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West Bohemia Theatre in Cheb

Vincent Pröckl

alias Theatre of the Border Guard Service (1962- 1965), Regional District Theatre in Cheb (1961/62), Vereinigte Stadttheater Eger – Franzensbad, Worker's Theatre (1949- 1953), City Theatre/ Stadttheater, West Bohemia Theatre in Cheb (1965-)
history of the theatresupplementtechnical dataHistoric equipment

Important events

(detail)70. 's 19. century | construction

The city charged Vincenc Pröckl   with  elaboration of design documentation. The city council passed the final version of the design in 1872. The old theatre  was demolished in the summer of 1872 and construction of a new theatre began. Builder Karl Haberzettel completed the shell in the December of the same year, the works in the interior were finished in the following summer.


(detail)3.10.1874 | opening

The ceremonial opening of the stage fell upon 3rd October of 1874. In the introductory day, the director of the city theatre Tomaschka introduced  dramas Vallenstein’s Camp and Vallenstein’s Death by Schiller.


(detail)20. century | reconstruction

Several renovations and minor reconstructions occurred since the beginning of operation in the 1870s until the First World War. Extension and reconstruction are stated for the year 1896, in the year 1908 a new building of a props store room came into existence on the left side of the stage area. Building adaptation is stated for the year 1912 (extension) and 1913.


(detail)1924 | reconstruction

A renovation of the auditorium was carried out in 1924,  new two storey wings were erected on the lateral sides of the building two years later. The city building councillor J. Pascher was undersigned as an author under the extensive building action.


(detail)40. 's 20. century | damage

The fights of the Second World War did not avoid neither the Cheb theatre. It becomes clear from the “Registration of war time damages and damages caused  by the extraordinary conditions” that the rear wing of the building, roofs, windows were  largely damaged, the props  storeroom with painting room and cabinetry were completely destroyed as well as interior furnishing and costume dressing and sceneries.


(detail)1955 | repairs

The activity was launched by the repair of wiring in October 1955, and innovation of central heating and ventilation was added to it soon. The task was being worked out by Regional Design Centre by OSP in Cheb, which did not dispose sufficient qualification for this issue. The works were suspended in the end.


(detail)1957 | project documentation
The National Heritage Administration commissioned Svatopluk Vacek from Prague  to work out of new project documentation and he elaborated all the needed designs in the same year. These were later criticised and it was later reproved for adoption of old layout concept of the theatre and substitution of old materials for new ones (for the safety reasons), however, without “ occupying himself with  visibility in the auditorium, acoustics of the space and economy
(detail)50. 's 20. century | renovation

The design works were handed over to the State Institute for Reconstruction of Monument Cities and Buildings after dismissed Vacek. The elaboration of new documentation was prolonged again, the final version was none existent still in the May of the following year. On the other side, Stavomat – the County building enterprise in Cheb never suspended the reconstruction works, the renovation was taking place without proper project and budget documents throughout the entire second half of the 1950s.


(detail)1960 | reopening
The stage was operating again since May 1960, however, without the building approval and without completion of all building works. Fidlovačka by Josef Kajetán Tyl became the introductory play.
(detail)1997 | fire

The flames sparkled in the auditorium part, but spread into the stage and operational background as well. “ The flames consumed   substantial parts of the space and above all, its technical and interior equipment. So above all  electricity, seating furniture, walls, ceilings, paintings and facing, coating as well as stage equipment, decorations and many others.“


(detail)1997 | reconstruction

Petr Němeček from AS Projekt  Plzeň worked out the project documentation for   stage reconstruction. The renovation began in September of 1997, testing operation was initiated already in December and the entire action finished in June of the following year.


(detail)1999 | renovation

Petr Moos from Domo inc. worked out the design of renovation of the entrance to the building and terraces. The repair of the emergency state occurred in May and June 1999.


People

Vincent Pröckl |main architect
Svatopluk Vacek |architect
J. Pascher |architect
Petr Němeček |architect
Petr Moos |architect
(detail)Gilbert Lehner |painter
Was a scenic artist and stage designer based primarily at the Burgtheater in Vienna.  A large number of his works are housed at the Austrian Theater Museum, Vienna (formerly Theater Collection of the Nationalbibliothek). According to the chronologies of the Burgtheater, Kätchen von Heilbron was not in repertory during Lehner's tenure at the Burgtheater.  It is possible he may have designed the production for another theater in Vienna. 

In: Fine Art

More theatres

History

Theatre and drama art are connected with Cheb – the original German Eger- by centuries long tradition. The construction of the present stage has concluded long time development  with beginnings dating back to the Middle Ages.

The oldest mention of performances appeared in the archive sources in the year 1442; it concerns Egerer Fronleichnamspiel (the Cheb play about the God’s Body). It was played on the square “approximately in the location under the Roland’s fountain against the old town hall for the councilmen to be able to watch  the performance comfortably from the window of the town hall with their families. 1 Equally was used the hall of the old town  hall, the area in the Cheb castle ( “ they were playing in the castle on a meadow in front of the chapel 2), respectively in private citizen houses.  Plays of a religious character were taking place in the St. Nicolaus dome or at the cemetery. The list of used locations is complemented by Latin school since the end of the 17th century. The end of the 18th century enriched the cultural life of the city by a puppet scene. First professional actors appeared in Cheb in 1755: “ A court company  from Sachsen-Hildburgshausen, led by director Marie Beata Františka Schütz,  gave a guest performance in the hall of the old town hall.“3Culture loving citizens procured the establishment of a permanent theatre hall not long after that important event. Noble family Vetterle provided convenient space in their house; the room served in 1760 – 1787. The theatre moved afterwards in a renovated  hall in the rear wing of the old city hall, which was labelled as Bernstube, or Redoutensaal as well.  Productions took place regularly in the autumn and winter, only exceptionally in the summer moths. “Apart productions in Redoutensaal, there were played Weichnachts – und Krippenspiele (Christmas crib plays) in houses since 1809.“4

The Redoutensaal changed its function since the middle of the 19th century, it should have served henceforth only as a court room. Therefore southwest part of outer Upper Gate was adapted for theatrical purposes in 1850 – 1851. “ The auditorium was sloped in comparision with the stage, it had numbered seats, standing rooms and galleries on the sides, folk labelled it ‘Ochsenstand‘ ( bulls’ places). The theatre was opened on the 18th January 1851 by actors troupe Kotzky. It was used  between 1851 and 1872.“5

This hall ceased to suffice soon and voices were rising calling for  construction of a new building. The mayor Anton Julius Gschier succeeded in acquiring a plot behind the former Poor Clares convent – “ A military parcel in the extent of 2.5 morgens on  ,Jungfernschanze‘“.6 The city charged Vincenc Pröckl, municipal builder and archivist,  with  elaboration of design documentation. The city council passed the final version of the design in 1872. “ The old theatre that Vincenc Pröckl labelled as the  ,Kommediantenstall‘ (stables of comedians) in his diaries,  was demolished in the summer of 1872 and construction of a new theatre began.“Builder Karl Haberzettel completed the shell in the December of the same year, the works in the interior were finished in the following summer. We know the original building appearance thanks to a brief description of Walter Kumpert: “ The building had an appearance of a Neo Renaissance building  […] the building had 250 seats and 322 standing rooms. The theatre could accommodate up to 1000 spectators by enlargement of the standing area. The seats were divided into the so called Sperrsitz (reserved seats), seats in boxes, seats in balconies and on the gallery.“8

Participation on the interior decoration works included  Darmstadt court decorator Gilbert Lehner, painter Karl Johan Brömse from Františkovy Lázně (mural painting) and Schenischek from Pilsen (decorating, gilding). “ As a remnant of box theatre, the first row of seats (on balcony ) is still divided into the boxes, whilst both the rows, located above it, are divided always into three rows of seats.“9 The initial designs furthermore intended decorative embellishment of the exterior – sculpture works should have been located on the corners of balcony banisters, attics  and in the corners of the fly tower as well, the front facade should have been covered by  frescoes in a Romantic style. Their realization was abandoned.

The ceremonial opening of the stage fell upon 3rd October 1874. In the introductory day, the director of the city theatre Tomaschka introduced  dramas Vallenstein’s Camp and Vallenstein’s Death by Schiller. Political changes were faithfully mirrored by changes of the stage names. It carried the name Stadttheater since its foundation. The original German name was used after 1918 as well, in Czech texts in corresponding translation Městské divadlo (the City Theatre). It is mentioned as the Theatre of Workers, four years later as the Theatre of the Border Watch. Since the beginnings of the 1960s, the stage became more professionalized, the company began to perform under the name County Regional Theatre in Cheb. The building was renamed to the West Bohemia Theatre in Cheb, in 1994 again to City Theatre. The contemporary name is the West Bohemia Theatre in Cheb.

Several adaptations and minor reconstructions occurred since the beginning of operation in the 1870s until the First World War. Extension and reconstruction are stated for the year 1896, in the year 1908 a new building of a props store room came into existence on the left side of the stage area. Building adaptation is stated for the year 1912 (extension) and 1913 (reconstruction with the cost of 14 686 Crowns).

The First World War interrupted theatre operation. The building served as an occasional cinema for war invalids since September of 1917. Theatre was played again from 1919. At the same time, a new extension was built as a storeroom for furniture and costumes and as a lighting central on the right from the existing stage wing.

The stage offered  productions of popular actors and singers, Viennese Volksoper was introduced here as well “ for diversification and enrichment of the programme 10

The local theatrical ensemble was introducing dramas and operettas in the 1920s, opera was played by hosting artists or ensembles. A modification of the auditorium was carried out in 1924,  new two storey wings were erected on the lateral sides of the building two years later. There were dressing rooms in its ground floor and offices, buffet, medical room and resting hall for the musicians in the first floor. “ The former Corinthian pilasters and columns in the colonnade were replaced by simple Doric ones at that time, as it is known from the present time.“11 The existing dressing rooms were improved by conduction of cold and hot water. More seats were created and “ enlarged orchestra pit accommodated now up to 46 musicians.“12 The city building councillor J. Pascher was undersigned as an author under the extensive building action.

Relatively good idea about the appearance and functioning of the stage in the first decade of the independent Czechoslovakian state is provided by questionnaire, which was worked out by the management of the Cheb Theatre in 1928 for the Ministry of Education and National Enlightenment. There is stated in the responses among other that during the season, so from October to March, the scene played once a day, in Sunday and every second Saturday even twice a day. There were offered 523 seats, from which 190 in the parterre, for spectators. 250 visitors could use standing rooms and 15 boxes provided 75 seats (a part of them was reserved for the city functionaries, respectively police force, members of theatrical company or for collaborators of the theatre). There were stated briefly the building adaptations and extensions (see above), the mode of financing, the composition of the repertoire etc.

With a strengthening position and increasing power of Hitler’s Germany, the situation sharpened  in the bordering Sudeten regions as well, not excepting Cheb region. “ The worst relations reigned in Cheb, on the first and only Sudetenland scene, which was conducted in purely German spirit already since 1935 and which had purely Arian personnel that was composed of one third of Reich Germans. The director Anton Kohl made the Cheb theatre fully Nazi already in the season 1935-36   […]. The subsidies from the Reich were not sufficient for covering the high financial deficit caused by a rapid decrease of attendance after repulsing Henlains’ boycott  of Jewish and emigrant artists. Khol had to suspend the entire theatre operation in the September 1936 […] The theatre began its operation on 29th September 1937 after a one year long interruption.“13

The beginnings of the 1940s brought the spirit of organizational and administrative changes. Spectators could watch the plays in the summer months as well since 1941, the season was thus prolonged almost for the whole year. In the following period (1942-43), the Cheb scene was united with the Františkovy Lázně: henceforward they performed under the name Vereinigte Stadttheater Eger – Franzensbad (the United City Theatres Cheb - Františkovy Lázně). In the course of 1944, a statement came to the intendancy of the theatre that all the theatrical operation will be closed throughout the entire Germany according to the official proclamation from the end of this month. The last performance was played on 31st August – unfortunately we do not know, what was played.“14

The fights of the Second World War did not avoid neither the Cheb theatre. It becomes clear from the “Registration of war time damages and damages caused  by the extraordinary conditions” that the rear wing of the building, roofs, windows were  largely damaged, the props  storeroom with painting room and cabinetry were completely destroyed as well as interior furnishing and costume dressing and sceneries. Listed loses were caused by German army and foreign aircrafts.

The building remained the property of the Cheb city. It was used by Theatre Studio in Cheb (formerly Budil), afterwards the troupe The Theatre of Labourers up to 1949. The reconstruction and adaptations were  considered with its coming. The budget of intended reconstruction works listed  a plaster repair in the entire building and renewal of the doors and windows wings. It was recommended in relation with restoration of the interior part as well to “ restoring of the handwork painting on the ceiling that is 6 parts “and at the same time “ to have at least one of our Czech composers to be painted on the ceiling, there is none and that is criticised by the public as well.“15  We can assume thanks to this mention that ceiling figural paintings were a component of the decoration at the end of the 1940s.

The city intended large building reconstruction to be carried out at the end of the 1950s. The remaining war time damages and later defects and shortcomings should have been removed. It seems according to the preserved materials and period correspondence that the works did not proceed conceptually and unrestrainedly. It is possible to reconstruct the actual proceedings on a basis of the additionally created report by Pavel Józseffi. The activity was launched by the repair of wiring in October 1955, and innovation of central heating and ventilation was added to it soon. The task was being worked out by Regional Design Centre by OSP in Cheb, which did not dispose sufficient qualification for this issue. The works were suspended in the end. The National Heritage Administration commissioned Svatopluk Vacek from Prague  to work out of new project documentation and he elaborated all the needed designs in the same year. These were later criticised and it was later reproved for adoption of old layout concept of the theatre and substitution of old materials for new ones (for the safety reasons), however, without “ occupying himself with  visibility in the auditorium, acoustics of the space and economy16 The design works were handed over to the State Institute for Reconstruction of Monument Cities and Buildings after dismissed Vacek. The elaboration of new documentation was prolonged again, the final version was none existent still in the May of the following year. On the other side, Stavomat – the County building enterprise in Cheb never suspended the reconstruction works, the renovation was taking place without proper project and budget documents throughout the entire second half of the 1950s.

SÚRPMO abandoned originally intended interior decoration due to the economic reasons -  the theatre was deprived of stucco on walls, artistic concept of textile curtains, mosaic lunette in the vestibule, crystal chandeliers, tapestry and wall paintings, they resigned on the revolving stage or lifting orchestra pit device as well. At the same time, “the inner historical furnishing was removed by this renewal, the outer appearance of the building was restored into the original style. The building was preserved in volume in the original appearance.“17 The original timber roof construction in the entrance hall was replaced in 1958 by a ferro-concrete coffered ceiling.

The stage was operating again since May 1960, however, without the building approval and without completion of all building works. Fidlovačka by Josef Kajetán Tyl became the introductory play.

The smoking room in the ground floor was modified into a vending and exhibition hall d- ART at the beginning of the 1990s. Theatre management received a building permit for adaptation of  a heating system in 1994.

Repairs that  followed after the destructive fire in April 1997 impacted the appearance and arrangement of the interior in  an essential manner.  The flames sparkled in the auditorium part, but spread into the stage and operational background as well. “ The flames consumed   substantial parts of the space and above all, its technical and interior equipment. So above all  electricity, seating furniture, walls, ceilings, paintings and facing, coating as well as stage equipment, decorations and many others.“18

Petr Němeček from AS Projekt  Plzeň worked out the project documentation for   stage reconstruction. The renovation began in September of 1997, testing operation was initiated already in December and the entire action finished in June of the following year. Reconstruction works were accompanied by effort for modernization and improvement of theatre's operation as well. So there was for instance orchestra pit, stage technique and wiring adapted, steps in the auditorium were moderately elevated. Huge attention was paid to colourful arrangement of the hall – gold played an important part here, apart ochre, beige white and red (textile elements ). The floor was covered by red PVC- Marmoleum, tip-up seats were upholstered by velvet. The capacity of the auditorium was fixed on roughly 400 seats, it is possible to accommodate 263 spectators in the stalls, 90 in the dress and 46 in the upper circle. The top uplifted balcony serves as a technical background.

Balustrade of attics and balcony was secured in the spring months of 1998, facades were given new painting (white and yellow colour). The adaptation impacted the theatre surroundings as well – especially access area in front of the main elevation.

Petr Moos from Domo inc. worked out the design of renovation of the entrance to the building and terraces a year later. The repair of the emergency state occurred in May and June 1999. It continued with restoration of  the main cornice, coffered ceiling above the main entrance and terrace flooring including its drainage on the basis of an order of Cheb city council.

There was carried out an exchange of a part of roofing covering, external plumbing elements, facade renewal, including insertion of new windows with corresponding dimension and articulation to older specimen. The Cheb Theatre announced the intent to interfere into the existing ventilation distribution system.

Present state

The West Bohemia Theatre is a detached building, a dominant of Divadelní Square nearby the historical core of the city. The front facade opens into small paved access area without any more distinctive spatial elements. North – south oriented building forms a plan of irregular rectangular composed of figures from several rectangles (oblong or square). The original five bay front elevation is attached by one bay, one storey extensions on the sides. The central part of the elevation is accentuated by wide  projecting bay with a protruding balcony above four columns on high pedestals. Spectators enter through a passageway between columns to the main entrances with ending in semicircular, profiled mouldings accentuated by discharging arches. A semicircular motif is repeated on window openings on the sides of the bays and in the first floor as well. Lateral flats of the front side are with one bay, again with an arched vault on window openings. Contrariwise the builder used the rectangular shape by the lower lateral extensions. Funicular arches are accentuated in the ground floor by rustication, formed into an arch, with a central keystone, the windows in the storey are flanked by pilasters carrying apical moulded semicircle; the same system of decoration was used on the other sides of the building.

The bay culminates in a triangular gable and blind  balustrade parapet. This tops the lateral bays and younger two storey wings as well - here in the function of a banister.

It is possible to determine relatively exactly the inner arrangement and location of individual rooms of the theatre. The corners of the adjacent wings, in width of two bays, acquired the appearance of a shallow bay, on the contrary, the vestibule part of the theatre (in the level of the second and third floor) is slightly recessing. The walls are broken by a couple of entrances, further by rectangular and by semicircle vaulted window openings. Adjacent auditorium block is articulated by five window bays, again of a double type. We can find the different measure of width by the stage part – more narrow, massive, cubical fly tower is flanked by lower, one storey wings, into which architect inserted one window bay each from the rear side. The tower volume is divided by two extensive string courses into three horizontal strips; the lowest one is decorated on the sides by blank windows of a semicircular vault, the middle band is lighten by an array of pilasters and finally the most narrow, top one is composed of a system of alternating shallow lesenes and elongated fields.

The building ends by an oblong projecting wing with a couple of adjacent blocks, erected on the same plan. Two ground floor levels are lit by rectangular windows in the seven bays, the floors of the central part by banded window openings with pilasters and funicular arches. Equally side facades of these ending wings are broken by windows and by an entrance in the ground floor of the east side. Banded rustication covers the ground floor, respectively the first floor, along the entire perimeter. A frieze, composed form oblong fields, delimited from the bottom side by horizontally led belt, was used under the crowning cornice. The later side extensions end  by blind balustrade parapet –a banister, a full, unarticulated parapet was used by ending wings. The vestibule as well as the actual spectators’ part of the theatre, exceeding  mentioned side extensions, was topped by  baluster attics.

In comparison with  relatively rich articulation of the facade, the interior leaves a very simple, utilitarian perhaps even austere impact. The visitor enters through three entrances into an oblong vestibule, from which one flight staircases ascend on the sides interconnecting the ground floor with upper floors. The architect inserted three doors leading to the corridor into the auditorium in  the niches, topped  by the semicircle, and   teller's windows into the sides. The ceiling is the most decorative part in this sector – it is composed of rectangular mirrors with the whole inner bended flat; the work evoke a simplified coffered ceiling.

The theatre hall opens up by a couple of side entrances. Access ramps enable the movement and passing by the parterre by the wall. Arched bended rows of seats correspond with the course of the front edge of the stage area. The proscenium part of the stage is broken by low stairs in the corners. A dominant element of the entire hall is the massive proscenium arch, accentuated by receding moulding with a profiled circumferential edge and in widely worked lintel. Its front side is decorated by bright painted squares. Opposite proscenium boxes are directly adjacent to the proscenium arch.

The spectators can use the balconies of the dress and upper circle apart the stalls for plays watching; the third one does not serve anymore to the public in the present days. Pröckl inserted balcony footing of elliptic plan along the entire circumference of the auditorium. The technical service of the theatre reserved the first box and front part of the second gallery. All the balconies originally offered also standing rooms apart classical seats. This element is preserved only in the upper circle in the present days.

Elaboration of the ceiling corresponds to the sober concept of the hall- the outer circumferential circle is embellished by small squares, uniformity of the inner surface is disturbed only by round ventilation shaft, enclosed by a metal grid, from which a brass chandelier hangs in the auditorium area.

The decoration of the room is very austere;  work with colours was used more than specific motives or architectural elements. The black painting on the circumferential walls was complemented by distinct red tone of Marmoleum flooring, front edge of the stage, doorframes of the entrance doors and inner surfaces of boxes and galleries of the dress and upper circle; remaining surfaces are in bright ochre. We can find  refined aureate accentuation on the balcony parapets -  thin gilded strips delineate the central, horizontally run band. Tip-up seats have  red velvet upholstering.

A social room with refreshment is at disposal to the visitors in the second floor. The architect The architect located it into the area above the vestibule; it is possible to go out from the oblong room broken  by four high window openings through central entrance to the outdoor terrace. There are presented art works ( photographs, paintings etc.) on the walls of the room.

 

Notes:

1   Karl Siegl, Historie chebského divadelnictví až k otevření současného městského divadla 3. 10. 1874, Egerer Jahrbuch, 1925, pg. 37–49. Czech translation  is stored in the library of Cheb Museum, file 15.690, translation  p. 2.

2   Ibidem.

3   Ibidem.

4   Ibidem, translation  p. 4.

5   Státní okresní archiv Cheb, složka Stadttheater Statistik, Divadelní přehled 1918/28, příloha Stadttheater Eger, p. 4.

6   Siegl, Historie (pozn. 1), translation  p. 6.

7   Ibidem., translation  p. 7.

8   Walter Kumpert, Das Theaterwesen in Eger bis 1938, in Lorenz Schreiner (Hrsg.), Eger und das Egerland: Volkskunst und Brauchtum, München – Wien 1988, p. 608–615. Czech translation  under the name Walter Kumpert, Divadelnictví v Chebu do r. 1938 is stored in the library of Cheb Museum, file 15.538, translation  p. 5.

9   Bildungsbauten: Stadttheater, in Lorenz Schreiner (Hrsg.), Kunst in Eger, München – Wien 1992, p. 207–209. Czech translation  under the name Městské divadlo v Chebu is stored in Municipality of Cheb, Building department, file 556, Cheb, Rekonstrukce Západočeského divadla v Chebu po požáru, translation p. 2.

10 Kumpert, Das Theaterwesen (note. 8), translation p. 8.

11 Bildungsbauten (note. 9), translation p. 2.

12 Kumpert, Das Theaterwesen (note. 8), translation p. 11.

13 Ivan Pfaff, Zápas o německé divadlo v českých zemích 1934–1938, http://www.divadlo.cz/art/clanek.asp?id=12877 ( found on  8. 9. 2010).

14 Walter Franz Schneider, Das Egerer Stadttheater 1938–1944, in Schreiner, Eger (note 8), p. 616–621. Czech translation  under the name Walter Franz Schneider, Městské divadlo v Chebu 1938–1944 is stored in the library of Cheb Museum, file 15.539, translation p. 11.

15 Státní okresní archiv Cheb, Fond 314, karton 110, složka 218 (Divadlo 1949–71). Malíř pokojů Josef Hořejší, Cheb: Rozpočet – Vymalování městského divadla v Chebu, 8. 9. 1949, p. 1.

16 Státní okresní archiv Cheb, sloha Cheb. Mimo H. J., Divadlo I-II-A, složka Cheb divadlo. Dodatky, Pavel Józseffi, Výsledek prověrky: Zjištění skutečného stavu projektové a rozpočtové dokumentace, 18. 6. 1959, p. 8.

17 Městský úřad v Chebu, Odbor stavební, sloha Cheb 556. Městské divadlo v Chebu. Projektová dokumentace, Stavební část, 2. Obsah zpracovaného dokumentu – Úvod.

18 Městský úřad v Chebu, Odbor stavební, sloha 556 Cheb. Rekonstrukce Západočeského divadla v Chebu po požáru, ing. arch. Petr Němeček, CSc., Průvodní zpráva, 8/97.

Sources and literature:

– Státní okresní archiv Cheb

– Městský úřad v Chebu, archiv stavebního odboru

– Muzeum Cheb (Obrazová dokumentace, překlady německých textů)

– Karl Siegl, Historie chebského divadelnictví až k otevření současného městského divadla 3. 10. 1874, Egerer Jahrbuch, 1925, str. 37–49, český překlad v knihovně Muzea Cheb, složka 15.690

– Alfred Javorin, Divadla a divadelní sály v českých krajích I, Praha 1949, s. 66–67

– Bildungsbauten: Stadttheater, in Lorenz Schreiner (Hrsg.), Eger und das Egerland: Volkskunst und Brauchtum, München – Wien 1988, s. 207–209

– Walter Kumpert, Das Theaterwesen in Eger bis 1938, tamtéž, s. 608–615

– Walter Franz Schneider, Das Egerer Stadttheater 1938–1944, tamtéž, s. 616–621

– Theater, in: Lorenz Schreiner (Hrsg.), Denkmäler in Egerland, Garching – München [s. d.?], s. 164–166

– Ivan Pfaff, Zápas o německé divadlo v českých zemích 1934–1938, http://www.divadlo.cz/art/clanek.asp?id=12877 (8. 9. 2010)

– internetové stránky Západočeského divadla v Chebu, http://www.divadlocheb.cz/main.php?sess=historie&nabi=amodiv (19. 5. 2010)

 

Tags: Austria-Hungary, Belle Époque, detached building

 

Author: Kateřina Kohoutkova - Gabrhelíková

Translator: Jan Purkert

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