:1896 - Sappho by Franz Grillparzer - Sappho 3199:by William Shakespeare - Isabella of Valois 1043:Grillparzer’s König Ottokars Glück und Ende 364:Conflict with the National Theatre director 3700:1908 - Fédora by Victorien Sardou - Fédora 3633:1899 - Heimat by Hermann Sudermann - Magda 3531:1898 - Fédora by Victorien Sardou - Fédora 3501:1896 - Heimat by Hermann Sudermann - Magda 3487:1896 - Fédora by Victorien Sardou - Fédora 3395:1896 - Fédora by Victorien Sardou - Fédora 3378:1895 - Heimat by Hermann Sudermann - Magda 3331:1895 - Fédora by Victorien Sardou - Fédora 3241:1891 - Fédora by Victorien Sardou - Fédora 2948:1885 - Fédora by Victorien Sardou - Fédora 2899:1884 - Fédora by Victorien Sardou - Fédora 1729:evaluated her acting in the opposite way: 203:, she became a member of the newly opened 4470:In. Amerikán. 1895/34, 8 May 1895. p. 14. 4093:In. Národni politika, Oct. 12 1890. p. 2. 4052:] (in Czech). Praha: Jos. R. Vilímek. 3888: 3886: 3884: 3822: 3820: 3696:1908 Prague tour (Prague German Theatre) 3575:1898 - Medea by Franz Grillparzer - Medea 3237:1891 Prague tour (Prague German Theatre) 3140:1891 - Ein treuer Diener seines Herrn by 2022:). She also gave a series of lectures on 1514:who dedicated her his first tragic drama 1091:) in a newly produced drama Kriemhild by 227:and her originating of the role of Queen 99:lights her cigarette, and stage director 3852: 3850: 1900:on invitation of director Philipp Bock. 1053:(she was touring in German-Bohemian spa 51:of all important aspects of the article. 4291:Erinnerungen von Ludwig Barnay. p. 425. 4201:Allgemeine Zeitung, Jan. 19 1893, P. 1. 4153:Wiener Salonblatt, March 15, 1891. P. 7 3928:Nová kniha vzpomínek a dojmů II. p. 57. 3837: 3835: 3792: 3768: 3589:by Friedrich Schiller - Countess Terzky 3515:1898 - Alarich, König der Westgoten by 2654:'s Valeria Messalina, or French dramas 2268: 1754: 1622:being her last Czech performance ever. 1542:facing the riot in the National Theatre 1431:, were often spelled as German names - 1290: 912:, and Queen Kunigunde von Massovien in 654: 298: 4555:In. Pokrok západu. May 22, 1895, p. 16 4213:In. Der Humorist, March 10. 1892. p. 3 4187:In dem modernen Schauspiel Kriemhilde, 4177:Wiener Caricaturen, May 17, 1891. P. 3 4117:In. Das Vaterland, Nov. 23 1890. p. 2. 3865:] (in Czech). Praha, Česko: Orbis. 3602:by Friedrich Schiller - Countess Julia 2945:by Friedrich Schiller - Princess Eboli 2046:became a tragedian, or also forgotten 948:) or Clotilde, Princess de Charges in 400:demanding sexual favors from actresses 346:(in a historically inaccurate costume) 47:Please consider expanding the lead to 4950:In Bühne und Welt, 1899-1900. p. 281. 4716:Evening Express, Oct. 20, 1898. P. 4. 4530:Džungle literární a divadelní. p. 41. 3843:Džungle literární a divadelní. p. 35. 3750:Schiller-Theater, Berlin, guest star 3728:1913 - Die Kronbraut (Kronbruden) by 3572:by Johann Wolfgang Goethe - Iphigenia 3053:by William Shakespeare - Lady Macbeth 1127:"typical Czech overacting mannerisms" 768:and the title role of Donna Diana by 456:Polish tour and Prague German Theatre 165:Pokorný recommended her to the Czech 7: 4303:Das Theater der Prostitution. p. 92. 4255:In Der Humorist. 1 April 1891. p. 2. 4141:In. Der Humorist, Sep. 1 1893. p. 3. 3940:Stará garda Národního divadla. P. 21 3685:1900 London tour (St. Georges Hall) 3258:1893 - Jenseits von Gut und Böse by 2938:by Friedrich Schiller - Maria Stuart 1488:Franz, Prince of Thun and Hohenstein 1406:Historian Milena Lenderová sums up: 916:, the title roles in Donna Diana by 721:and Maria Pospischil fighting while 292:soubrette if she decided to move to 288:offered her tutoring in the rank of 4738:Wie aus Hamburg berichtet wird, In 4372:Kölnische Zeitung, 17 January 1895. 4279:In Der Humorist. 2 May 1891. p. 91. 4228:Neues Wiener Journal, Sep. 4, 1894. 3985:Družstvo Národního divadla v Praze 2931:by Friedrich Schiller - Joan of Arc 2123:Theater in der Königsgrätzer Straße 1530:Maria Pospischil as Sardou's Fedora 820:) she was called the "North German 280:, theatre director and head of the 5044:People from the Kingdom of Bohemia 5024:Actresses from the Austrian Empire 4165:Der Humorist, April 20, 1891. P. 3 4105:In. Die Bombe, June 22, 1890. P. 2 3975:Plzeňské listy. Jan 10 1895, p. 1. 3877:Der Frauenberuf im Theater. p. 53. 3448:by Johann Wolfgang Goethe - Helena 3272:by William Shakespeare - Desdemona 3213:1892 - The Divorce of Juliette by 3046:by William Shakespeare - Lady Anne 1828:Maria Pospischil with her children 1478:In his magazine, Czech journalist 526:'s Parisian Romance, Ciprienne in 383:"Mercury, passion, spoiled child." 14: 4863:Bühne und Welt 1906-7/9, pp. 418. 4752:Ottův slovník naučný, 20. p. 303. 4728:In Dalibor. Sep. 7, 1895. p. 249. 2955:- Fraziska, Countess of Hohenheim 2827:by William Shakespeare - Beatrice 2216:Die Schamhaftigkeit auf der Bühne 2042:became a prominent film actress, 1439:Polish newspapers had called her 428:his sexual misconduct, e.g. that 3964:Rozhledy. In. Květy. No 2, p.22. 3901:] (in Czech). Prague: Odeon. 3722:by Henrik Ibsen - Brand’s mother 3327:National Theatre, Prague (tour) 3120:by William Shakespeare - Goneril 2692:Roles played by Maria Pospischil 2340: 2321: 2302: 2290: 2271: 1812: 1800: 1788: 1776: 1764:Maria Pospischil as Adelheit in 1757: 1347: 1339:Maria Pospischil as Adelheid in 1332: 1317: 1305: 1293: 1169:due to stress conditions in the 1137:, that she played after Wolter: 730: 711: 706:Maria Pospischil in Der Humorist 699: 680: 657: 351: 332: 313: 301: 25: 4617:Moje vzpomínky a dojmy. p. 217. 3742:1914 - Macboulé (Macbouleh) by 3227:by Friedrich Schiller - Armgard 3217:- Clotilde, Princess de Charges 3106:by William Shakespeare - Juliet 2820:by William Shakespeare - Oberon 2175:. Her remains were cremated in 1199:under the artistic guidance of 320:Maria Pospischil as Lilithe in 39:may be too short to adequately 5029:Actresses from Austria-Hungary 4343:K hříchu a k modlitbě. p. 222. 3659:1902 - Gyges und sein Ring by 3281:1894 - Maria and Magdalena by 3113:by William Shakespeare- Portia 3017:1887 - Arria und Messalina by 2856:- queen Elizabeth of Pomerania 1634:A bust of Maria Pospischil by 1230:The German actor and director 1049:and finally Princess Eboli in 936:. She originated the roles of 49:provide an accessible overview 1: 4960:Anna Lauermannová-Mikschová, 4789:Eine nette Theaterdirektion. 4564:Kateřina Urbanová Mojsejová, 4553:Výtržnosti v Národním divadle 4406:Konzert des Vereins Nikolai. 4393:Fraulein Mařenka Pospischil. 4175:Die internen Beziehungen, In 3914:Anna Lauermannová-Mikschová, 3813:Vzpomínky a upomínky. p. 111. 3152:König Ottokars Glück und Ende 2492:She was praised for dying in 2402:und Paraderollen) of French ( 2347:Maria Pospischil as Eboli in 2214:She is known for her article 1688:, the husband of the actress 1375:against the will of director 914:König Ottokars Glück und Ende 780:, Lady Milford in Schiller's 432:Several newspapers mentioned 4779:Theater und Publikum, p. 69. 4762:Kunst und Wissenschaft. In: 4151:Maria Stuart’s Abschied, In 4127:Fräulein Adele Sandrock, In 3987:In. Čech. Oct. 20 1890 p. 3. 3285:- Magdalena von Hohenstraßen 2760:Provisional Theatre, Prague 2086:, Duchess of Marlborough in 1888:. The same year, she toured 1859:she stated in an interview: 1312:Maria Pospischil around 1895 986:Maria Pospischil around 1890 748:(top), Maria Pospischil and 664:Maria Pospischil riding the 562:and the famous countrywoman 358:Maria Pospischil around 1884 308:Maria Pospischil around 1884 16:Czech-German theatre actress 4680:The Era, 14 September 1895. 4641:Sága rodu Budilova, p. 124. 4458:Čas 1895/9, No. 24. p. 373. 3952:In. Paleček. Sešit 1, p.22. 3801:Sága rodu Budilova, p. 188. 3517:Julius von Verdy du Vernois 3021:- Empress Valeria Messalina 2951:1885 - Die Carlsschüler by 2889:1884 - Parisian Romance by 2843:František Ferdinand Šamberk 2044:Alice Arnauld de la Perière 1962:"an old favorite of London" 1952:, she made a guest tour in 1510:and novelist and dramatist 956:Czech and Moravian cities, 103:kisses her hand. Actresses 5065: 4091:Slečně Marii Pospíšilové, 3746:- Sultan’s wife (Sultanin) 3735:1914 - Die Trenkwalder by 3411:1896 - Kaiser Heinrich by 2986:Deutsches Theater. Berlin 2684:penitent and doomed queen 1956:, performing in German in 1783:Maria Pospischil as Fedora 1427:e.g. František Šubert and 1254:in the tragedy Narziss by 1184: 975: 513:and presented Gretchen in 4714:When is a woman old?, In 4494:Prsty Habakukovy. p. 186. 4163:Gutem Vernehmen nach, In 3857:Kvapil, Jaroslav (1932). 3754:1917 - Die rote Zarin by 3649:1901 - Ahasver in Rom by 3640:by William Shakespeare - 3439:Salomon Hermann Mosenthal 3418:1896 - Der Probenfeil by 3363:Berliner Theater, Berlin 3359:Roles performed in German 3254:Berliner Theater, Berlin 3077:(Nordische Heerfahrt) by 3037:Salomon Hermann Mosenthal 2969:by William Shakespeare - 2919:Roles performed in German 2818:A Midsummer Night's Dream 2812:National Theatre, Prague 2504:'s Das höchste Gesetz in 1626:National Theatre contract 952:The Divorce of Juliette. 800:'s Deborah or Hjördis in 798:Salomon Hermann Mosenthal 446:František Ladislav Rieger 263:A Midsummer Night's Dream 4678:The Drama in Berlin, In 4576:František Adolf Šubert, 4480:František Adolf Šubert, 4397:. 14 January 1895. p. 3. 4139:Berliner Theater-Brief, 4044:Novák, Ladislav (1944). 3455:Meiningen Court Theatre 3323:Roles performed in Czech 3192:- Duchess of Marlborough 3177:1892 - Lady Tartuffe by 3137:by Henrik Ibsen - Magrit 3130:by Henrik Ibsen - Sigrit 3095:1890 - Graf Waldemar by 3075:The Vikings at Helgeland 3002:Gotthold Ephraim Lessing 2729:Roles performed in Czech 1698:"Šubert was against any 1552:tragedy of the same name 998:Same as her predecessor 847:Gotthold Ephraim Lessing 824:. When compared to her: 806:The Vikings at Helgeland 252:The Eleventh Commandment 5049:Shakespearean actresses 4750:Marie Pospíšilová. In: 4211:Frl. Maria Pospischil, 4199:Wiener Burgtheater, In 4115:Im vollen Gegensatze…, 3565:- Fenella (silent role) 3538:(Fuhrmann Henschel) by 3159:Agustín Moreto y Cavana 2960:Agustín Moreto y Cavana 2612:Portia in Julius Caesar 2582:, or stage versions of 2186: 2098:in the ruins of nearby 1886:Meiningen Court Theatre 1501:The Fingers of Habakkuk 1181:Alongside Ludwig Barnay 1059:Schiller’s Maria Stuart 770:Agustín Moreto y Cavana 4690:Theater und Kunst, In 4468:Původní dopis z Čech, 4408:Deutsche Musik-Zeitung 4265:Wiener Theater-Revue. 4226:Theater und Kunst, In 3893:Konečná, Hana (1984). 3638:The Merchant of Venice 3477:Dresden Court Theatre 3384:1896 - Renaissance by 3293:Albert Emil Brachvogel 3157:1892 - Donna Diana by 2967:The Merchant of Venice 2958:1885 - Donna Diana by 2923:Prague German Theatre 2914:- Gilberte (Frou-Frou) 2861:The Marriage of Figaro 2769:The Merchant of Venice 2754:Johann Wolfgang Goethe 2725: 2713: 2701: 2375: 2364: 2242:and modern roles like 2196: 2024:Johann Wolfgang Goethe 1916:"When is a woman old?" 1829: 1638: 1620:Much Ado About Nothing 1608:Elizabeth of Pomerania 1584:Otilie Sklenářová-Malá 1570:In her diary, actress 1543: 1531: 1522:National Theatre riots 1459: 1391: 1256:Albert Emil Brachvogel 1082:Deutsches Volkstheater 1063:Shakespeare’s Hermione 1047:Ibsen’s The Pretenders 1018:, a tragic heroine in 995: 987: 635:and the title role of 581:stated in his review: 519:The Marriage of Figaro 479: 471: 379:Ladislav Stroupežnický 373: 344:Elizabeth of Pomerania 229:Elizabeth of Pomerania 210:Otilie Sklenářová-Malá 120: 112: 73: 5034:Actresses from Prague 4103:Frâulein Pospischil, 3758:- Catharine the Great 3675:Lady Windermere's Fan 3511:Hamburg City Theatre 3413:Ernst von Wildenbruch 3260:Joseph Victor Widmann 3099:- Countess Udaschkina 3009:Götz von Berlichingen 2719: 2707: 2699: 2644:Adelheid von Walldorf 2510:Götz von Berlichingen 2370: 2362: 2194: 2121:and performed in the 1894:Alexandrinsky Theatre 1876:She also traveled to 1827: 1766:Götz von Berlichingen 1707:František Xaver Šalda 1633: 1537: 1529: 1508:František Xaver Šalda 1453: 1389: 1341:Götz von Berlichingen 1225:Joseph Victor Widmann 1135:Götz von Berlichingen 1067:Wilbrandt’s Messalina 1051:Schiller’s Don Carlos 993: 985: 778:Götz von Berlichingen 608:Prague German theatre 477: 463: 371: 118: 94: 87:Early life and career 71: 4518:Paní Urbanová. p. 4. 3611:1899 - Herostrat by 3547:La muette de Portici 3469:1896 - Die Erste by 3462:1896 - Der König by 3386:Franz Koppel-Ellfeld 3179:Delphine de Girardin 3172:Alexandre Dumas fils 3135:The Feast at Solhaug 3085:Burgtheater, Vienna 2893:- Marcelina de Targy 2850:A Night at Karlstein 2825:Much Ado for Nothing 2720:Maria Pospischil as 2708:Maria Pospischil as 2630:, princess Eboli in 2412:La Dame aux Camélias 2328:Maria Pospischil as 2309:Maria Pospischil as 2278:Maria Pospischil as 2187:Pospischil's writing 1907:she married retired 1850:Adelheid von Waldorf 1612:A Night at Karlstein 1454:Maria Pospischil as 1071:Grillparzer’s Sappho 926:Delphine de Girardin 906:The Feast at Solhaug 691:in Der Floh in June 464:Maria Pospischil as 339:Maria Pospischil as 261:, as e.g. Oberon in 237:A Night at Karlstein 233:Jaroslav Vrchlický's 4253:Theater und Kunst. 4024:Theatre review in, 3811:František Pokorný, 3739:- Die Patscheiderin 3668:When We Dead Awaken 3390:Franz von Schönthan 3373:Heinrich von Kleist 3064:- Athénais Moulinet 2929:The Maid of Orleans 2865:Pierre Beaumarchais 2839:Jedenácté přikázání 2834:- Salomena Smiřická 2830:1883 - Smiřičtí by 2773:William Shakespeare 2608:Isabella von Valois 2502:Telesfor Szafranski 2482:got mixed reviews: 2179:and transferred to 1838:Heinrich von Kleist 1492:Enrichetta Grimaldi 1445:German Schullverein 1441:Marya Pospiszilówna 1089:Bernhard Baumeister 902:Brutus' wife Portia 890:William Shakespeare 619:The Maid of Orleans 469:The Maid of Orleans 167:Provisional Theatre 148:František Pokorný's 4873:Maria Pospischil, 4777:Heinrich Teweles. 4504:F. X. Šalda a.i., 4419:Čeští germanisté. 4341:Milena Lenderová, 4012:Ludwik Kozłowski, 3826:Eva Šormová a.i., 3570:Iphigenia in Tauri 3542:- Malchen Henschel 3437:1897 - Deborah by 3415:- Empress Praxedis 3392:- Marchesa Gennara 3295:- Madame Pompadour 3291:1894 - Narziss by 3186:The Glass of Water 3035:1887 - Deborah by 2854:Jaroslav Vrchlický 2804:1883 - Sulamit by 2784:Friedrich Schiller 2726: 2714: 2702: 2376: 2365: 2349:Friedrich Schiller 2311:Friedrich Schiller 2197: 2153:or Der Dornenweg. 2138:-based critiques. 2117:, she returned to 1892:performing in the 1830: 1751:Berlin and Hamburg 1639: 1544: 1540:The Bartered Bride 1532: 1460: 1392: 1163:The Bartered Bride 1147:of a certain age." 996: 988: 944:(showcase role of 930:The Glass of Water 480: 472: 374: 282:Meiningen Ensemble 254:are worth noting. 178:Friedrich Schiller 121: 113: 74: 4936:Rezidenztheater, 4912:Ludwig Hoffmann, 4897:Ludwig Hoffmann, 4651:Jaroslav Kvapil, 4358:Jaroslav Kvapil, 4241:Ludwig Hoffmann, 4079:Ludwig Hoffmann, 3875:Paul Schlenther, 3732:- Kersti’s mother 3730:August Strindberg 3578:1898 - Judith by 3559:Germain Delavigne 3540:Gerhart Hauptmann 3403:Ernst Wildenbruch 3340:Hermann Sudermann 3313:Hermann Sudermann 3170:1892 - Denise by 3142:Franz Grillparzer 3030:Franz Grillparzer 3004:- Countess Orsina 2882:1884 Polish tour 2878:- Marion de Lorme 2780:Intrigue and Love 2743:Josef Kajetán Tyl 2739:Strakonický dudák 2330:Franz Grillparzer 2228:, as told in the 2076:Franz Grillparzer 1958:St. George's Hall 1922:She was known in 1221:Isotta degli Atti 1205:Intrigue and Love 972:Fight with Wolter 950:Octave Feuillet's 790:Franz Grillparzer 782:Intrigue and Love 762:Adolphe L'Arronge 758:Deutsches Theater 750:Katharina Schratt 651:Berlin and Vienna 614:. She starred in 484:František Hovorka 395:over Pospischil. 286:Alexander Girardi 182:Intrigue and Love 127:, at that time a 66: 65: 5056: 4998: 4993: 4987: 4982: 4976: 4972:Rudolf Steiner, 4970: 4964: 4958: 4952: 4946: 4940: 4934: 4928: 4922: 4916: 4910: 4901: 4895: 4889: 4883: 4877: 4871: 4865: 4859: 4853: 4847: 4841: 4835: 4829: 4823: 4817: 4811: 4805: 4799: 4793: 4787: 4781: 4775: 4766: 4760: 4754: 4748: 4742: 4736: 4730: 4724: 4718: 4712: 4706: 4700: 4694: 4688: 4682: 4676: 4667: 4661: 4655: 4649: 4643: 4637: 4631: 4625: 4619: 4615:Bohumil Benoni, 4613: 4607: 4601: 4592: 4586: 4580: 4574: 4568: 4562: 4556: 4550: 4544: 4540:Hana Kvapilová, 4538: 4532: 4526: 4520: 4514: 4508: 4502: 4496: 4490: 4484: 4478: 4472: 4466: 4460: 4454: 4448: 4442: 4436: 4430: 4424: 4417: 4411: 4410:. 1892/7. p. 61. 4404: 4398: 4395:Revue aus Böhmen 4391: 4385: 4380: 4374: 4368: 4362: 4356: 4345: 4339: 4328: 4323: 4317: 4313:Ignát Herrmann, 4311: 4305: 4299: 4293: 4287: 4281: 4275: 4269: 4263: 4257: 4251: 4245: 4239: 4230: 4224: 4215: 4209: 4203: 4197: 4191: 4185: 4179: 4173: 4167: 4161: 4155: 4149: 4143: 4137: 4131: 4125: 4119: 4113: 4107: 4101: 4095: 4089: 4083: 4077: 4066: 4062:Otokar Fischer, 4060: 4054: 4053: 4041: 4028: 4022: 4016: 4010: 4004: 3998: 3989: 3983: 3977: 3972: 3966: 3960: 3954: 3948: 3942: 3938:Ladislav Novák, 3936: 3930: 3926:Bohumil Benoni, 3924: 3918: 3912: 3903: 3902: 3890: 3879: 3873: 3867: 3866: 3854: 3845: 3839: 3830: 3824: 3815: 3809: 3803: 3797: 3780: 3773: 3661:Friedrich Hebbel 3651:Robert Hamerling 3553:(opera), with a 3536:Drayman Henschel 3420:Oscar Blumenthal 3208:Victorien Sardou 3144:- Queen Gertrude 3104:Romeo and Juliet 2832:Josef Jiří Kolár 2795:Victorien Sardou 2700:Maria Pospischil 2646:, Grillparzer's 2636:Countess Terzsky 2344: 2325: 2306: 2297:Maria Pospischil 2294: 2280:Victorien Sardou 2275: 2226:John the Baptist 2132:Charlotte Wolter 2050:, an actress in 2048:Martha Schneider 1898:Saint Petersburg 1819:Maria Pospischil 1816: 1807:Maria Pospischil 1804: 1795:Maria Pospischil 1792: 1780: 1761: 1636:Ernst Hegenbarth 1548:Victorien Sardou 1468:Julie Šamberková 1464:Marie Bittnerová 1433:Franz "Schubert" 1390:Maria Pospischil 1377:František Šubert 1362:Oskar Blumenthal 1354:Maria Pospischil 1351: 1336: 1321: 1309: 1300:Maria Pospischil 1297: 1264:Victorien Sardou 1252:Madame Pompadour 1207:, Grillparzer's 1197:Berliner Theater 1175:Charlotte Wolter 1143:Charlotte Wolter 1080:, a star of the 1004:Charlotte Wolter 994:Maria Pospischil 978:Charlotte Wolter 938:Victorien Sardou 840:Charlotte Wolter 818:Charlotte Wolter 746:Charlotte Wolter 734: 723:Charlotte Wolter 715: 703: 684: 661: 579:Ludwik Kozłowski 552:Victorien Sardou 532:Victorien Sardou 393:Marie Bittnerová 389:František Šubert 355: 336: 317: 305: 271:Josef Jiří Kolár 241:the film version 214:Marie Bittnerová 205:National Theatre 123:She was born in 77:Maria Pospischil 72:Maria Pospischil 61: 58: 52: 29: 21: 5064: 5063: 5059: 5058: 5057: 5055: 5054: 5053: 5039:Czech actresses 5004: 5003: 5002: 5001: 4994: 4990: 4983: 4979: 4971: 4967: 4959: 4955: 4947: 4943: 4935: 4931: 4923: 4919: 4911: 4904: 4896: 4892: 4884: 4880: 4872: 4868: 4860: 4856: 4849:S. E. Jackson, 4848: 4844: 4836: 4832: 4824: 4820: 4812: 4808: 4800: 4796: 4788: 4784: 4776: 4769: 4761: 4757: 4749: 4745: 4737: 4733: 4725: 4721: 4713: 4709: 4701: 4697: 4689: 4685: 4677: 4670: 4662: 4658: 4650: 4646: 4638: 4634: 4626: 4622: 4614: 4610: 4602: 4595: 4587: 4583: 4575: 4571: 4563: 4559: 4551: 4547: 4539: 4535: 4527: 4523: 4515: 4511: 4503: 4499: 4491: 4487: 4479: 4475: 4467: 4463: 4455: 4451: 4443: 4439: 4432:Servác Heller, 4431: 4427: 4418: 4414: 4405: 4401: 4392: 4388: 4381: 4377: 4369: 4365: 4357: 4348: 4340: 4331: 4324: 4320: 4312: 4308: 4300: 4296: 4289:Ludwig Barnay, 4288: 4284: 4276: 4272: 4264: 4260: 4252: 4248: 4240: 4233: 4225: 4218: 4210: 4206: 4198: 4194: 4186: 4182: 4174: 4170: 4162: 4158: 4150: 4146: 4138: 4134: 4126: 4122: 4114: 4110: 4102: 4098: 4090: 4086: 4078: 4069: 4061: 4057: 4043: 4042: 4031: 4023: 4019: 4011: 4007: 3999: 3992: 3984: 3980: 3973: 3969: 3961: 3957: 3949: 3945: 3937: 3933: 3925: 3921: 3913: 3906: 3892: 3891: 3882: 3874: 3870: 3856: 3855: 3848: 3840: 3833: 3825: 3818: 3810: 3806: 3798: 3794: 3789: 3784: 3783: 3774: 3770: 3765: 3707:- Claire Jadain 3580:Friedrich Hebel 3473:- Elise Maineck 3446:Faust, Part Two 3361: 3325: 3215:Octave Feuillet 3181:- Lady Tartuffe 3019:Adolf Wilbrandt 2921: 2891:Octave Feuillet 2872:Marion de Lorme 2793:(Cyprienne) by 2731: 2694: 2652:Adolf Wilbrandt 2551:Jaroslav Kvapil 2389:Helena Modjeska 2381:Sarah Bernhardt 2355: 2345: 2336: 2326: 2317: 2307: 2298: 2295: 2286: 2276: 2267: 2189: 2128:Sarah Bernhardt 2113:After she left 2060: 1930:from Bohemia". 1926:as the "divine 1820: 1817: 1808: 1805: 1796: 1793: 1784: 1781: 1772: 1762: 1753: 1727:Jaroslav Kvapil 1694:"Šubert system" 1628: 1524: 1518:to Pospischil. 1400:Jaroslav Kvapil 1398:Theatre critic 1355: 1352: 1343: 1337: 1328: 1322: 1313: 1310: 1301: 1298: 1289: 1268:Adolf Wilbrandt 1211:and Schiller's 1189: 1183: 1099:Katharina Frank 980: 974: 946:Sarah Bernhardt 884:She debuted as 867:Agatha Bârsescu 810:Adolf Wilbrandt 752: 735: 726: 725:calmly watching 719:Agatha Bârsescu 716: 707: 704: 695: 685: 676: 662: 653: 564:Helena Modjeska 524:Octave Feuillet 517:and Susanna in 458: 366: 359: 356: 347: 337: 328: 318: 309: 306: 278:Ludwig Chronegk 225:Marion de Lorme 89: 62: 56: 53: 46: 34:This article's 30: 17: 12: 11: 5: 5062: 5060: 5052: 5051: 5046: 5041: 5036: 5031: 5026: 5021: 5016: 5006: 5005: 5000: 4999: 4988: 4977: 4965: 4953: 4941: 4929: 4917: 4902: 4890: 4885:Anne Russell, 4878: 4866: 4854: 4842: 4830: 4818: 4806: 4794: 4782: 4767: 4755: 4743: 4731: 4719: 4707: 4695: 4683: 4668: 4663:Jiří Pokorný, 4656: 4644: 4639:Olga Spalová, 4632: 4620: 4608: 4593: 4588:Otto Drexler, 4581: 4569: 4557: 4545: 4533: 4528:Václav Štech, 4521: 4516:Vilém Mrštík, 4509: 4497: 4485: 4473: 4461: 4449: 4437: 4425: 4412: 4399: 4386: 4375: 4363: 4346: 4329: 4318: 4306: 4301:Melanie Hinz, 4294: 4282: 4277:Prager Brief. 4270: 4258: 4246: 4231: 4216: 4204: 4192: 4180: 4168: 4156: 4144: 4132: 4120: 4108: 4096: 4084: 4067: 4055: 4029: 4017: 4005: 4000:Jan Michalik, 3990: 3978: 3967: 3962:Josef Kuffner 3955: 3943: 3931: 3919: 3904: 3880: 3868: 3846: 3841:Václav Štech, 3831: 3816: 3804: 3799:Olga Spalová, 3791: 3790: 3788: 3785: 3782: 3781: 3767: 3766: 3764: 3761: 3760: 3759: 3748: 3747: 3744:Marie von Hobe 3740: 3737:Karl Schönherr 3733: 3726: 3723: 3712: 3711: 3708: 3705:Maurice Donnay 3701: 3694: 3693: 3690: 3683: 3682: 3671: 3664: 3657: 3654: 3647: 3644: 3634: 3631: 3628: 3625: 3622: 3619: 3616: 3609: 3606: 3603: 3596: 3593: 3590: 3583: 3576: 3573: 3566: 3543: 3532: 3529: 3526: 3523: 3520: 3509: 3508: 3505: 3502: 3495: 3494: 3491: 3488: 3485: 3482: 3475: 3474: 3467: 3460: 3453: 3452: 3449: 3442: 3435: 3432: 3429: 3426: 3423: 3416: 3409: 3406: 3399: 3396: 3393: 3382: 3379: 3376: 3360: 3357: 3356: 3355: 3352: 3349: 3346: 3343: 3332: 3324: 3321: 3320: 3319: 3316: 3305: 3302: 3299: 3296: 3289: 3286: 3279: 3276: 3273: 3266: 3263: 3252: 3251: 3248: 3245: 3242: 3235: 3234: 3231: 3228: 3221: 3218: 3211: 3200: 3193: 3182: 3175: 3168: 3165: 3162: 3155: 3148: 3145: 3138: 3131: 3128:The Pretenders 3124: 3121: 3114: 3107: 3100: 3097:Gustav Freytag 3093: 3090: 3083: 3082: 3071: 3068: 3065: 3058:The Ironmaster 3054: 3047: 3040: 3033: 3022: 3015: 3012: 3005: 2998:Emilia Galotti 2994: 2991: 2984: 2983: 2976: 2973: 2963: 2956: 2953:Heinrich Laube 2949: 2946: 2939: 2932: 2920: 2917: 2916: 2915: 2912:Ludovic Halévy 2900: 2897: 2894: 2887: 2880: 2879: 2868: 2857: 2846: 2835: 2828: 2821: 2810: 2809: 2802: 2799:Émile de Najac 2787: 2776: 2765: 2758: 2757: 2746: 2730: 2727: 2693: 2690: 2531:Hana Kvapilová 2467:Maria (Stuart) 2426:) provenance. 2357: 2356: 2346: 2339: 2337: 2327: 2320: 2318: 2308: 2301: 2299: 2296: 2289: 2287: 2277: 2270: 2266: 2263: 2238:Frank Wedekind 2224:"The story of 2188: 2185: 2149:, for example 2115:Ústí nad Labem 2100:Střekov Castle 2096:Richard Wagner 2072:Ústí nad Labem 2059: 2056: 2028:Goethe’s Faust 2002:She stayed in 1822: 1821: 1818: 1811: 1809: 1806: 1799: 1797: 1794: 1787: 1785: 1782: 1775: 1773: 1763: 1756: 1752: 1749: 1690:Hana Benoniová 1686:Bohumil Benoni 1627: 1624: 1572:Hana Kvapilová 1523: 1520: 1429:Antonín Dvořák 1418:Mary Magdalene 1414:Omladina Trial 1357: 1356: 1353: 1346: 1344: 1338: 1331: 1329: 1323: 1316: 1314: 1311: 1304: 1302: 1299: 1292: 1288: 1285: 1182: 1179: 1119:Adele Sandrock 1078:Adele Sandrock 1016:Adele Sandrock 973: 970: 910:The Pretenders 908:and Sigrid in 886:Princess Eboli 859:Gustav Freytag 851:Emilia Galotti 836:August Förster 754: 753: 736: 729: 727: 717: 710: 708: 705: 698: 696: 686: 679: 677: 663: 656: 652: 649: 612:Angelo Neumann 568:Michał Bałucki 560:Sarah Bernhard 548:Ludovic Halévy 536:Émile de Najac 515:Goethe's Faust 457: 454: 421:The Ironmaster 365: 362: 361: 360: 357: 350: 348: 338: 331: 329: 324:'s Sulamit in 319: 312: 310: 307: 300: 259:breeches roles 152:Goethe's Faust 137:Mladá Boleslav 88: 85: 64: 63: 43:the key points 33: 31: 24: 15: 13: 10: 9: 6: 4: 3: 2: 5061: 5050: 5047: 5045: 5042: 5040: 5037: 5035: 5032: 5030: 5027: 5025: 5022: 5020: 5017: 5015: 5012: 5011: 5009: 4997: 4992: 4989: 4986: 4981: 4978: 4975: 4969: 4966: 4963: 4957: 4954: 4951: 4945: 4942: 4939: 4933: 4930: 4927: 4921: 4918: 4915: 4909: 4907: 4903: 4900: 4894: 4891: 4888: 4882: 4879: 4876: 4870: 4867: 4864: 4858: 4855: 4852: 4846: 4843: 4840: 4834: 4831: 4828: 4825:Kussproblem, 4822: 4819: 4816: 4810: 4807: 4804: 4798: 4795: 4792: 4786: 4783: 4780: 4774: 4772: 4768: 4765: 4759: 4756: 4753: 4747: 4744: 4741: 4735: 4732: 4729: 4723: 4720: 4717: 4711: 4708: 4705: 4699: 4696: 4693: 4687: 4684: 4681: 4675: 4673: 4669: 4666: 4660: 4657: 4654: 4648: 4645: 4642: 4636: 4633: 4630: 4627:F. X. Šalda, 4624: 4621: 4618: 4612: 4609: 4606: 4603:Jan Růžička, 4600: 4598: 4594: 4591: 4585: 4582: 4579: 4573: 4570: 4567: 4561: 4558: 4554: 4549: 4546: 4543: 4537: 4534: 4531: 4525: 4522: 4519: 4513: 4510: 4507: 4501: 4498: 4495: 4489: 4486: 4483: 4477: 4474: 4471: 4465: 4462: 4459: 4453: 4450: 4447: 4446:Čas, 1895/24. 4441: 4438: 4435: 4429: 4426: 4422: 4416: 4413: 4409: 4403: 4400: 4396: 4390: 4387: 4384: 4379: 4376: 4373: 4367: 4364: 4361: 4355: 4353: 4351: 4347: 4344: 4338: 4336: 4334: 4330: 4327: 4322: 4319: 4316: 4310: 4307: 4304: 4298: 4295: 4292: 4286: 4283: 4280: 4274: 4271: 4268: 4262: 4259: 4256: 4250: 4247: 4244: 4238: 4236: 4232: 4229: 4223: 4221: 4217: 4214: 4208: 4205: 4202: 4196: 4193: 4190: 4184: 4181: 4178: 4172: 4169: 4166: 4160: 4157: 4154: 4148: 4145: 4142: 4136: 4133: 4130: 4124: 4121: 4118: 4112: 4109: 4106: 4100: 4097: 4094: 4088: 4085: 4082: 4076: 4074: 4072: 4068: 4065: 4059: 4056: 4051: 4047: 4040: 4038: 4036: 4034: 4030: 4027: 4021: 4018: 4015: 4009: 4006: 4003: 3997: 3995: 3991: 3988: 3982: 3979: 3976: 3971: 3968: 3965: 3959: 3956: 3953: 3947: 3944: 3941: 3935: 3932: 3929: 3923: 3920: 3917: 3911: 3909: 3905: 3900: 3896: 3889: 3887: 3885: 3881: 3878: 3872: 3869: 3864: 3860: 3853: 3851: 3847: 3844: 3838: 3836: 3832: 3829: 3823: 3821: 3817: 3814: 3808: 3805: 3802: 3796: 3793: 3786: 3778: 3775:Known by her 3772: 3769: 3762: 3757: 3753: 3752: 3751: 3745: 3741: 3738: 3734: 3731: 3727: 3724: 3721: 3717: 3716: 3715: 3709: 3706: 3702: 3699: 3698: 3697: 3691: 3688: 3687: 3686: 3681:- Mrs Erlynne 3680: 3676: 3672: 3669: 3665: 3662: 3658: 3655: 3652: 3648: 3645: 3643: 3639: 3635: 3632: 3629: 3626: 3623: 3620: 3617: 3614: 3610: 3607: 3604: 3601: 3597: 3594: 3591: 3588: 3584: 3581: 3577: 3574: 3571: 3567: 3564: 3563:Eugène Scribe 3561:, revised by 3560: 3556: 3552: 3548: 3544: 3541: 3537: 3533: 3530: 3527: 3524: 3521: 3518: 3514: 3513: 3512: 3506: 3503: 3500: 3499: 3498: 3492: 3489: 3486: 3483: 3480: 3479: 3478: 3472: 3468: 3466:- Maurin Mira 3465: 3461: 3458: 3457: 3456: 3450: 3447: 3443: 3440: 3436: 3433: 3430: 3427: 3424: 3421: 3417: 3414: 3410: 3407: 3404: 3400: 3397: 3394: 3391: 3387: 3383: 3380: 3377: 3375:- Penthesilea 3374: 3370: 3366: 3365: 3364: 3358: 3353: 3350: 3347: 3344: 3341: 3337: 3333: 3330: 3329: 3328: 3322: 3317: 3314: 3310: 3306: 3303: 3300: 3297: 3294: 3290: 3287: 3284: 3280: 3277: 3274: 3271: 3267: 3264: 3261: 3257: 3256: 3255: 3249: 3246: 3243: 3240: 3239: 3238: 3232: 3229: 3226: 3222: 3219: 3216: 3212: 3209: 3205: 3201: 3198: 3194: 3191: 3190:Eugène Scribe 3187: 3183: 3180: 3176: 3173: 3169: 3166: 3163: 3161:- Donna Diana 3160: 3156: 3153: 3149: 3146: 3143: 3139: 3136: 3132: 3129: 3125: 3122: 3119: 3115: 3112: 3111:Julius Caesar 3108: 3105: 3101: 3098: 3094: 3091: 3088: 3087: 3086: 3080: 3076: 3072: 3069: 3066: 3063: 3062:Georges Ohnet 3059: 3055: 3052: 3048: 3045: 3041: 3038: 3034: 3031: 3027: 3023: 3020: 3016: 3013: 3010: 3006: 3003: 2999: 2995: 2992: 2989: 2988: 2987: 2981: 2977: 2974: 2972: 2968: 2964: 2962:- Donna Diana 2961: 2957: 2954: 2950: 2947: 2944: 2940: 2937: 2933: 2930: 2926: 2925: 2924: 2918: 2913: 2909: 2908:Henri Meilhac 2905: 2901: 2898: 2895: 2892: 2888: 2885: 2884: 2883: 2877: 2873: 2869: 2866: 2862: 2858: 2855: 2851: 2847: 2844: 2840: 2836: 2833: 2829: 2826: 2822: 2819: 2815: 2814: 2813: 2807: 2803: 2800: 2796: 2792: 2788: 2785: 2781: 2777: 2774: 2770: 2766: 2763: 2762: 2761: 2755: 2751: 2747: 2744: 2740: 2736: 2735: 2734: 2728: 2723: 2722:Grillparzer’s 2718: 2711: 2706: 2698: 2691: 2689: 2687: 2683: 2679: 2676: 2672: 2669: 2665: 2661: 2657: 2653: 2649: 2645: 2641: 2637: 2633: 2629: 2625: 2621: 2617: 2613: 2609: 2605: 2601: 2597: 2593: 2589: 2588:Shakespearean 2585: 2581: 2577: 2573: 2568: 2567: 2561: 2560: 2556: 2552: 2548: 2546: 2540: 2536: 2532: 2528: 2524: 2523: 2519: 2515: 2511: 2507: 2503: 2499: 2495: 2491: 2486: 2485: 2481: 2477: 2474: 2471:Her Magda in 2470: 2468: 2460: 2459: 2456: 2449: 2448: 2444: 2440: 2434: 2433: 2429: 2425: 2421: 2417: 2414:) or German ( 2413: 2409: 2405: 2399: 2398: 2394: 2391:. Playwright 2390: 2386: 2385:Eleonora Duse 2382: 2374: 2369: 2361: 2354: 2350: 2343: 2338: 2335: 2331: 2324: 2319: 2316: 2312: 2305: 2300: 2293: 2288: 2285: 2281: 2274: 2269: 2264: 2262: 2260: 2256: 2251: 2249: 2245: 2241: 2239: 2235: 2231: 2227: 2221: 2220:expressionist 2217: 2212: 2210: 2209:Great Britain 2206: 2202: 2193: 2184: 2182: 2178: 2174: 2170: 2166: 2161: 2159: 2154: 2152: 2148: 2144: 2139: 2137: 2133: 2129: 2124: 2120: 2116: 2111: 2107: 2105: 2101: 2097: 2093: 2089: 2085: 2081: 2077: 2073: 2069: 2065: 2057: 2055: 2053: 2049: 2045: 2041: 2037: 2033: 2029: 2025: 2021: 2017: 2013: 2009: 2005: 2000: 1998: 1994: 1990: 1986: 1985:Shakespeare's 1982: 1981:Grillparzer’s 1978: 1974: 1970: 1965: 1963: 1959: 1955: 1951: 1946: 1944: 1940: 1936: 1931: 1929: 1925: 1924:Great Britain 1921: 1917: 1912: 1910: 1906: 1901: 1899: 1895: 1891: 1887: 1883: 1879: 1874: 1872: 1867: 1866: 1862: 1858: 1853: 1851: 1848:and Goethe's 1847: 1843: 1839: 1835: 1826: 1815: 1810: 1803: 1798: 1791: 1786: 1779: 1774: 1771: 1767: 1760: 1755: 1750: 1748: 1746: 1743: 1738: 1736: 1732: 1728: 1724: 1721: 1718: 1714: 1708: 1704: 1703: 1701: 1695: 1691: 1687: 1682: 1681: 1676: 1675: 1670: 1666: 1664: 1660: 1656: 1652: 1647: 1645: 1637: 1632: 1625: 1623: 1621: 1617: 1613: 1609: 1605: 1600: 1598: 1593: 1591: 1585: 1580: 1577: 1573: 1568: 1564: 1560: 1558: 1553: 1549: 1541: 1536: 1528: 1521: 1519: 1517: 1513: 1509: 1504: 1502: 1498: 1493: 1489: 1484: 1481: 1476: 1474: 1473:Servác Heller 1469: 1465: 1457: 1452: 1448: 1446: 1442: 1438: 1434: 1430: 1424: 1423: 1419: 1415: 1410: 1409: 1405: 1401: 1396: 1388: 1384: 1380: 1378: 1374: 1369: 1367: 1363: 1350: 1345: 1342: 1335: 1330: 1327: 1320: 1315: 1308: 1303: 1296: 1291: 1286: 1284: 1281: 1277: 1273: 1269: 1265: 1261: 1257: 1253: 1249: 1245: 1241: 1237: 1233: 1232:Ludwig Barnay 1228: 1226: 1222: 1218: 1214: 1210: 1206: 1202: 1201:Ludwig Barnay 1198: 1194: 1188: 1187:Ludwig Barnay 1180: 1178: 1176: 1172: 1168: 1164: 1160: 1156: 1152: 1148: 1144: 1140: 1136: 1132: 1128: 1123: 1120: 1116: 1112: 1108: 1103: 1102: 1100: 1094: 1093:Wilhelm Meyer 1090: 1085: 1083: 1079: 1074: 1072: 1068: 1064: 1060: 1056: 1052: 1048: 1044: 1040: 1036: 1031: 1029: 1025: 1021: 1017: 1012: 1007: 1005: 1001: 992: 984: 979: 971: 969: 967: 963: 959: 953: 951: 947: 943: 939: 935: 934:Eugène Scribe 931: 927: 923: 919: 915: 911: 907: 903: 899: 895: 891: 887: 883: 878: 876: 872: 868: 864: 860: 856: 852: 848: 843: 841: 837: 833: 828: 827: 823: 819: 815: 811: 807: 803: 799: 795: 791: 787: 783: 779: 775: 771: 767: 763: 759: 751: 747: 743: 739: 733: 728: 724: 720: 714: 709: 702: 697: 694: 690: 683: 678: 675: 671: 667: 666:Bohemian Lion 660: 655: 650: 648: 644: 642: 638: 634: 629: 627: 622: 620: 617: 613: 609: 605: 600: 597: 593: 592: 588: 587:Kde domov můj 584: 580: 575: 571: 569: 565: 561: 557: 553: 549: 545: 544:Henri Meilhac 541: 537: 533: 529: 525: 520: 516: 512: 508: 504: 500: 495: 492: 487: 485: 476: 470: 467: 462: 455: 453: 451: 447: 442: 438: 435: 431: 426: 422: 419: 414: 413: 407: 405: 401: 396: 394: 390: 385: 384: 380: 370: 363: 354: 349: 345: 342: 335: 330: 327: 323: 316: 311: 304: 299: 297: 295: 291: 287: 283: 279: 274: 272: 268: 264: 260: 255: 253: 249: 246: 245:Shakespeare's 242: 238: 234: 230: 226: 222: 217: 215: 211: 206: 202: 197: 195: 190: 188: 183: 179: 175: 174:Antonín Pulda 170: 168: 164: 159: 157: 153: 149: 145: 140: 138: 134: 130: 129:working class 126: 117: 110: 106: 102: 98: 93: 86: 84: 82: 78: 70: 60: 50: 44: 42: 37: 32: 28: 23: 22: 19: 4995: 4991: 4984: 4980: 4973: 4968: 4961: 4956: 4949: 4944: 4937: 4932: 4925: 4920: 4913: 4898: 4893: 4886: 4881: 4874: 4869: 4862: 4857: 4850: 4845: 4838: 4837:Peter Marx: 4833: 4826: 4821: 4814: 4809: 4802: 4797: 4790: 4785: 4778: 4763: 4758: 4751: 4746: 4739: 4734: 4727: 4722: 4715: 4710: 4703: 4702:Julius Bab, 4698: 4691: 4686: 4679: 4664: 4659: 4652: 4647: 4640: 4635: 4628: 4623: 4616: 4611: 4604: 4589: 4584: 4577: 4572: 4565: 4560: 4552: 4548: 4541: 4536: 4529: 4524: 4517: 4512: 4505: 4500: 4493: 4492:Viktor Dyk, 4488: 4481: 4476: 4469: 4464: 4457: 4456:Jan Herben, 4452: 4445: 4444:Jan Herben, 4440: 4433: 4428: 4420: 4415: 4407: 4402: 4394: 4389: 4382: 4378: 4371: 4370:Theater, In 4366: 4359: 4342: 4325: 4321: 4314: 4309: 4302: 4297: 4290: 4285: 4278: 4273: 4266: 4261: 4254: 4249: 4242: 4227: 4212: 4207: 4200: 4195: 4188: 4183: 4176: 4171: 4164: 4159: 4152: 4147: 4140: 4135: 4128: 4123: 4116: 4111: 4104: 4099: 4092: 4087: 4080: 4063: 4058: 4049: 4045: 4025: 4020: 4013: 4008: 4001: 3986: 3981: 3974: 3970: 3963: 3958: 3951: 3946: 3939: 3934: 3927: 3922: 3915: 3898: 3894: 3876: 3871: 3862: 3858: 3842: 3827: 3812: 3807: 3800: 3795: 3771: 3749: 3713: 3695: 3684: 3613:Ludwig Fulda 3551:Daniel Auber 3510: 3496: 3476: 3454: 3362: 3326: 3253: 3236: 3225:William Tell 3084: 3079:Henrik Ibsen 2985: 2936:Maria Stuart 2922: 2881: 2811: 2806:Julius Zeyer 2759: 2732: 2686:Maria Stuart 2662:and Ibsen's 2628:Maria Stuart 2624:Lady Milford 2620:Lady Macbeth 2580:Hedda Gabler 2569: 2565: 2562: 2558: 2554: 2542: 2526: 2525: 2521: 2517: 2489: 2487: 2483: 2464: 2461: 2452: 2450: 2446: 2438: 2435: 2431: 2427: 2420:Maria Stuart 2400: 2396: 2377: 2373:Fritz Gehrke 2315:Maria Stuart 2265:Acting style 2258: 2257:in the book 2252: 2223: 2215: 2213: 2204: 2200: 2198: 2162: 2155: 2140: 2112: 2108: 2091: 2061: 2058:Later career 2040:Ilka Grüning 2001: 1966: 1961: 1947: 1943:Lady Macbeth 1932: 1919: 1915: 1913: 1902: 1875: 1868: 1864: 1860: 1854: 1846:Maria Stuart 1831: 1745:Emmy Destinn 1739: 1734: 1730: 1725: 1710: 1705: 1697: 1696:as follows: 1693: 1683: 1679: 1677: 1673: 1671: 1667: 1662: 1651:Jiří Bittner 1648: 1640: 1601: 1597:Sklenářová." 1595: 1587: 1581: 1575: 1569: 1565: 1561: 1545: 1515: 1512:Vilém Mrštík 1505: 1500: 1485: 1477: 1461: 1440: 1432: 1425: 1421: 1411: 1407: 1403: 1397: 1393: 1381: 1370: 1366:Alois Prasch 1358: 1272:Ancient Rome 1240:Lady Macbeth 1229: 1213:Maria Stuart 1190: 1158: 1154: 1146: 1138: 1130: 1126: 1124: 1104: 1096: 1086: 1075: 1045:, Sigrid in 1033:In February 1032: 1020:Volkstheater 1008: 997: 954: 881: 879: 855:Maria Stuart 844: 829: 825: 802:Henrik Ibsen 786:Maria Stuart 755: 645: 637:Maria Stuart 630: 623: 601: 598: 594: 590: 582: 576: 572: 496: 488: 481: 449: 443: 439: 433: 429: 424: 415: 411: 408: 404:Jiří Bittner 397: 386: 382: 375: 322:Julius Zeyer 275: 267:Julius Zeyer 256: 218: 198: 194:Alfred Kraus 191: 171: 160: 156:Eduard Vojan 141: 122: 81:silent films 76: 75: 54: 38: 36:lead section 18: 5019:1943 deaths 5014:1862 births 3777:Czech stage 3756:Adolf Abter 3679:Oscar Wilde 3587:Wallenstein 3471:Paul Lindau 3464:Richard Boß 3369:Penthesilea 3283:Paul Lindau 3044:Richard III 2876:Victor Hugo 2801:- Cyprienne 2710:Wilbrandt’s 2678:Penthesilea 2668:Sudermann’s 2638:, Goethe's 2473:Sudermann’s 2455:Mosenthal's 2443:Paul Lindau 2393:Paul Lindau 2244:Oscar Wilde 2201:Kussproblem 2165:Bad Wiessee 2151:Mitternacht 2147:silent film 2126:actresses ( 1993:Julia Serda 1871:Paul Lindau 1842:Penthesilea 1590:Wilbrandt's 1456:Wilbrandt's 1373:Jan Růžička 1276:Renaissance 1266:'s Dora or 1260:Paul Lindau 1219:aristocrat 1217:Renaissance 1171:Burgtheater 814:Burgtheater 742:Burgtheater 670:Burgtheater 497:She toured 491:Pan-Slavism 341:Vrchlický's 221:Victor Hugo 5008:Categories 3787:References 3422:- Hortense 3197:Richard II 2943:Don Carlos 2756:- Gretchen 2682:Schiller's 2632:Don Carlos 2584:Emile Zola 2353:Don Carlos 2222:movement: 2104:Tannhäuser 2088:Litoměřice 1516:Miss Urban 1497:Viktor Dyk 1480:Jan Herben 1185:See also: 1155:"Marianka" 1117:and later 1115:Rosa Poppe 976:See also: 766:Don Carlos 760:in Berlin 633:Don Carlos 616:Schiller's 466:Schiller's 131:suburb of 105:Bittnerová 57:March 2024 4726:In Town. 3663:- Rhodope 3441:- Deborah 3118:King Lear 3081:- Hjördis 3039:- Deborah 2904:Frou-Frou 2867:- Suzanne 2791:Divorçons 2775:- Nerissa 2745:- Dorotka 2712:Messalina 2660:Frou-Frou 2640:Iphigenia 2600:Lady Anne 2596:Desdemona 2541:in 1895: 2494:Frou-Frou 2408:Frou-Frou 2173:Tegernsee 2158:Stuttgart 1989:Cymbeline 1713:Frou-Frou 1655:Benoniová 1604:Frou-Frou 1557:charivari 1458:Messalina 1326:Jan Mulač 1244:Lady Anne 1236:Desdemona 1159:"Mařenka" 1009:In early 863:Burckhard 861:director 540:Frou-Frou 528:Divorçons 223:'s drama 180:'s drama 83:in 1918. 41:summarize 3950:Besídka 3615:- Klytia 3582:- Judith 3555:libretto 3519:- Severa 3210:- Fédora 3174:- Denise 3032:- Sappho 2808:- Lilith 2675:Kleist's 2604:Beatrice 2458:effect." 2445:put it: 2234:operetta 2062:Between 1987:romance 1909:Prussian 1616:Beatrice 1606:, Queen 1483:gowns." 1000:Bârsescu 924:Denise, 689:Schiller 290:operetta 248:Beatrice 109:de Pauli 3718:1913 - 3673:1907 - 3666:1906 - 3636:1899 - 3598:1899 - 3585:1898 - 3568:1898 - 3545:1898 - 3534:1898 - 3444:1897 - 3405:- Queen 3367:1895 - 3342:- Magda 3334:1895 - 3315:- Magda 3307:1894 - 3270:Othello 3268:1894 - 3223:1892 - 3202:1892 - 3195:1892 - 3184:1892 - 3150:1891 - 3133:1891 - 3126:1891 - 3116:1890 - 3109:1890 - 3102:1890 - 3073:1890 - 3056:1888 - 3051:Macbeth 3049:1888 - 3042:1888 - 3024:1887 - 3007:1887 - 2996:1887 - 2978:1885 - 2965:1885 - 2941:1885 - 2934:1885 - 2927:1885 - 2902:1884 - 2870:1884 - 2859:1884 - 2848:1884 - 2837:1884 - 2823:1883 - 2816:1883 - 2789:1883 - 2786:- Luise 2778:1885 - 2767:1883 - 2748:1878 - 2737:1878 - 2664:Hjördis 2616:Goneril 2514:Hamburg 2230:Gospels 2169:Bavaria 2167:spa in 2084:Teplice 2052:Rostock 2004:Hamburg 1935:Hamburg 1878:Dresden 1770:Hamburg 1742:soprano 1659:Laudová 1248:Goneril 1107:Schratt 1055:Teplice 962:Olomouc 898:Goneril 875:America 871:Hamburg 604:Bohemia 418:Ohnet's 235:comedy 3642:Portia 3600:Fiesco 3336:Heimat 3309:Heimat 3204:Fédora 3026:Sappho 2980:Fiesco 2971:Portia 2845:- Emma 2656:Fédora 2648:Sappho 2592:Juliet 2539:Prague 2508:or in 2506:Berlin 2498:Prague 2476:Heiman 2441:Or as 2424:Orsina 2404:Fédora 2334:Sappho 2284:Fedora 2248:Salome 2181:Berlin 2177:Munich 2119:Berlin 2080:Sappho 2032:Berlin 2020:Prague 2012:Berlin 2006:until 1997:Imogen 1977:Fédora 1973:Berlin 1954:London 1890:Russia 1836:queen 1834:Amazon 1720:life." 1717:Heimat 1280:Rococo 1274:, the 1209:Sappho 1167:Merano 1151:Fédora 1111:Berlin 958:Pilsen 942:Fédora 922:Dumas' 918:Moreto 894:Juliet 822:Wolter 794:Sappho 774:Goethe 641:Berlin 556:Fédora 511:Kraków 507:Lublin 503:Poznań 499:Warsaw 448:said: 294:Vienna 144:farces 133:Prague 125:Karlín 4048:[ 3897:[ 3861:[ 3763:Notes 3720:Brand 2750:Faust 2724:Medea 2671:Magda 2535:Magda 2500:, in 2416:Magda 2255:Faust 2136:agism 1928:Sarah 1644:Italy 1250:, or 816:star 626:Faust 101:Pulda 4924:mf, 3388:and 2910:and 2797:and 2658:and 2650:and 2642:and 2634:and 2618:and 2576:Nora 2572:Duse 2545:Duse 2480:1894 2406:and 2143:1918 2068:1913 2066:and 2064:1909 2036:1907 2026:and 2016:1908 2008:1907 1979:and 1969:1906 1950:1900 1939:1898 1905:1897 1882:1897 1857:1895 1711:"In 1700:Star 1657:and 1614:and 1437:1885 1278:and 1193:1893 1039:1892 1035:1892 1028:1898 1024:1895 1011:1891 966:Brno 964:and 920:and 900:and 832:1889 738:1892 693:1890 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