Editing Max Reinhardt (section)

===Reinhardt theatres===
In 1901, Reinhardt together with [[Friedrich Kayßler]] and several other theatre colleagues founded the ''Schall und Rauch'' (Sound and Smoke) [[Kabarett]] stage in Berlin. Re-opened as ''Kleines Theater'' (Little Theatre)<ref name="roh.org.uk">{{Cite web|url=https://www.roh.org.uk/news/max-reinhardt-the-man-that-invented-modern-theatre-direction|title=Max Reinhardt: The man who 'invented' modern theatre direction |date=26 June 2014 |publisher=[[Royal Opera House]]|access-date=28 November 2019}}</ref> it was the first of numerous stages where Reinhardt worked as a director until the beginning of [[Nazi Germany|Nazi]] rule in 1933. From 1903 to 1905, he managed the Neues Theater (present-day [[Theater am Schiffbauerdamm]]) and in 1906 acquired the Deutsches<ref name="jewishvirtuallibrary/reinhardt-max">{{cite web |title=Max Reinhardt (Goldmann) |url=https://www.jewishvirtuallibrary.org/reinhardt-goldmann-max |publisher=jewishvirtuallibrary.org |access-date=14 October 2023}}</ref> Theater in Berlin. In 1911, he premiered with [[Karl Vollmöller]]'s ''[[The Miracle (play)|The Miracle]]'' in [[Olympia, London|Olympia]], London, gaining an international reputation.<ref name="BritannicaReinhardt" />

In 1910, [[Siegfried Jacobsohn]] wrote his book entitled ''Max Reinhardt''. In 1914, he was persuaded to sign the [[Manifesto of the Ninety-Three]], defending the [[German invasion of Belgium (1914)|German invasion of Belgium]]. He was signatory 66; he later expressed regret at signing.{{citation needed|date=June 2018}}

From 1915 to 1918, Reinhardt also worked as director of the [[Volksbühne]] theatre.

On 23 December 1917, Reinhardt presided over the [[world premiere]] of [[Reinhard Sorge]]'s [[Kleist Prize]]-winning [[stage play]] ''Der Bettler'', which had long been, "a ''succès de scandale'', an innovation, changing the course of theatrical history with its revolutionary staging techniques".<ref>{{cite book|last=Cross|first=Tim|title=The Lost Voices of World War I: An International Anthology of Writers, Poets, and Playwrights|publisher=Bloomsbury|year=1988|page=144|isbn=9780747502760}}</ref>

According to Michael Paterson, "The genius of the 20-year old Sorge already showed the possibilities of abstract staging, and Reinhardt in 1917, simply by following Sorge's stage directions, was to become the first director to present a play in wholly Expressionist style."{{sfn|Cross|1988|page=145}}

According to Michael Paterson, "The play opens with an ingenious inversion: the Poet and Friend converse in front of a closed curtain, behind which voices can be heard. It appears that we, the audience, are backstage and the voices are those of the imagined audience out front. It is a simple, but disorienting trick of stagecraft, whose imaginative spatial reversal is self-consciously theatrical. So the audience is alerted to the fact that they are about to see a play and not a 'slice of life'."{{sfn|Cross|1988|pp=144–145}}

According to Walter H. Sokel, "The lighting apparatus behaves like the mind. It drowns in darkness what it wishes to forget and bathes in light what it wishes to recall. Thus the entire stage becomes a universe of [the] mind, and the individual scenes are not replicas of three-dimensional physical reality, but visualizes stages of thought."{{sfn|Cross|1988|p=145}}<ref>Walter H. Sokel (1959), ''The Writer in Extremis'', [[Stanford University]] Press.</ref>

Reinhardt's production of the play, which he had meticulously planned ever since he had purchased the rights from Sorge in 1913, proved enormously popular and productions immediately began to be staged in other German cities, such as [[Cologne]]. After the 1918 Armistice, newspapers in the [[German language in the United States]] also published articles highly praising Reinhardt's production of the play, which singlehandedly gave birth to Expressionism in the theatre.<ref>[http://www.ww1plays.com/2019/07/reinhard-sorges-beggar-der-bettler.html?m=1 "Reinhard Sorge's ''The Beggar'' (''Der Bettler'')"], ''World War One: Plays, Playwrights & Productions'', July 9, 2019.</ref>

After the [[November Revolution of 1918]], Reinhardt re-opened the [[Großes Schauspielhaus]] (after [[World War II]] renamed into [[Friedrichstadt-Palast|Friedrichstadtpalast]]) in 1919, following its [[expressionism|expressionist]] conversion by [[Hans Poelzig]].<ref>Hans Poelzig: ''Construction of the Great Berlin Schauspielhaus.'' Commemorate the opening</ref><ref>Heike Hambrock: "Marlene Moeschke – staff member?, rediscovered the work of the sculptor and architect provides new information about Hans Poelzig Large Schauspielhaus in Berlin", in: ''Critical reports''{{clarify|date=February 2025|reason=Isn't this journal named 'Kritische Berichte'?}} Marburg 29.2001,3,{{clarify|date=August 2019|Reason=Is that some kind of mangled date?}} pp. 37–53 {{ISSN|0340-7403}}</ref> By 1930, he ran eleven stages in Berlin and, in addition, managed the [[Theater in der Josefstadt]] in Vienna from 1924 to 1933.

In 1920, Reinhardt established the [[Salzburg Festival]] with [[Richard Strauss]] and [[Hugo von Hofmannsthal]],<ref name="roh.org.uk" /> always directing the annual production of Hoffmansthal's [[Jedermann (play)|acclaimed adaptation]] of the Medieval Dutch [[morality play]] ''[[Everyman]]'', in which the [[Christian God]] sends Death to summon an [[archetype]] of the [[Human|Human Race]] to Judgment Day. In the United States, he successfully directed ''The Miracle'' in 1924, and a popular stage version of [[Shakespeare]]'s ''[[A Midsummer Night's Dream]]'' in 1927.{{citation needed|date=June 2018}}

From the 1910s to the early 1930s, one of Reinhardt's most frequent collaborators was the Swedish-born American composer and conductor {{ill|Einar Nilson|sv}}, whom he employed as the music department head of his theaters; during international trips, Nilson would also serve as an advance man for Reinhardt, traveling ahead to the next performance location to audition singers and actors. Reinhardt, moreover, often would utilize existing music by famous composers (for example, [[Mozart]] and [[Mendelssohn]]) for his productions, which Nilson would arrange to meet Reinhardt's needs. Nilson also composed original music, such as the incidental music for Hofmannsthal's ''Jedermann''.<ref>{{cite web | title=Einar Nilson: Composer of the first Jedermann music| author=Eija Kurki|url=https://sibeliusone.com/music-for-the-theatre/einar-nilson-composer-of-the-first-jedermann-music/| publisher=SibeliusOne| date=2020}}</ref>

Reinhardt followed that success by directing a [[A Midsummer Night's Dream (1935 film)|film version]] of ''A Midsummer Night's Dream'' in 1935 using a mostly different cast, that included [[James Cagney]], [[Mickey Rooney]], [[Joe E. Brown]] and [[Olivia de Havilland]], amongst others. Rooney and de Havilland had also appeared in Reinhardt's 1934 stage production, which was staged at the [[Hollywood Bowl]].<ref name="latimes/midsummer-hollywood-bowl">{{cite news |title=Once upon a time, a theatrical 'Dream' came true at the Hollywood Bowl |url=https://www.latimes.com/entertainment-arts/story/2022-06-02/midsummer-nights-dream-history-hollywood-bowl-2022 |access-date=14 October 2023 |work=Los Angeles Times |date=2 June 2022}}</ref> The Nazis banned<ref name="forbiddenmusic/reinhardt-circus" /> the film because of the Jewish ancestry of both Reinhardt and Felix Mendelssohn, whose music (arranged by [[Erich Wolfgang Korngold]]) was used throughout the film.

After the [[Anschluss]] of Austria to Nazi-governed Germany in 1938, he emigrated first to Britain, then to the United States. In 1940, he became a [[naturalized citizen]] of the United States.<ref name="kuenste-im-exil/reinhardt-max">{{cite web |title=Objects – US naturalisation certificate for Max Reinhardt (1940) |url=https://kuenste-im-exil.de/KIE/Content/EN/Objects/reinhardt-max-einbuergerungsurkunde-en.html?single=1 |website=kuenste-im-exil.de |access-date=14 October 2023 |language=en}}</ref> At that time, he was married to his second wife, actress [[Helene Thimig]], daughter of actor [[Hugo Thimig]] and sister of actors [[Hans Thimig|Hans]] and [[Hermann Thimig]].<ref>{{cite web |title=Helene Thimig |url=http://www.oxfordreference.com/view/10.1093/oi/authority.20110803103928555 |website=Oxford Reference |publisher=Oxford University Press}}</ref>

By employing powerful [[staging (theatre)|staging]] techniques, and integrating [[stage design]], [[language]], [[music]] and [[choreography]], Reinhardt introduced new dimensions into German theatre. The [[Max Reinhardt Seminar]] in Vienna, which is arguably the most important German-language acting school, was installed implementing his ideas.